Time Capsule Installationshandbuch - Manuels - Apple
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Time Capsule
Installationshandbuch
3
Inhalt
5 Kapitel 1: Einführung
7
Informationen zu Ihrer Time Capsule-Basisstation
9
Die AirPort-Software
10
Systemvoraussetzungen
12
Die Statusanzeigen der Time Capsule-Basisstation
15 Kapitel 2: Konfigurieren Ihrer Time Capsule-Basisstation
16
Verwenden der Time Capsule-Basisstation zum Erstellen eines drahtlosen Netzwerks
19
Verwenden des AirPort-Dienstprogramms
21
Einrichten eines neuen drahtlosen Netzwerks
22
Konfigurieren und Freigeben des Internetzugangs
24
Festlegen erweiterter Optionen
25
Ermöglichen des Netzwerkzugriffs durch drahtlose Clients ohne Eingabe eines
Kennworts
27
Verwenden von Time Machine mit Ihrer Time Capsule-Basisstation
29 Kapitel 3: Tipps zur Fehlerbeseitigung
29
Sie können keine Verbindung zum Internet herstellen
29
Sie haben Ihr Netzwerk- oder Time Capsule-Kennwort vergessen
31
Ihre Time Capsule-Basisstation reagiert nicht
4
Inhalt
32
Die Statusanzeige der Time Capsule-Basisstation blinkt gelb
33
Ihr Drucker reagiert nicht
34
Aktualisieren der AirPort-Software
35
Überlegungen zur Platzierung der Time Capsule-Basisstation
36
Mögliche Störquellen, die Interferenzen mit AirPort verursachen können
37 Kapitel 4: Weitere Informationen, Service und Support
39 Anhang: Time Capsule – Technische Daten und Sicherheitsinformationen
43
Regulatory Compliance Information
1
5
1
Einführung
Herzlichen Glückwunsch zum Kauf von Time Capsule.
Bitte lesen Sie dieses Handbuch, um die Basisstation in
Betrieb zu nehmen.
Die neue Time Capsule-Basisstation ermöglicht eine vollständig automatisierte
Datensicherung über Ihr Wi-Fi-Netzwerk. Mit dem Programm „Time Machine“ unter
Mac OS X 10.5.2 Leopard (oder neuer) lassen sich ganz einfach und automatisch
Sicherungskopien der Daten aller Computer in Ihrem Netzwerk auf einer einzigen
Time Capsule-Basisstation anlegen.
Gleichzeitig dient Time Capsule auch als eine AirPort Extreme-Basisstation, die einen
gleichzeitigen drahtlosen Dualband-Netzwerkbetrieb ermöglicht. Bei der Konfiguration
Ihrer Time Capsule richtet diese zwei High-Speed-Wi-Fi-Netzwerke ein:
Â
Ein 2,4 Gigahertz- (GHz) Netzwerk für 802.11b-, 802.11g- und 802.11n-Geräte wie
iPhone, iPod touch und ältere Computer
Â
Ein 5 GHz-Netzwerk für 802.11n- und 802.11a-Geräte wie neuere Computer und
Apple TV
6 Kapitel 1
Einführung
Geräte für die drahtlose Kommunikation können das Netzwerk nutzen, das ihnen eine
optimale Leistung und Kompatibilität bietet. Die Time Capsule-Basisstation stellt den
Computern und Geräten in Ihrem Netzwerk eine Breitband-Internetverbindung für die
gemeinsame Nutzung bereit.
Mit Time Capsule haben Sie folgende Möglichkeiten:
Â
Verwenden des Programms „Time Machine“ unter Mac OS X 10.5.2 (oder neuer) zum
Ausführen einer Datensicherung aller Computer in Ihrem drahtlosen Netzwerk sowie
von Computern, die via Ethernet mit Ihrer Time Capsule verbunden sind.
Hinweis:
Abhängig davon, wie viele Daten Sie sichern wollen, kann die erste Datensicherung
mit Time Capsule und Time Machine relativ lange dauern, etwa über Nacht
oder sogar länger. Sie können die erste Datensicherung beschleunigen, indem Sie
Ihren Computer über ein Ethernetkabel mit dem LAN-Anschluss der Time Capsule
verbinden. Weitere Informationen zum Verwenden von Time Machine finden Sie im
Abschnitt „Verwenden von Time Machine mit Ihrer Time Capsule-Basisstation“ auf
Seite 27.
Â
Erstellen eines durch Kennwort geschützten drahtlosen privaten Netzwerks, Herstellen
einer Verbindung zum Internet und Freigeben der Verbindung für andere Computer
oder Wi-Fi-Geräte wie iPhone, iPod touch und Apple TV. Sie können Daten mit
anderen mit dem Netzwerk verbundenen Computern gemeinsam nutzen.
Â
Einrichten eines Gastnetzwerks mit oder ohne Kennwortschutz, um drahtlosen
Geräten wie Computern, iPhone, iPod touch und Apple TV nur den Internetzugang
bereitzustellen.
Kapitel 1
Einführung
7
Â
Verbinden der Time Capsule-Basisstation mit Ihrem Ethernetnetzwerk. Macintosh-
Computer, Windows XP- oder Windows Vista-Computer, die für die drahtlose Kommunikation
konfiguriert sind, können dann auf ein komplettes Netzwerk zugreifen,
ohne durch Kabel verbunden zu sein.
Â
Anschließen eines kompatiblen USB-Druckers an Ihre Time Capsule-Basisstation.
Kompatible Computer in Ihrem AirPort-Netzwerk können diesen Drucker dann
drahtlos oder via Kabel verwenden.
Â
Verbinden einer zusätzlichen USB-Festplatte mit der Time Capsule-Basisstation.
Kompatible Computer in Ihrem AirPort-Netzwerk können dann drahtlos oder per
Kabel auf Informationen auf der Festplatte zugreifen.
Â
Verbinden eines USB-Hub mit der Time Capsule-Basisstation und Anschließen
mehrerer USB-Geräte wie Drucker oder Festplatten. Alle Computer im Netzwerk
können danach auf diese Geräte zugreifen.
Wichtig:
Installieren Sie das AirPort-Dienstprogramm 5.4 von der CD, die Sie mit Ihrer
Time Capsule-Basisstation erhalten haben. Oder laden Sie das Dienstprogramm mithilfe
der Softwareaktualisierung. Vorherige Versionen des AirPort-Assistenten und
des AirPort Admin-Dienstprogramms sind mit dieser Time Capsule-Basisstation
nicht kompatibel.
Informationen zu Ihrer Time Capsule-Basisstation
Ihre Time Capsule-Basisstation ist mit fünf Anschlüssen an der Rückseite ausgestattet:
Â
Einem 10/100/1000BASE-T Gigabit Ethernet-WAN-Anschluss (Wide Area Network) für
die Anbindung eines DSL- oder Kabelmodems oder für den Anschluss an ein vorhandenes
Ethernetnetzwerk
8 Kapitel 1
Einführung
Â
Drei 10/100/1000BASE-T Gigabit Ethernet-LAN-Anschlüsse (Local Area Network) für
die Anbindung von Ethernetgeräten wie Druckern oder Computern oder für den
Anschluss an ein vorhandenes Ethernetnetzwerk
Â
Einem USB-Anschluss für die Anbindung eines kompatiblen USB-Druckers, einer
USB-Festplatte oder eines USB-Hubs für den Anschluss verschiedener Geräte
Die Reset-Taste neben den Anschlüssen wird für die Fehlerbeseitigung Ihrer
Time Capsule-Basisstation verwendet. Die Statusanzeige vorne am Gerät zeigt
den aktuellen Status an.
Statusanzeige Internet-WAN-Anschluss
Netzanschluss
Netzkabel
USB-Anschluss Reset-Taste
Ethernetanschlüsse
Anschluss für
Diebstahlsicherung
Anzeige für
Ethernetaktivität
Kapitel 1
Einführung
9
Die AirPort-Software
Ihre Time Capsule-Basisstation funktioniert mit dem AirPort-Dienstprogramm, das auf
der Time Capsule-CD enthalten ist.
Installieren Sie das AirPort-Dienstprogramm und befolgen Sie die Anleitungen auf den
folgenden Seiten, um die Time Capsule-Basisstation und Ihr drahtloses AirPort-Netzwerk
zu konfigurieren.
Hinweis:
Für die Konfiguration von Time Capsule ist das AirPort-Dienstprogramm Version
5.4 erforderlich. Mit älteren Versionen der AirPort-Software ist diese Time Capsule-
Basisstation nicht kompatibel.
AirPort-Dienstprogramm
Verwenden Sie das AirPort-Dienstprogramm für die Konfiguration Ihrer Time Capsule-
Basisstation, sodass Sie ein drahtloses Netzwerk einrichten, die Verbindung zum Internet
herstellen und kompatible USB-Drucker und USB-Festplatten gemeinsam verwenden
können. Sie können Ihre Time Capsule-Basisstation auch mit einem vorhandenen
drahtlosen AirPort Extreme-Netzwerk verbinden.
Das AirPort-Dienstprogramm eignet sich auch für die Konfiguration und Verwaltung
von Time Capsule-, AirPort Extreme- und AirPort Express-Basisstationen. Verwenden
Sie das Dienstprogramm, um die Einstellungen für Netzwerk, Datenweiterleitung
und Sicherheit sowie weitere Optionen manuell festzulegen.
Z
AirPort-Symbol in der Menüleiste
Mithilfe des AirPort-Symbols in der Menüleiste können Sie schnell zwischen AirPort-
Netzwerken wechseln, die Signalqualität des derzeit ausgewählten Netzwerks überwachen,
ein Computer-zu-Computer-Netzwerk einrichten und die AirPort-Kommunikation
aktivieren oder deaktivieren. Das AirPort-Symbol wird bei Computern mit
Mac OS X in der Menüleiste angezeigt.
10 Kapitel 1
Einführung
Systemvoraussetzungen
Für die Verwendung von Time Capsule benötigen Sie einen Computer, der drahtlos
arbeiten kann und mit den Standards IEEE 802.11a, 802.11b oder 802.11g oder mit einer
Entwurfsversion des IEEE 802.11n-Standards konform ist. Damit Sie die Time Capsule-
Basisstation konfigurieren können, muss Ihr Computer die unten genannten Systemvoraussetzungen
erfüllen.
Hinweis:
Sie benötigen Mac OS X 10.5.2 (oder neuer), um die Time Capsule-Basisstation
mit Time Machine von Mac OS X Leopard nutzen zu können.
Zum Konfigurieren Ihrer Time Capsule-Basisstation mit einem Macintosh-Computer
benötigen Sie Folgendes:
Â
Einen Macintosh-Computer mit einer installierten AirPort- oder AirPort Extreme-Karte
für die drahtlose Konfiguration oder einen Macintosh-Computer, der für die Konfiguration
via Ethernet über ein Ethernetkabel mit der Time Capsule-Basisstation
verbunden ist
Â
Mac OS X 10.4 (oder neuer)
Â
AirPort-Dienstprogramm 5.4 (oder neuer)
Zum Konfigurieren der Time Capsule-Basisstation mit einem Windows-PC benötigen
Sie Folgendes:
Â
Einen Windows-PC mit einer Prozessorgeschwindigkeit von mindestens 300 MHz und
einer kompatiblen 802.11a-, 802.11b- oder 802.11g-Karte für die drahtlose Kommunikation
oder einer Karte für die drahtlose Kommunikation, die mit einer Entwurfsversion
des Standards IEEE 802.11n konform ist
Â
Windows XP Home oder Professional (mit installiertem Service Pack 2) oder
Windows Vista
Kapitel 1
Einführung
11
Â
AirPort-Dienstprogramm 5.4 (oder neuer)
Anschließen der Time Capsule-Basisstation an das Stromnetz
Bevor Sie Ihre Time Capsule-Basisstation an das Stromnetz anschließen, verbinden Sie
zuerst die jeweiligen Kabel mit den Anschlüssen, die Sie verwenden wollen:
Â
Verbinden Sie das an Ihr DSL- oder Kabelmodem angeschlossene Ethernetkabel
(sofern Sie auf das Internet zugreifen werden) mit dem Ethernet-WAN-Anschluss (<
).
Â
Verbinden Sie ein USB-Kabel mit dem USB-Anschluss (d
) der Time Capsule-Basisstation
und einem kompatiblen USB-Drucker (sofern Sie über einen USB-Drucker
drucken werden), einer Festplatte oder einem Hub.
Â
Verbinden Sie ein Ethernetkabel mit einem Ethernetgerät und den Ethernet-LANAnschlüssen
(G
).
Nachdem Sie die Kabel für alle vorgesehenen Geräte angeschlossen haben, verbinden
Sie das Netzkabel mit dem Netzanschluss der Time Capsule-Basisstation und dann die
Basisstation mit dem Stromnetz. Ein Ein-/Ausschalter ist nicht vorhanden.
Wichtig:
Verwenden Sie nur das mit der Time Capsule-Basisstation gelieferte
Netzkabel.
Nachdem Sie die Time Capsule-Basisstation mit dem Stromnetz verbunden haben,
blinkt die Statusanzeige eine Sekunde lang grün und leuchtet dann während des
Startvorgangs gelb. Nach Abschluss des Startvorgangs blinkt die Statusanzeige gelb,
bis die Time Capsule-Basisstation mit den korrekten Einstellungen aktualisiert wurde.
Nachdem die Time Capsule-Basisstation korrekt konfiguriert und mit dem Internet bzw.
einem Netzwerk verbunden ist, leuchtet die Statusanzeige grün.
Wenn Sie Ethernetkabel mit den Ethernetanschlüssen verbinden, leuchten die Statusanzeigen
über den Anschlüssen permanent grün.
12 Kapitel 1
Einführung
Die Statusanzeigen der Time Capsule-Basisstation
In der folgenden Tabelle werden die Modi der Statusanzeigen der Time Capsule-
Basisstation und deren Bedeutung erläutert.
Anzeige Status/Beschreibung
Aus
Die Time Capsule-Basisstation ist nicht am Stromnetz
angeschlossen.
Leuchtet gelb
Die Time Capsule-Basisstation beendet gerade den
Startvorgang.
Blinkt gelb
Die Time Capsule-Basisstation kann keine Verbindung zum Netzwerk
oder dem Internet herstellen oder hat ein Problem festgestellt.
Vergewissern Sie sich, dass Sie das AirPort-Dienstprogramm
installiert haben. Stellen Sie mithilfe des Dienstprogramms die
Ursache für das Blinken der gelben Statusanzeige fest. Vgl. „Die
Statusanzeige der Time Capsule-Basisstation blinkt gelb“ auf
Seite 32.
Leuchtet grün
Ihre Time Capsule-Basisstation ist eingeschaltet und funktioniert
ordnungsgemäß. Wenn Sie „Aufblinken bei Aktivität“ aus dem
Einblendmenü „Statusanzeige“ im Bereich „Basisstation“ der
AirPort-Einstellungen im AirPort-Dienstprogramm auswählen,
blinkt die Statusanzeige ggf. grün, um normale Aktivität
anzuzeigen.
Blinkt gelb und grün
Beim Starten ist möglicherweise ein Problem aufgetreten.
Die Time Capsule-Basisstation wird neu gestartet.
Leuchtet blau
Die Time Capsule-Basisstation ist bereit, einem drahtlosen Client-
Computer den Zugriff auf das Netzwerk zu ermöglichen (vgl.
„Ermöglichen des Netzwerkzugriffs durch drahtlose Clients ohne
Eingabe eines Kennworts“ auf Seite 25).
Kapitel 1
Einführung
13
Nächste Schritte
Nachdem Sie die Time Capsule-Basisstation angeschlossen haben, konfigurieren Sie sie
mithilfe des AirPort-Dienstprogramms für Ihre Internetverbindung, den USB-Drucker
oder die USB-Festplatte oder für ein vorhandenes Netzwerk. Das AirPort-Dienstprogramm
befindet sich auf einem Computer mit Mac OS X im Ordner „Dienstprogramme“
innerhalb des Ordner „Programme“. Auf einem Computer mit Windows XP
oder Windows Vista finden Sie das Dienstprogramm unter „Start“ > „Programme“ >
„AirPort“.
2
15
2
Konfigurieren Ihrer Time Capsule-
Basisstation
Dieses Kapitel enthält Informationen und Anleitungen dazu,
wie Sie Ihre Time Capsule-Basisstation mit dem Internet verbinden
und mit dem AirPort-Dienstprogramm konfigurieren,
um ein drahtloses Netzwerk zu erstellen oder auf ein solches
Netzwerk zuzugreifen.
Das vorliegende Kapitel erläutert, wie Sie die Time Capsule mit dem Internet verbinden
und den Assistenten des AirPort-Dienstprogramms für die Konfiguration Ihres Netzwerks
und anderer Funktionen Ihrer Time Capsule-Basisstation verwenden. Weitere
Informationen zu drahtlosen Netzwerken sowie zu den erweiterten Funktionen des
AirPort-Dienstprogramms finden Sie im Dokument „Konzipieren von AirPort-Netzwerken
– Verwenden des AirPort-Dienstprogramms (Mac OS X 10.5 + Windows)“,
das auf folgender Webseite verfügbar ist: www.apple.com/de/support/airport.
Nachdem Sie das AirPort-Dienstprogramm von der mit der Time Capsule-Basisstation
gelieferten CD installiert haben, können Sie einen Großteil Ihrer Netzwerkkonfigurationsaufgaben
mithilfe des Assistenten des AirPort-Dienstprogramms ausführen. Zum
Festlegen erweiterter Optionen wählen Sie „Manuelle Konfiguration“ aus dem Menü
„Basisstation“ des AirPort-Dienstprogramms aus (vgl. „Festlegen erweiterter Optionen“
auf Seite 24).
16 Kapitel 2
Konfigurieren Ihrer Time Capsule-Basisstation
Verwenden der Time Capsule-Basisstation zum Erstellen eines
drahtlosen Netzwerks
Wenn Sie Time Capsule für den Netzwerk- und Internetzugang einrichten, können die
folgenden Computer und Geräte auf das drahtlose AirPort-Netzwerk zugreifen, um
Dateien bereitzustellen, Computerspiele zu spielen und Internetprogramme wie
Webbrowser und E-Mail-Programme zu verwenden:
Â
Macintosh-Computer mit AirPort- oder AirPort Extreme-Karten
Â
Computer, die mit den Standards 802.11a, 802.11b und 802.11g sowie der Entwurfsversion
des IEEE 802.11n-Standards konform sind
Â
Andere Wi-Fi-Geräte
Die via Ethernet mit der Time Capsule-Basisstation verbundenen Computer können
ebenfalls auf das Netzwerk zugreifen, um Dateien gemeinsam zu nutzen und eine
Verbindung zum Internet herzustellen.
Mit Mac OS X 10.5.2 (oder neuer) können Sie Time Machine so konfigurieren, dass auf
der Time Capsule-Basisstation eine Datensicherung aller Computer im Netzwerk erstellt
wird. Weitere Informationen hierzu finden Sie im Abschnitt „Verwenden von Time
Machine mit Ihrer Time Capsule-Basisstation“ auf Seite 27.
Wenn Sie einen kompatiblen USB-Drucker an Ihre Time Capsule-Basisstation anschließen,
können unterstützte Computer im Netzwerk (drahtlos oder per Kabel verbunden)
auf diesen Drucker zugreifen.
Kapitel 2
Konfigurieren Ihrer Time Capsule-Basisstation
17
Verwenden der Time Capsule-Basisstation zum Erstellen eines drahtlosen
Netzwerks
Gehen Sie wie folgt vor, um das drahtlose Netzwerk zu konfigurieren:
1
Schließen Sie Ihr DSL- oder Kabelmodem an Ihre Time Capsule-Basisstation an.
Verwenden Sie hierzu den Ethernet-WAN-Anschluss (<
).
zum Internet
DSL- oder Kabelmodem
„Programme“
> „AirPort“ auf einem Computer mit Windows), wählen Sie die Time Capsule-
Basisstation aus und klicken Sie dann auf „Fortfahren“.
4
Befolgen Sie die auf dem Bildschirm angezeigten Anweisungen zum Erstellen eines
neuen Netzwerks.
Gehen Sie wie folgt vor, um von einem Computer mit Mac OS X 10.5 zu drucken:
1
Wählen Sie „Apple“ > „Systemeinstellungen“ und klicken Sie dann auf „Drucken &
Faxen“.
2
Klicken Sie auf „Hinzufügen“ (+) und wählen Sie Ihren Drucker aus der Liste aus.
3
Klicken Sie auf die Taste „Hinzufügen“.
Wird Ihr Drucker nicht in der Liste aufgeführt, suchen Sie mithilfe der Symbole in der
Symbolleiste danach.
Gehen Sie wie folgt vor, um von einem Computer mit Mac OS X 10.3 oder 10.4
zu drucken:
1
Öffnen Sie das Drucker-Dienstprogramm (im Ordner „Dienstprogramme“ innerhalb des
Ordners „Programme“).
2
Wählen Sie den Drucker aus der Liste aus.
Wenn der Drucker nicht in der Liste enthalten ist, klicken Sie auf „Hinzufügen“ und
wählen Sie „Bonjour“ aus dem Einblendmenü aus. Wählen Sie anschließend den
Drucker aus der Liste aus.
Kapitel 2
Konfigurieren Ihrer Time Capsule-Basisstation
19
Gehen Sie wie folgt vor, um von einem Computer mit Windows XP oder
Windows Vista zu drucken:
1
Installieren Sie das Programm „Bonjour für Windows“, das sich auf der mit der
Time Capsule-Basisstation gelieferten CD befindet.
2
Befolgen Sie die Anweisungen auf dem Bildschirm, um Ihren Drucker anzuschließen.
AirPort-fähige Computer oder Computer, die mit anderen Karten oder Adaptern für
die drahtlose Kommunikation ausgestattet sind, können über Time Capsule die Verbindung
zum Internet herstellen. Die mit den Time Capsule-Ethernetanschlüssen verbundenen
Computer können ebenfalls auf das Netzwerk und das Internet zugreifen.
Drahtlose Computer und mit den Ethernetanschlüssen verbundene Computer können
über Time Capsule auch untereinander kommunizieren.
Verwenden des AirPort-Dienstprogramms
Verwenden Sie den Assistenten des AirPort-Dienstprogramms, um Ihre Time Capsule-
Basisstation zu konfigurieren. Das AirPort-Dienstprogramm wird auf Ihrem Computer
installiert, wenn Sie die Software von der Time Capsule-CD installieren.
Macintosh-Computer mit Mac OS X 10.4 oder neuer:
1
Öffnen Sie das AirPort-Dienstprogramm (im Ordner „Dienstprogramme“ innerhalb des
Ordners „Programme“).
2
Wählen Sie Ihre Time Capsule-Basisstation aus und klicken Sie auf „Fortfahren“.
Wird die Time Capsule nicht angezeigt, die Sie konfigurieren wollen, klicken Sie auf
„Erneut suchen“, um nach verfügbaren drahtlosen Geräten zu suchen. Wählen Sie dann
die gewünschte Basisstation aus der Liste aus.
20 Kapitel 2
Konfigurieren Ihrer Time Capsule-Basisstation
3
Befolgen Sie die angezeigten Anleitungen, um Ihre Time Capsule-Basisstation und Ihr
drahtloses Netzwerk zu konfigurieren.
Computer mit Windows XP (mit Service Pack 2) oder Windows Vista:
1
Öffnen Sie das AirPort-Dienstprogramm, das sich unter „Start“ > „Programme“ >
„AirPort“ befindet.
2
Wählen Sie Ihre Time Capsule-Basisstation aus und klicken Sie auf „Fortfahren“.
3
Befolgen Sie die angezeigten Anleitungen, um Ihre Time Capsule-Basisstation und Ihr
drahtloses Netzwerk zu konfigurieren.
Beantworten Sie anschließend die Fragen des Assistenten des AirPort-Dienstprogramms
zur Art des Netzwerks, das Sie verwenden möchten, und zu den Diensten,
die konfiguriert werden sollen. Der Assistent unterstützt Sie auch bei der Eingabe
der passenden Einstellungen.
Kapitel 2
Konfigurieren Ihrer Time Capsule-Basisstation
21
Wenn Sie mit Time Capsule auf das Internet zugreifen, müssen Sie bei einem Internetanbieter
für einen Breitband-Account (DSL- oder Kabelmodem) registriert sein oder
eine Verbindung zum Internet über ein vorhandenes Ethernetnetzwerk besitzen. Wenn
Sie von Ihrem Internetanbieter zusätzliche Informationen erhalten haben (zum Beispiel
eine statische IP-Adresse oder eine DHCP-Client-ID), müssen Sie diese Informationen
möglicherweise im AirPort-Dienstprogramm eingeben. Legen Sie diese Informationen
bereit, bevor Sie mit der Konfiguration von Time Capsule beginnen.
Einrichten eines neuen drahtlosen Netzwerks
Sie können den Assistenten des AirPort-Dienstprogramms auch zum Erstellen eines
neuen drahtlosen Netzwerks verwenden. Der Assistent führt Sie durch die Schritte, die
zum Benennen Ihres Netzwerks, zum Schützen Ihres Netzwerks durch ein Kennwort
und zum Festlegen anderer Optionen erforderlich sind.
Gehen Sie wie folgt vor, wenn Sie einen USB-Drucker oder eine USB-Festplatte in Ihrem
Netzwerk gemeinsam nutzen möchten:
1
Schließen Sie den Drucker oder die Festplatte an den USB-Anschluss (d
) der
Time Capsule-Basisstation an.
2
Öffnen Sie das AirPort-Dienstprogramm, das sich auf einem Macintosh-Computer im
Ordner „Dienstprogramme“ innerhalb des Ordners „Programme“ oder auf einem Computer
mit Windows XP unter „Start“ > „Programme“ > „AirPort“ befindet.
3
Wählen Sie Ihre Time Capsule-Basisstation aus und klicken Sie auf „Fortfahren“.
Wird die Time Capsule nicht angezeigt, die Sie konfigurieren wollen, klicken Sie auf
„Erneut suchen“, um nach verfügbaren drahtlosen Geräten zu suchen. Wählen Sie dann
die gewünschte Basisstation aus der Liste aus.
22 Kapitel 2
Konfigurieren Ihrer Time Capsule-Basisstation
4
Befolgen Sie die auf dem Bildschirm angezeigten Anweisungen zum Erstellen eines
neuen Netzwerks.
Konfigurieren und Freigeben des Internetzugangs
Wenn Sie Ihren Internetzugang mit anderen für die drahtlose Kommunikation ausgelegten
Computern im Netzwerk oder mit Computern, die mit den Ethernetanschlüssen
verbunden sind, gemeinsam nutzen möchten, müssen Sie die Time Capsule als AirPort-
Basisstation einrichten. Nach der Konfiguration Ihrer Time Capsule können Computer
über das AirPort-Netzwerk auf das Internet zugreifen. Die Time Capsule-Basisstation
stellt die Verbindung zum Internet her und verteilt Informationen an die Computer.
Schließen Sie Ihr DSL- oder Kabelmodem an den Ethernet-WAN-Anschluss (<) der
Time Capsule-Basisstation an, bevor Sie das AirPort-Dienstprogramm zum Konfigurieren
Ihrer Basisstation verwenden. Wird die Time Capsule-Basisstation an ein Ethernetnetzwerk
mit Internetzugriff angeschlossen, empfiehlt es sich, die Internetverbindung
via Ethernet bereitzustellen.
Verwenden Sie den Assistenten des AirPort-Dienstprogramms, um die Einstellungen
Ihres Internetanbieters einzugeben und zu konfigurieren, wie Time Capsule die Einstellungen
für andere Computer bereitstellt.
1 Öffnen Sie das AirPort-Dienstprogramm, das sich auf einem Computer mit Mac OS X im
Ordner „Dienstprogramme“ innerhalb des Ordner „Programme“ befindet. Auf einem
Computer mit Windows XP oder Windows Vista finden Sie das Dienstprogramm unter
„Start“ > „Programme“ > „AirPort“.
Kapitel 2 Konfigurieren Ihrer Time Capsule-Basisstation 23
2 Wählen Sie Ihre Time Capsule-Basisstation aus und klicken Sie auf „Fortfahren“.
Wenn Sie Änderungen an einer Time Capsule-Basisstation vornehmen, die bereits
konfiguriert wurde, müssen Sie ggf. eine Verbindung zum vorhandenen Netzwerk
herstellen, bevor Sie Einstellungen der Time Capsule-Basisstation ändern.
Verwenden Sie auf einem Macintosh das AirPort-Symbol in der Menüleiste, um das
drahtlose Netzwerk auszuwählen, das Sie ändern möchten. Bewegen Sie auf einem
Computer mit Windows XP den Mauszeiger auf das Symbol für die drahtlose Verbindung
und warten Sie, bis der Name des AirPort-Netzwerks (SSID) angezeigt wird.
Wählen Sie anschließend dieses Netzwerk aus der Liste aus, wenn mehrere Netzwerke
verfügbar sind.
3 Befolgen Sie die Anweisungen auf dem Bildschirm, um Ihre Time Capsule-Basisstation
zu konfigurieren und den Internetzugang freizugeben.
Mit dem AirPort-Dienstprogramm können Sie Ihre Time Capsule-Basisstation und Ihr
Netzwerk schnell und einfach konfigurieren. Wenn Sie weitere Optionen wie eine
Zugriffsbeschränkung für Ihr Netzwerk festlegen oder erweiterte DHCP-Optionen
einstellen wollen, wählen Sie „Manuelle Konfiguration“ aus dem Menü „Basisstation“
des AirPort-Dienstprogramms aus.
24 Kapitel 2 Konfigurieren Ihrer Time Capsule-Basisstation
Festlegen erweiterter Optionen
Konfigurieren Sie Ihre Time Capsule-Basisstation mit dem AirPort-Dienstprogramm
manuell, wenn Sie erweiterte Time Capsule-Optionen wie zusätzliche Sicherheitsoptionen,
geschlossene Netzwerke, DHCP-Lease-Dauer, Zugriffssteuerung, Signalstärke,
Benutzer-Accounts und mehr festlegen möchten.
Gehen Sie wie folgt vor, um erweiterte Optionen festzulegen:
1 Öffnen Sie das AirPort-Dienstprogramm, das sich auf einem Macintosh-Computer im
Ordner „Dienstprogramme“ innerhalb des Ordners „Programme“ oder auf einem Computer
mit Windows XP unter „Start“ > „Programme“ > „AirPort“ befindet.
2 Sind in der Liste mehrere drahtlose Geräte enthalten, wählen Sie das Gerät aus, das Sie
konfigurieren möchten. Wird die Time Capsule nicht angezeigt, die Sie konfigurieren
wollen, klicken Sie auf „Erneut suchen“, um nach verfügbaren drahtlosen Geräten zu
suchen. Wählen Sie dann die gewünschte Basisstation aus der Liste aus.
Wenn Sie Änderungen an einer Time Capsule-Basisstation vornehmen, die bereits
konfiguriert wurde, müssen Sie ggf. eine Verbindung zum vorhandenen Netzwerk
herstellen, bevor Sie Einstellungen der Time Capsule-Basisstation ändern.
Verwenden Sie auf einem Macintosh das AirPort-Symbol in der Menüleiste, um das
drahtlose Netzwerk auszuwählen, das Sie ändern möchten. Bewegen Sie auf einem
Computer mit Windows XP den Mauszeiger auf das Symbol für die drahtlose Verbindung
und warten Sie, bis der Name des AirPort-Netzwerks (SSID) angezeigt wird.
Wählen Sie anschließend dieses Netzwerk aus der Liste aus, wenn mehrere Netzwerke
verfügbar sind.
Kapitel 2 Konfigurieren Ihrer Time Capsule-Basisstation 25
3 Wählen Sie „Manuelle Konfiguration“ aus dem Menü „Basisstation“ aus. Werden Sie zur
Eingabe eines Kennworts aufgefordert, geben Sie dieses ein.
Weitere Informationen zu den Funktionen für die manuelle Konfiguration im AirPort-
Dienstprogramm finden Sie im Dokument „Konzipieren von AirPort-Netzwerken –
Verwenden des AirPort-Dienstprogramms (Mac OS X 10.5 + Windows)“ auf folgender
Webseite: www.apple.com/de/support/airport.
Ermöglichen des Netzwerkzugriffs durch drahtlose Clients
ohne Eingabe eines Kennworts
Wenn das Netzwerk mit einem WPA Personal- oder WPA/WPA2 Personal-Kennwort
geschützt ist, können Sie Clients den drahtlosen Zugriff auf Ihr Netzwerk erlauben,
ohne dass das Netzwerkkennwort eingegeben werden muss.
Wenn Sie einem Client den Zugriff auf Ihr Netzwerk erlauben, werden Name und MACAdresse
für die drahtlose Kommunikation (oder AirPort-ID) des Clients in der Zugriffsliste
im AirPort-Dienstprogramm gespeichert, bis Sie den Client wieder aus der Liste
entfernen. Sie können auch eine 24-Stunden-Zugriffsberechtigung festlegen, sodass
der Client nach Ablauf dieser Zeit nicht mehr auf das Netzwerk zugreifen kann.
Wenn Sie den Zugriff auf Ihr drahtloses Netzwerk freigeben, muss der Client kein Netzwerkkennwort
eingeben.
26 Kapitel 2 Konfigurieren Ihrer Time Capsule-Basisstation
Gehen Sie wie folgt vor, um einem Client Zugriff auf Ihr Netzwerk ohne Eingabe
eines Netzwerkkennworts zu erlauben:
1 Öffnen Sie das AirPort-Dienstprogramm, wählen Sie Ihre Time Capsule-Basisstation aus
und wählen Sie dann „Manuelle Konfiguration“ aus dem Menü „Basisstation“ aus. Geben
Sie bei Bedarf das Kennwort ein.
2 Wählen Sie „Drahtlose Clients hinzufügen“ aus dem Menü „Basisstation“ aus.
3 Legen Sie fest, auf welche Weise die Clients auf das Netzwerk zugreifen dürfen:
 Wählen Sie „PIN“, damit eine vorgegebene achtstellige Nummer vor dem Client-
Zugriff eingegeben werden muss.
 Wählen Sie „Erster Versuch“, damit der erste Client, der versucht, auf das Netzwerk
zuzugreifen, die Netzwerkverbindung herstellen kann.
Während die Time Capsule darauf wartet, dass der Client die Verbindung zum Netzwerk
herstellt, leuchtet die Statusanzeige blau.
Wählen Sie „Zugriff für Client auf 24 Stunden beschränken“, wenn Sie Ihr Netzwerk nur
einen Tag lang für den Zugriff durch andere freigeben wollen. Wird diese Option nicht
ausgewählt, kann der Client so lange auf das Netzwerk zugreifen, bis Sie ihn aus der
Zugriffsliste entfernen.
Kapitel 2 Konfigurieren Ihrer Time Capsule-Basisstation 27
Verwenden von Time Machine mit Ihrer Time Capsule-
Basisstation
Mit Time Machine von Mac OS X Leopard können Sie Sicherungskopien aller Daten
auf Ihrem Computer anlegen, u. a. von Fotos, Musik, Filmen und Dokumenten.
Nachdem Sie Time Machine konfiguriert haben, wird in regelmäßigen Abständen
automatisch eine Datensicherung Ihres Computers ausgeführt.
Wenn Sie Mac OS X 10.5.2 (oder neuer) verwenden, werden Sie beim ersten Verbindungsaufbau
zur Time Capsule-Basisstation von Time Machine gefragt, ob Sie die
Basisstation als Speicherort für Ihre Sicherungskopien verwenden möchten. Klicken
Sie auf „Als Backup-Volume verwenden“. Time Machine übernimmt dann alle weiteren
Schritte für Sie.
Verwenden Sie die Systemeinstellung „Time Machine“ von Mac OS X Leopard, um automatische
Datensicherungen festzulegen, ein anderes Sicherungsvolume auszuwählen
oder sonstige Einstellungen anzupassen.
Gehen Sie wie folgt vor, um Time Machine auf einem Computer mit Mac OS X
Leopard zu konfigurieren oder anzupassen:
1 Wählen Sie „Apple“ > „Systemeinstellungen“ und klicken Sie dann auf „Time Machine“.
2 Stellen Sie den Schalter auf „Ein“.
3 Klicken Sie auf „Volume wechseln“.
4 Wählen Sie Ihre Time Capsule-Basisstation aus und klicken Sie auf „Für Backup
verwenden“.
28 Kapitel 2 Konfigurieren Ihrer Time Capsule-Basisstation
Abhängig davon, wie viele Daten Sie sichern wollen, kann die erste Datensicherung
mit Time Capsule und Time Machine relativ lange dauern, etwa über Nacht oder sogar
länger. Zum Beschleunigen der ersten Datensicherung verbinden Sie die Time Capsule
über Ethernet mit Ihrem Computer. Bei allen folgenden Datensicherungen sichert
Time Machine nur die Dateien, die sich seit der letzten Sicherung geändert haben.
Daher dauern die folgenden Sicherung auch nicht mehr so lange.
Die Time Capsule ist eine hervorragende Sicherungslösung für Mobilcomputer. Da die
erste Datensicherung relativ lange dauern kann, sollten Sie das Netzteil an Ihren Mobilcomputer
anschließen. Hierdurch wird Batteriestrom eingespart und zudem ist sichergestellt,
dass die Datensicherung nicht unterbrochen wird. Ferner empfiehlt es sich,
den Mobilcomputer im selben Raum wie die Time Capsule zu platzieren, um eine
optimale drahtlose Kommunikation zu gewährleisten.
Wenn Sie Ihren Mac während einer Datensicherung ausschalten oder den Ruhezustand
aktivieren, stoppt Time Machine die Sicherung und setzt sie nach dem Einschalten des
Mac oder Beenden des Ruhezustands an der Stelle fort, an der sie unterbrochen wurde.
Weitere Informationen zu Time Machine erhalten Sie, indem Sie auf einem Computer
mit Mac OS X Leopard „Hilfe“ > „Mac-Hilfe“ aus dem Menü „Finder“ auswählen und dann
den Begriff „Time Machine“ in das Suchfeld eingeben.
3
29
3 Tipps zur Fehlerbeseitigung
Anhand der Tipps in diesem Kapitel können Sie die meisten
Probleme mit Ihrer Time Capsule-Basisstation schnell beheben.
Sie können keine Verbindung zum Internet herstellen
 Versuchen Sie, von Ihrem Computer direkt eine Verbindung zum Internet herzustellen.
Ist dies nicht möglich, überprüfen Sie, ob Ihre Netzwerkeinstellungen korrekt sind.
Wenn die Netzwerkeinstellungen Ihrer Meinung nach korrekt sind und dennoch keine
Verbindung aufgebaut wird, wenden Sie sich an Ihren Internetanbieter (ISP).
 Vergewissern Sie sich, dass Sie die Verbindung zum korrekten Netzwerk herstellen.
Sie haben Ihr Netzwerk- oder Time Capsule-Kennwort
vergessen
Sie können das Kennwort für das AirPort-Netzwerk oder für die Time Capsule-
Basisstation löschen, indem Sie die Time Capsule-Basisstation zurücksetzen.
Gehen Sie wie folgt vor, um das Time Capsule-Kennwort zurückzusetzen:
1 Drücken Sie mit einem spitzen Gegenstand (etwa einem Kugelschreiber) auf die
Reset-Taste und halten Sie die Taste ca. eine (1) Sekunde gedrückt.
Wichtig: Wenn Sie die Reset-Taste länger als eine Sekunde gedrückt halten, gehen Ihre
Netzwerkeinstellungen möglicherweise verloren.
30 Kapitel 3 Tipps zur Fehlerbeseitigung
2 Wählen Sie Ihr AirPort-Netzwerk aus.
 Verwenden Sie auf einem Macintosh-Computer das AirPort-Symbol in der Menüleiste,
um das von Time Capsule eingerichtete Netzwerk auszuwählen. (Der Netzwerkname
ändert sich nicht.)
 Bewegen Sie auf einem Computer mit Windows XP den Mauszeiger auf das Symbol für
die drahtlose Verbindung und warten Sie, bis der Name des AirPort-Netzwerks (SSID)
angezeigt wird. Wählen Sie diesen aus der Liste aus, wenn mehrere Netzwerke verfügbar
sind.
3 Öffnen Sie das AirPort-Dienstprogramm (das auf einem Macintosh-Computer im Ordner
„Dienstprogramme“ innerhalb des Ordners „Programme“ oder auf einem Computer
mit Windows XP unter „Start“ > „Programme“ > „AirPort“ befindet).
4 Wählen Sie Ihre Time Capsule-Basisstation aus und wählen Sie dann „Manuelle Konfiguration“
aus dem Menü „Basisstation“ aus.
5 Klicken Sie in der Symbolleiste auf „AirPort“ und klicken Sie dann auf „Basisstation“.
6 Geben Sie ein neues Kennwort für Ihre Time Capsule-Basisstation ein.
7 Klicken Sie auf „Drahtlos“ und wählen Sie eine Verschlüsselungsmethode aus dem
Einblendmenü „Schutz“ aus, um die Verschlüsselung und den Kennwortschutz für Ihr
AirPort-Netzwerk zu aktivieren. Wenn Sie die Verschlüsselung aktiviert haben, geben
Sie ein neues Kennwort für Ihr AirPort-Netzwerk ein.
8 Klicken Sie auf „Aktualisieren“, um die Time Capsule-Basisstation neu zu starten und die
neuen Einstellungen zu laden.
Kapitel 3 Tipps zur Fehlerbeseitigung 31
Ihre Time Capsule-Basisstation reagiert nicht
Trennen Sie die Basisstation vom Stromnetz und schließen Sie sie dann wieder an das
Stromnetz an.
Wenn Ihre Time Capsule-Basisstation gar nicht mehr reagiert, müssen Sie sie möglicherweise
auf die Werkseinstellungen zurücksetzen.
Wichtig: Durch das Zurücksetzen Ihrer Time Capsule, werden alle aktuellen Einstellungen
gelöscht und die Originaleinstellungen der Time Capsule-Basisstation
wiederhergestellt.
Gehen Sie wie folgt vor, um die Werkseinstellungen der Time Capsule-Basisstation
wiederherzustellen:
m Drücken Sie mit einem spitzen Gegenstand (etwa einem Kugelschreiber) auf die Reset-
Taste und halten Sie die Taste gedrückt, bis die Statusanzeige rasch hintereinander
blinkt (etwa 5 Sekunden).
Ihre Time Capsule-Basisstation wird auf die folgenden Einstellungen zurückgesetzt:
 Die Time Capsule-Basisstation empfängt die IP-Adresse über DHCP.
 Der Netzwerkname wird auf „Apple Network XXXXXX“ zurückgesetzt (wobei XXXXXX
durch die letzten sechs Stellen der AirPort-ID ersetzt wird).
 Das Time Capsule-Kennwort wird auf public zurückgesetzt.
Reagiert die Time Capsule-Basisstation auch weiterhin nicht, versuchen Sie
Folgendes:
1 Trennen Sie die Time Capsule-Basisstation vom Stromnetz.
2 Drücken Sie mit einem spitzen Gegenstand auf die Reset-Taste und halten Sie die Taste
gedrückt, während Sie die Time Capsule-Basisstation mit dem Stromnetz verbinden.
32 Kapitel 3 Tipps zur Fehlerbeseitigung
Die Statusanzeige der Time Capsule-Basisstation blinkt gelb
Möglicherweise ist das Ethernetkabel nicht korrekt angeschlossen, die Time Capsule-
Basisstation befindet sich nicht in Reichweite eines AirPort-Netzwerks oder es besteht
ein Problem bei Ihrem Internetanbieter. Wenn Sie über ein DSL- oder Kabelmodem mit
dem Internet verbunden sind, wurde die Verbindung des Modems mit dem Netzwerk
oder dem Internet möglicherweise unterbrochen. Trennen Sie das Modem vom Stromnetz,
auch wenn es korrekt zu arbeiten scheint. Warten Sie einige Sekunden und schließen
Sie es dann erneut an. Vergewissern Sie sich, dass die Time Capsule-Basisstation via
Ethernet direkt mit dem Modem verbunden ist, bevor Sie die Stromversorgung des
Modems wiederherstellen.
Weitere Informationen zu den Gründen für das Blinken der Statusanzeige erhalten Sie,
indem Sie das AirPort-Dienstprogramm öffnen, Ihre Time Capsule-Basisstation auswählen
und dann „Manuelle Konfiguration“ aus dem Menü „Basisstation“ auswählen.
Klicken Sie auf „Basisstation-Status“, um Informationen über die blinkende Statusanzeige
einzublenden.
Sie können auch die Option „Basisstation überwachen – Probleme melden“ in den
AirPort-Einstellungen auswählen. Tritt an der Basisstation ein Problem auf, wird das
AirPort-Dienstprogramm geöffnet und zeigt ausführliche Anleitungen zur Fehlerbeseitigung
an.
Kapitel 3 Tipps zur Fehlerbeseitigung 33
Ihr Drucker reagiert nicht
Wenn Sie einen Drucker an den USB-Anschluss der Time Capsule-Basisstation angeschlossen
haben und die Computer im AirPort-Netzwerk nicht drucken können, versuchen
Sie, das Problem wie folgt zu beheben:
1 Vergewissern Sie sich, dass der Drucker am Stromnetz angeschlossen und eingeschaltet
ist.
2 Vergewissern Sie sich, dass die Kabel korrekt am Drucker und am USB-Anschluss
der Time Capsule-Basisstation angeschlossen sind.
3 Vergewissern Sie sich, dass der Drucker im Wartelistenfenster auf den Client-
Computern ausgewählt ist.
Macintosh-Computer mit Mac OS X 10.5 oder neuer:
 Wählen Sie „Apple“ > „Systemeinstellungen“ und klicken Sie dann auf
„Drucken & Faxen“.
 Klicken Sie auf „Hinzufügen“ (+) und wählen Sie Ihren Drucker aus der Liste aus.
Klicken Sie dann auf die Taste „Hinzufügen“.
Macintosh-Computer mit Mac OS X 10.2.7 oder neuer:
 Öffnen Sie das Drucker-Dienstprogramm (im Ordner „Dienstprogramme“ innerhalb
des Ordners „Programme“).
 Klicken Sie auf „Hinzufügen“, wenn der Drucker nicht in der Liste angezeigt wird.
 Wählen Sie „Bonjour“ aus dem Einblendmenü aus. Wählen Sie den Drucker aus und
klicken Sie auf „Hinzufügen“ (+).
34 Kapitel 3 Tipps zur Fehlerbeseitigung
Computer mit Windows XP:
 Wählen Sie „Einstellungen“ > „Drucker und Faxgeräte“ aus dem Menü „Start“.
 Wählen Sie den Drucker aus. Ist der Drucker nicht in der Liste enthalten, klicken Sie
auf „Drucker hinzufügen“ und folgen Sie den Anweisungen auf dem Bildschirm.
4 Schalten Sie den Drucker aus, warten Sie einige Sekunden und schalten Sie den
Drucker dann erneut ein.
Aktualisieren der AirPort-Software
Die AirPort-Software wird von Apple regelmäßig aktualisiert. Es wird empfohlen,
die Time Capsule-Basisstation regelmäßig zu aktualisieren, damit sie immer mit
der neusten Software arbeitet.
Sie können das Feld „Beim Öffnen des AirPort-Dienstprogramms nach Updates suchen“
oder „Nach Updates suchen“ in den AirPort-Einstellungen markieren. Wenn Sie das Feld
„Nach Updates suchen“ markieren, wählen Sie ein Zeitintervall wie „wöchentlich“ aus
dem Einblendmenü aus, damit automatisch nach Aktualisierungen gesucht wird.
Kapitel 3 Tipps zur Fehlerbeseitigung 35
Überlegungen zur Platzierung der Time Capsule-Basisstation
Die folgenden Empfehlungen sollen Ihnen helfen, die maximale Reichweite und eine
optimale Netzwerkabdeckung mit Time Capsule zu erreichen.
 Platzieren Sie Ihre Time Capsule-Basisstation in einem offenen Bereich, in dem keine
Hindernisse wie Möbel oder Wände die Signalübertragung stören können. Das Gerät
sollte wenn möglich nicht in der Nähe von Metallflächen platziert werden.
 Wenn Sie die Time Capsule-Basisstation hinter Möbelstücken platzieren, halten Sie
einen Abstand von mindestens 2,5 cm zwischen der Time Capsule-Basisstation und
dem Möbelstück ein.
 Vermeiden Sie es, Ihre Time Capsule-Basisstation an einem Standort zu platzieren, der
auf drei oder mehr Seiten von Metallflächen umgeben ist.
 Wenn Sie die Time Capsule-Basisstation zusammen mit Ihrer Stereoanlage als
Multimedia-Center nutzen wollen, achten Sie darauf, dass die Time Capsule-Basisstation
nicht von Audio-, Video- oder Netzkabeln umgeben ist. Positionieren Sie Ihre
Time Capsule-Basisstation so, dass die Kabel nur auf einer Seite liegen. Halten Sie
einen möglichst großen Abstand zwischen der Time Capsule-Basisstation und den
Kabeln ein.
 Platzieren Sie Ihre Time Capsule-Basisstation wenn möglich mindestens 7,6 Meter
entfernt von einem Mikrowellenherd, einem schnurlosen 2,4- oder 5-GHz-Telefon
oder anderen Störquellen.
 Platzieren Sie oben auf der Time Capsule keine anderen Objekte (Bücher, Papiere,
kleine Tiere etc.). Diese können die Kühlung der Time Capsule beeinträchtigen.
36 Kapitel 3 Tipps zur Fehlerbeseitigung
Mögliche Störquellen, die Interferenzen mit AirPort
verursachen können
Je weiter eine Interferenzquelle entfernt ist, desto unwahrscheinlicher ist es, dass sie
Probleme verursacht. Folgende Komponenten bzw. Vorkommnisse können Störungen
mit der AirPort-Kommunikation verursachen:
 Mikrowellenherde
 DSS- (Direct Satellite Service) Funkfrequenzverlust
 Original-Koaxialkabel, das mit bestimmten Typen von Satellitenschüsseln geliefert
wird. Erkundigen Sie sich beim Hersteller des Geräts nach neueren Kabeln.
 Bestimmte elektrische Komponenten wie Stromleitungen, Leitungen von elektrischen
Bahnen und Kraftwerke
 Schnurlose Telefone, die im 2,4- oder 5-GHz-Bereich arbeiten. Wenn es zu Problemen
mit Ihrer Telefon- oder AirPort-Kommunikation kommt, wechseln Sie den Kanal Ihrer
Basisstation bzw. Ihres Time Capsule-Netzwerks oder verwenden Sie einen anderen
Kanal für Ihr Telefon.
 Nebeneinander platzierte Basisstationen, die benachbarte Kanäle verwenden.
Verwendet beispielsweise Basisstation A Kanal 1, so sollte für Basisstation B
Kanal 6 oder 11 angegeben werden.
4
37
4 Weitere Informationen,
Service und Support
Im Internet und in der Online-Hilfe finden Sie weitere Informationen
zur Verwendung der Time Capsule-Basisstation.
Online verfügbare Ressourcen
Die neusten Informationen zu Time Capsule finden Sie unter:
www.apple.com/de/airport.
Wenn Sie die Time Capsule-Basisstation nicht bereits bei der Installation der Software
von der Time Capsule-CD registriert haben, besuchen Sie zum Registrieren die
folgende Website: www.apple.com/de/register.
AirPort-Support-Informationen, Foren mit produktspezifischen Informationen und
Feedback sowie die neuste Apple-Software zum Laden finden Sie unter dieser
Adresse: www.apple.com/de/support/airport.
Wenn Sie allgemeine Support-Informationen wünschen, besuchen Sie die Website
www.apple.com/de/support und wählen Sie dann ggf. Ihr Land aus.
38 Kapitel 4 Weitere Informationen, Service und Support
Online-Hilfe
Wenn Sie mehr über die Verwendung des AirPort-Dienstprogramms mit Time Capsule
erfahren möchten, öffnen Sie das AirPort-Diensprogramm und wählen Sie „Hilfe“ >
„AirPort-Dienstprogramm-Hilfe“.
Hinweise zur Garantie
Wenn die Time Capsule-Basisstation beschädigt wurde oder nicht ordnungsgemäß
funktioniert, beachten Sie bitte zunächst die Tipps und Informationen zur Fehlerbeseitigung
in diesem Handbuch, in der Online-Hilfe sowie in den Online-Ressourcen.
Funktioniert die Time Capsule-Basisstation auch weiterhin nicht, informieren Sie
sich auf der Webseite www.apple.com/de/support über die Inanspruchnahme
von Garantieleistungen.
Seriennummer Ihrer Time Capsule-Basisstation
Die Seriennummer befindet sich auf der Unterseite Ihrer Time Capsule-Basisstation.
39
Anhang
Time Capsule – Technische Daten
und Sicherheitsinformationen
Spezifikationen der Time Capsule-Basisstation
 Frequenzbereich: 2,4 und 5 GHz
 Funkausgangsleistung: bis zu 23 dBm (nominal)
 Standards: Der Standard 802.11 DSSS mit 1 und 2 MBit/Sek., die Standards 802.11a,
802.11b, 802.11g und eine Entwurfsversion der 802.11n-Spezifikation
Schnittstellen
 1 RJ-45 10/100/1000BASE-T Gigabit Ethernet-WAN (<)
 3 RJ-45 10/100/1000BASE-T Gigabit Ethernet-LAN (G)
 Universal Serial Bus (USB d) 2.0
 802.11 a/b/g/n AirPort Extreme-Funktechnologie
Umgebungsbedingungen
 Betriebstemperatur: 0 °C bis 35 °C
 Lagertemperatur: –25 °C bis 60 °C
 Relative Luftfeuchtigkeit (Betrieb): 20 % bis 80 %, nicht kondensierend
 Relative Luftfeuchtigkeit (Lagerung): 10 % bis 90 %, nicht kondensierend
40 Anhang Time Capsule – Technische Daten und Sicherheitsinformationen
Abmessungen und Gewicht
 Länge: 197,0 mm
 Breite: 197,0 mm
 Höhe: 36,33 mm
 Gewicht: 1,6 Kilogramm
Hardware-MAC-Adressen (Media Access Control)
Auf der Unterseite des Gehäuses der Time Capsule-Basisstation sind drei Hardwareadressen
aufgedruckt:
 AirPort-ID: Die zwei Adressen, die zur Identifizierung der Time Capsule-Basisstation in
einem drahtlosen Netzwerk verwendet werden.
 Ethernet-ID: Diese Adresse wird möglicherweise von Ihrem Internetanbieter benötigt,
um den Internetzugang über die Time Capsule-Basisstation herzustellen.
Sicherer Umgang mit der Time Capsule-Basisstation
 Die einzige Möglichkeit, die Stromzufuhr vollständig zu unterbrechen, besteht darin,
die Time Capsule-Basisstation vom Stromnetz zu trennen.
 Halten Sie den Stecker stets an den Seiten, wenn Sie die Time Capsule-Basisstation an
die Netzsteckdose anschließen bzw. davon trennen. Achten Sie darauf, die Metallstifte
des Steckers nicht zu berühren.
 Die Time Capsule-Basisstation darf niemals geöffnet werden, auch dann nicht,
wenn sie nicht am Stromnetz angeschlossen ist. Wenn Ihre Time Capsule-Basisstation
gewartet werden muss, lesen Sie Kapitel 4 „Weitere Informationen,
Service und Support“ auf Seite 37.
Anhang Time Capsule – Technische Daten und Sicherheitsinformationen 41
 Versuchen Sie niemals, einen Stecker mit Gewalt in einen Anschluss zu stecken.
Lässt sich der Stecker nicht problemlos anschließen, passt er vermutlich nicht in den
Anschluss. Vergewissern Sie sich, dass Stecker und Anschluss übereinstimmen und
dass Sie den Stecker korrekt mit dem Anschluss ausgerichtet haben.
Hinweise zu Betriebs- und Lagertemperatur
 Wenn Ihre Time Capsule-Basisstation in Betrieb ist, wird das Gehäuse warm. Das
Time Capsule-Gehäuse fungiert als Wärmeableiter, der die Wärme aus dem Inneren
des Geräts nach außen an die kühlere Luft abgibt.
Meiden von Feuchtigkeitsquellen
 Platzieren Sie die Time Capsule-Basisstation nicht in der Nähe von Getränken, Waschbecken,
Badewannen, Duschen und anderen Feuchtigkeitsquellen.
 Schützen Sie die Time Capsule-Basisstation vor direkter Sonneneinstrahlung, Nässe,
Feuchtigkeit und Witterungseinflüssen aller Art.
 Achten Sie darauf, dass keine Flüssigkeiten in Ihre Time Capsule-Basisstation gelangen.
Ist dies dennoch einmal der Fall, trennen Sie die das Gerät vom Stromnetz,
bevor Sie es reinigen.
 Verwenden Sie die Time Capsule-Basisstation nicht im Freien. Die Time Capsule-
Basisstation ist zur Verwendung in Innenräumen konzipiert.
ACHTUNG: Verwenden Sie Ihre Time Capsule-Basisstation niemals in der Nähe von
Feuchtigkeitsquellen, um Kurzschlüsse oder Verletzungen zu vermeiden.
42 Anhang Time Capsule – Technische Daten und Sicherheitsinformationen
Nehmen Sie Reparaturen nicht selbst vor
Hinweise zur Handhabung
Ihre Time Capsule-Basisstation kann durch unsachgemäße Handhabung oder Lagerung
beschädigt werden. Achten Sie darauf, die Time Capsule-Basisstation beim Transport
nicht fallen zu lassen.
ACHTUNG: Versuchen Sie nicht, Ihre Time Capsule-Basisstation zu öffnen oder Teile
auszubauen. Dies kann einen Kurzschluss verursachen und Sie riskieren den Verlust
des Garantieanspruchs. Im Innern des Gerätes befinden sich keine Komponenten, die
vom Benutzer gewartet werden können.
43
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.
44
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—EU Declaration of Conformity
For more information, see www.apple.com/euro/
compliance.
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 offiziellen
Sammelstelle ab. Bei einigen Sammelstellen können
Produkte zur Entsorgung unentgeltlich abgegeben
werden. Durch getrenntes Sammeln und Recycling
werden die Rohstoff-Reserven geschont, und es ist
sichergestellt, dass beim Recycling des Produkts alle
Bestimmungen zum Schutz von Gesundheit und
Umwelt eingehalten werden.
Hinweise zur Entsorgung und zum Recycling
Dieses Produkt besitzt eine interne Batterie. Bitte entsorgen
Sie die Batterie entsprechend den geltenden gesetzlichen
und umweltrechtlichen Vorschriften. Informationen
über das Recycling-Programm von Apple finden
Sie auf der Website: www.apple.com/de/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.
45
Deutschland: Dieses Gerät enthält Batterien. Bitte nicht
in den Hausmüll werfen. Entsorgen Sie dieses Gerät am
Ende seines Lebenszyklus den maßgeblichen gesetzlichen
Regelungen entsprechend.
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
46
Taiwan Warning Statements
Korea Warning Statements
© 2009 Apple Inc. Alle Rechte vorbehalten.
Apple, das Apple-Logo, AirPort, AirPort Express, AirPort
Extreme, Apple TV, Bonjour, iPod, Leopard, Macintosh,
Mac OS und Time Capsule sind Marken der Apple Inc.,
die in den USA und weiteren Ländern eingetragen sind.
Finder, iPhone und Time Machine sind Marken der
Apple Inc.
Andere hier genannte Produkt- und Herstellernamen
sind Marken ihrer jeweiligen Rechtsinhaber.
www.apple.com/airport
www.apple.com/support/airport
恭喜！MacBook Pro 专为您而设。
www.apple.com.cn/macbookpro
facetime
thunderbolt
MacBook Pro
OS X Lion
www.apple.com.cn/macosx
HELLO FROM
CUPERTINO, CA
Mission Control
查看您 Mac 上运行
内容的大致情况。
帮助中心
mission control
全屏幕
仅需点按就可让应用程
序进入全屏幕。
帮助中心
全屏幕
Mac App Store
发现和下载 Mac 应
用程序的最佳途径。
帮助中心
launchpad mac app store
Launchpad
集中快速访问您的所
有应用程序。
帮助中心
iPhoto
整理、编辑和共享您
的照片。
iPhoto 帮助
iMovie
将家庭视频变成家庭
大片。
iMovie 帮助
GarageBand
轻松制作绝妙声音
效果的乐曲。
GarageBand 帮助
Mail
按对话使您的邮件
成组。
帮助中心
邮件照片影片录音
目录5
目录
第 1 章： 准备、安装、使用
9 包装箱中的物品
9 安装 MacBook Pro
16 将 MacBook Pro 置入睡眠状态或将它关机
第 2 章： 体验 MacBook Pro 生活
20 MacBook Pro 的基本配置
22 MacBook Pro 的键盘功能
24 MacBook Pro 上的端口
26 使用 Multi-Touch 触控板
30 使用 MacBook Pro 电池
31 疑难解答
第 3 章： 增强 MacBook Pro 的性能
37 更换硬盘驱动器
44 安装附加内存
第 4 章： 问题及其解决方案
50 防患于未然
51 无法使用 MacBook Pro 的问题
6 目录
54 修复、恢复或重新安装 Mac OS X 软件
59 使用 Apple Hardware Test
59 有关互联网连接的问题
62 Wi-Fi 通信时出现问题
63 保持软件最新
64 了解更多信息及服务与支持
66 找到产品序列号
第 5 章： 最后要点
68 重要安全信息
73 重要处理信息
75 了解人机工程学
77 Apple 和环境
78 Regulatory Compliance Information
帮助中心 迁移助理
www.apple.com.cn/macbookpro
准备、安装、使用
1
8 第 1 章 准备、安装、使用
MacBook Pro 的设计可让您迅速安装电脑并立即开始使用。如果您从未使用过 MacBook Pro，或
者您是 Mac 电脑新手，请仔细阅读本章以获得入门帮助。
【重要事项】首次使用电脑之前，请仔细阅读所有安装说明（以及从第 68 页开始的安全信息）。
如果您是一个经验丰富的用户，可能已经知道如何开始。请务必通读第 2 章体验 MacBook Pro
生活中的信息，以了解这台 MacBook Pro 的新功能。
许多疑难问题都可以在电脑的帮助中心中找到答案。有关使用帮助中心的信息，请参阅
第 31 页疑难解答。有关 MacBook Pro 的最新信息，请访问 Apple 支持网站
www.apple.com.cn/support/macbookpro。由于 Apple 可能会发布新版本的系统软件和系统
软件的更新，因此本手册中所示的图像可能与您在屏幕上看到的图像略有不同。
第 1 章 准备、安装、使用9
包装箱中的物品
®
安装 MacBook Pro
MacBook Pro 的设计可让您迅速安装电脑并立即开始使用。下面的几页将引导您完成安装过程，
其中包括以下任务：
 插入 85W MagSafe Power Adapter 适配器
 连接电缆，访问网络
 开启 MacBook Pro
 使用设置助理配置用户帐户和其他设置
 设置 Mac OS X 桌面和偏好设置
10 第 1 章 准备、安装、使用
【重要事项】安装 MacBook Pro 之前，请先撕去 85W MagSafe Power Adapter 适配器上包着
的保护膜。
步骤 1: 插入 85W MagSafe Power Adapter 适配器，给 MacBook Pro 供电，同时给电池
充电。
确定将交流插头完全插入电源适配器，并确定交流插头的电插销完全扳开。将电源适配器的交流插
头插入电源插座，并将 MagSafe 插头插入 MagSafe 电源端口。将 MagSafe 插头靠近电源端口
时，您会感到有一股磁力将插头吸入端口中。
¯
若要延长电源适配器电缆，请将交流插头替换成交流电源线。首先要将交流插头从适配器上拔出，
然后将附带的交流电源线装在适配器上，并确定它连接牢固。
从电源插座或电脑上断开电源适配器时，请拔插头，不要拉电源线。
第 1 章 准备、安装、使用11
第一次将电源适配器连接到 MacBook Pro 时，MagSafe 插头上的指示灯会亮起。指示灯为琥珀
色表明电池正在充电。指示灯为绿色表明电池已充满电。如果指示灯不亮，请确定插头连接正确，
并且已接上电源适配器。
步骤 2: 连接到无线网络或有线网络。
 若要配合内建的 802.11n Wi-Fi 技术使用无线网络，请确定无线基站已打开并且您知道网络的名
称。开启 MacBook Pro 后， 设置助理会引导您完成连接过程。有关故障排除方面的提示，
请参阅第 62 页。
 若要使用有线连接，请将以太网电缆的一端连接到 MacBook Pro，然后将另一端连接到线缆调
制解调器、DSL 调制解调器或网络。
®
G
12 第 1 章 准备、安装、使用
步骤 3: 快速按下电源按钮 (®) 以开启 MacBook Pro。
开机时您会听到启动声。
®
MacBook Pro 启动需要花一些时间。电脑启动后， 设置助理会自动打开。
如果 MacBook Pro 无法开启，请参阅第 52 页如果 MacBook Pro 无法开启或启动。
第 1 章 准备、安装、使用13
步骤 4: 使用设置助理来配置 MacBook Pro。
首次开启 MacBook Pro 时， 设置助理会启动。设置助理可帮助您指定 Wi-Fi 网络、设置
用户帐户，以及从另一台 Mac 或 PC 传输信息。您也可以从 Time Machine 备份或其他磁盘传输
信息。
如果要从另一台 Mac 迁移，而该 Mac 尚未安装 Mac OS X v10.5.3 或更高版本，您可能必须更新
软件。若要从 PC 迁移，请从 www.apple.com.cn/migrate-to-mac 下载迁移助理，然后将
它安装在要从其进行迁移的 PC 上。
在 MacBook Pro 上启动设置助理后，您无需退出，可中途转到其他电脑来更新其软件，然后
返回到 MacBook Pro 来完成安装。
【注】如果首次启动 MacBook Pro 时未使用设置助理来传输信息，您可以稍后使用迁移助
理进行传输。打开迁移助理，它位于 Launchpad 的实用工具文件夹中。有关使用迁
移助理的帮助，请打开帮助中心并搜索迁移助理。
14 第 1 章 准备、安装、使用
若要设置 MacBook Pro：
1 在设置助理中，按照屏幕指示进行操作，直至出现将信息传输到这台 Mac 屏幕。
2 若要进行基本安装、通过迁移来安装，或者从 Time Machine 备份或其他磁盘传输信息：
 若要进行基本安装，请选择现在不传输，然后点按继续。按照屏幕提示来选择您的有线
或无线网络，设置帐户，然后退出设置助理。
 若要通过迁移来安装，请选择从另一台 Mac 或 PC ，然后点按继续。按照屏幕指示来选
择要从其进行迁移的 Mac 或 PC。您的 Mac 或 PC 必须在同一个有线或无线网络上。按照屏幕
指示进行迁移。
 若要从 Time Machine 备份或其他磁盘传输信息，请选择从 Time Machine 备份或其他磁
盘，然后点按继续。选择要从中进行迁移的备份或其他磁盘。按照屏幕指示进行操作。
如果您不打算保留或使用其他电脑，最好取消对它的授权，使它无法播放您从 iTunes Store 购买
的音乐、视频或有声读物。取消电脑的授权可以防止其他人播放您购买的任何歌曲、视频或有声
读物，并可以腾出另一个授权供使用。有关取消授权的信息，请从 iTunes 的帮助菜单中选取
iTunes 帮助。
第 1 章 准备、安装、使用15
步骤 5: 自定 Mac OS X 桌面和设定偏好设置。
您可以使用系统偏好设置将桌面快速变成您想要的样子，它是 MacBook Pro 上大多数设置的
命令中心。从菜单栏中选取苹果菜单 () > 系统偏好设置，或者点按 Dock 中的系统偏好设
置图标。
菜单栏帮助菜单Spotlight 搜索图标
Finder 图标Dock 系统偏好设置图标
16 第 1 章 准备、安装、使用
【重要事项】您可以在用户与群组偏好设置中设定选项以重设密码，以防止您忘记登录密码。
有关系统偏好设置的帮助，请打开帮助中心并搜索系统偏好设置或搜索想要获取帮助的特
定偏好设置。
将 MacBook Pro 置入睡眠状态或将它关机
使用完 MacBook Pro 后，您可以将它置入睡眠状态或将它关机。
将 MacBook Pro 置入睡眠状态
如果您只是短时间内不使用 MacBook Pro，请将它置入睡眠状态。电脑处于睡眠状态时，您可以
快速唤醒它，从而跳过启动过程。
若要将 MacBook Pro 置入睡眠状态，请执行以下一项操作：
 合上显示屏。
 从菜单栏中选取苹果菜单 () > 睡眠。
 按下电源按钮 (®) 并在出现的对话框中点按睡眠。
 选取苹果菜单 () > 系统偏好设置，点按节能器，然后设定睡眠计时器。
【注意】请务必等待几秒钟，直至睡眠指示灯开始闪亮（表示电脑处于睡眠状态，硬盘已停止转
动）后，再移动 MacBook Pro。硬盘转动时移动电脑会损坏硬盘，从而导致数据丢失或者无法
从硬盘启动。
第 1 章 准备、安装、使用17
若要唤醒 MacBook Pro：
 如果显示屏是合上的，则只需打开它就可以唤醒 MacBook Pro。
 如果显示屏已打开，请按下电源按钮 (®) 或键盘上的任意键。
将 MacBook Pro 从睡眠状态唤醒之后，应用程序、文稿和电脑设置将与您离开之前的状态保持
一致。
将 MacBook Pro 关机
如果您在两天或更长时间内都不会使用 MacBook Pro，最好将它关机。在关机过程中，睡眠指示
灯会短暂地亮起。
若要将 MacBook Pro 关机，请执行以下一项操作：
 从菜单栏中选取苹果菜单 () > 关机。
 按下电源按钮 (®) 并在出现的对话框中点按关机。
如果您打算长期存放 MacBook Pro，请参阅第 74 页以了解有关如何防止电池完全耗尽的信息。
www.apple.com.cn/macosx
帮助中心 Mac OS X
体验 MacBook Pro 生活
2
20 第 2 章 体验 MacBook Pro 生活
MacBook Pro 的基本配置
®
第 2 章 体验 MacBook Pro 生活21
内建 FaceTime HD 摄像头和摄像头指示灯
使用附带的 FaceTime 应用程序与其他 FaceTime 用户（任何具备 FaceTime 功能的 iPhone 4、
新款 iPod touch 或 Mac 用户）进行视频通话，并使用 Photo Booth 来拍照或者使用 iMovie 来
拍摄视频。FaceTime HD 摄像头工作时，摄像头指示灯会亮起。
内建麦克风
使用麦克风采集声音，或者使用 FaceTime 或 iChat 应用程序通过互联网与朋友进行实时聊天。
内建立体声扬声器
欣赏音乐、电影、游戏和其他多媒体文件。
内建电池和电池指示灯
如果您身边没有电源插座，请使用电池电源。按下电池按钮可激活显示剩余多少电池电量的指示灯。
触控板
您可以在触控板上的任何位置进行点按或连按。用一个或多个手指触摸触控板以移动鼠标指针，并使
用 Multi-Touch 手势（如第 26 页所述）。
睡眠指示灯
MacBook Pro 处于睡眠状态时，白灯会闪亮。
红外线 (IR) 接收器
配合 IR 接收器使用 Apple Remote 遥控器（单独销售），在 9.1 米（30 英尺）范围内控制
MacBook Pro 上的 Keynote。
防盗锁口
安装防盗锁和缆绳（单独销售）以防止电脑被盗。
吸入式 SuperDrive 驱动器
此光盘驱动器可以读取和写入标准尺寸的 CD 和 DVD。
® 电源按钮
开启或关闭 MacBook Pro，或将其置入睡眠状态。
22 第 2 章 体验 MacBook Pro 生活
MacBook Pro 的键盘功能
®
第 2 章 体验 MacBook Pro 生活23
功能键 (fn)
按住此键以激活分配给功能键 (F1 - F12) 的自定功能。若要学习如何自定功能键，请从菜单栏中选
取帮助> 帮助中心并搜索功能键。
亮度键（F1、F2）
增加 ( ) 或降低 ( ) 屏幕的亮度。
Mission Control 键 (F3)
打开 Mission Control 以全面查看 MacBook Pro 上运行有哪些内容，包括 Dashboard、所有空
间，以及所有打开的窗口。
Launchpad 键 (F4)
打开 Launchpad 以立即查看 MacBook Pro 上的所有应用程序。点按一个应用程序以打开它。
o 键盘照明键（F5、F6）
增加 (o) 或降低 (ø) 键盘照明的亮度。
’ 媒体键（F7、F8、F9）
倒回 ( )、播放或暂停 (’) 或者快进 ( ) 歌曲、影片或幻灯片显示。
— 静音键 (F10)
使来自内建扬声器和音频输出端口的声音静音。
- 音量键（F11、F12）
增大 (-) 或减小 (–) 来自内建扬声器和音频输出端口的声音的音量。
C 光盘推出键
按住此键以推出没有在使用的光盘。将桌面上的光盘图标拖到废纸篓也可以推出光盘。
24 第 2 章 体验 MacBook Pro 生活
MacBook Pro 上的端口
®
¯
G
f
,
H d
第 2 章 体验 MacBook Pro 生活25
¯ MagSafe 电源端口
将附带的 85W MagSafe Power Adapter 适配器插入电源插座，以给 MacBook Pro 电池充电。
G 千兆位以太网端口
可连接到高速以太网络、DSL 调制解调器、线缆调制解调器或另一台电脑。以太网端口能够自动检
测以太网设备，因此不需要以太网交叉电缆。
H FireWire 800 端口
连接外部设备，如数码摄像机和储存设备。
Thunderbolt 端口（高速数据、视频和音频）
连接兼容 Thunderbolt 的设备用于高速数据传输，或者连接使用 Mini DisplayPort 端口的外部显
示器。您可以购买适配器来连接使用 DVI、HDMI 或 VGA 的显示器。
d 两个高速 USB（通用串行总线）2.0 端口
您可以将 iPod、iPhone、iPad、鼠标、键盘、打印机、磁盘驱动器、数码相机、游戏杆、调制解调
器等设备连接到 MacBook Pro。
, 音频输入端口
将线路电平麦克风或数码音频设备连接到 MacBook Pro。
f 音频输出端口
连接外部扬声器、耳机（包括 iPhone）或数码音频设备。
SDXC 卡插槽
可在 SD 卡（或 SDXC 卡）和 MacBook Pro 之间轻松地传输照片、视频和数据。
【注】适配器及其他配件在 www.apple.com.cn/store 或您当地的 Apple Store 零售店单独
销售。
26 第 2 章 体验 MacBook Pro 生活
使用 Multi-Touch 触控板
使用触控板可移动鼠标指针以及执行各种 Multi-Touch 手势操作。MacBook Pro 触控板与普通
的触控板不一样，整个触控板就是一个按钮，您可以在触控板上的任何位置进行点按。若要启用
Multi-Touch 手势操作，观看手势操作的介绍视频以及设定其他触控板选项，请选取苹果菜单 () >
系统偏好设置，然后点按触控板。
以下是使用 MacBook Pro 触控板的几种方式：
 双指滚动可让您在活跃窗口中快速向上、向下或向两侧拖移滚动。
第 2 章 体验 MacBook Pro 生活27
 辅助点按或右键点按可让您访问快捷菜单命令。
• 若要在触控板的任何位置设置双指辅助点按，请在触控板偏好设置的光标点按面板中
选择辅助点按。
• 若要在触控板的左下角或右下角设置单指辅助点按区域，请在触控板偏好设置的光标点
按面板中选择辅助点按，然后从弹出式菜单中选取一个选项。
辅助点按区域
【注】您也可以通过按住 Control 键并点按来进行辅助点按。
28 第 2 章 体验 MacBook Pro 生活
以下触控板手势能够在某些应用程序中工作。执行这些手势时，请在触控板的表面上轻轻滑动手
指。有关更多信息，请参阅触控板偏好设置或选取帮助> 帮助中心，然后搜索触控
板。
 双指张开或合拢可让您放大或缩小 PDF、图像、照片等等。
 双指转动可让您转动照片、页面等等。
第 2 章 体验 MacBook Pro 生活29
 三指扫动在 Finder 和所有应用程序中均有效。三个手指向左或向右扫动可让您循环浏览全屏幕应
用程序。三个手指向上扫动以打开 Mission Control。您也可以设定这些选项以使用四个手指。
 四指合拢在您合拢拇指和其他三个手指时显示 Launchpad。张开这四个手指可返回桌面。
【注】您可以为许多手势指定其他功能。有关所有可用手势的详细信息，请选取苹果菜单 () >
系统偏好设置，然后点按触控板。点按注记格以打开或关闭手势，展开弹出式菜单以查看
每个手势的选项。
30 第 2 章 体验 MacBook Pro 生活
使用 MacBook Pro 电池
如果未连接 MagSafe Power Adapter 适配器，MacBook Pro 会通过内建电池供电。电池供电
时，MacBook Pro 可以使用的时间不同，取决于您所使用的应用程序及连接在 MacBook Pro 上
的外部设备。
关闭诸如 Wi-Fi 或 Bluetooth® 无线技术等功能以及降低屏幕亮度有助于节省电池电量，例如，乘
坐飞机旅行时，您就可以这样做。系统偏好设置中的许多选项都已自动设定为优化电池使用寿命。
通过查看 MacBook Pro 左侧的八个电池电量指示灯，可以知道电池剩余的电量。按下指示灯旁边
的按钮时，指示灯会短暂亮起，显示电池中剩余的电量。
【重要事项】如果只有一个指示灯闪亮，表明电池电量已所剩无几。如果指示灯都不亮，说明电池
电量已经完全耗尽，如果不接上电源适配器，MacBook Pro 将无法启动。请插入电源适配器以给
电池充电。有关电池指示灯的更多信息，请参阅第 54 页。
您也可以通过查看菜单栏中的电池状态图标 ( ) 来检查剩余的电池电量。所显示的电池电量多少
基于电池中的剩余电量，还与您正在使用的应用程序、外围设备和系统设置有关。若要节省电池电
量，请关闭不使用的应用程序并断开不使用的外围设备，然后调整节能器设置。有关电池节能
和性能技巧的更多信息，请访问 www.apple.com.cn/batteries/notebooks.html。
第 2 章 体验 MacBook Pro 生活31
给电池充电
为 MacBook Pro 连接上其附带的电源适配器后，电池在电脑打开、关机或睡眠时都可以充电。但
在电脑关机或睡眠时，电池的充电速度会更快。
MacBook Pro 中的电池只能由 Apple 授权服务商或 Apple Store 零售店进行更换。
疑难解答
有关使用 MacBook Pro 的更多信息，可在电脑上的帮助中心和互联网网站
www.apple.com.cn/support/macbookpro 中获得。
若要打开帮助中心：
1 点按 Dock（沿屏幕边缘排开的图标条）中的 Finder 图标。
2 点按菜单栏中的帮助菜单，然后执行以下一项操作：
a 在搜索栏中键入一个问题或术语，然后从结果列表中选择一个主题，或者选择显示所有结
果以查看所有主题。
b 选取帮助中心以打开帮助中心窗口，在那里您可以浏览或搜索主题。
32 第 2 章 体验 MacBook Pro 生活
更多信息
有关使用 MacBook Pro 的更多信息，请参阅以下内容：
若要学习如何操作请参阅
安装内存第 35 页第 3 章增强 MacBook Pro 的性能。
MacBook Pro 出现问题时进行
故障排除
第 49 页第 4 章问题及其解决方案。
查找 MacBook Pro 的服务与支持第 64 页了解更多信息及服务与支持。或访问 Apple 支持网站：
www.apple.com.cn/support/macbookpro。
使用 Mac OS X Mac OS X 网站 www.apple.com.cn/macosx。或者在帮助中心中
搜索Mac OS X 。
从 PC 转换到 Mac 你会爱上 Mac 的理由网址为
www.apple.com.cn/getamac/whymac。
使用 iLife 应用程序iLife 网站 www.apple.com.cn/ilife。或者打开一个 iLife 应用程序，打
开该应用程序的帮助，然后在搜索栏中键入问题或词语。
更改系统偏好设置打开系统偏好设置，方法是选取苹果菜单 (K) > 系统偏好设置。
或者在帮助中心中搜索系统偏好设置。
使用触控板打开系统偏好设置并点按触控板。
使用键盘帮助中心，搜索键盘。
使用内建 FaceTime HD 摄像头帮助中心，搜索摄像头。
使用 Wi-Fi 技术帮助中心，搜索wi-fi 。
使用蓝牙无线技术蓝牙支持网页：www.apple.com.cn/support/bluetooth。或者打开
蓝牙文件交换应用程序（位于 Launchpad 中的实用工具文件夹
中），然后选取帮助> 蓝牙帮助。
第 2 章 体验 MacBook Pro 生活33
若要学习如何操作请参阅
电池保养帮助中心，搜索电池。
连接打印机帮助中心，搜索打印。
FireWire 和 USB 连接帮助中心，搜索FireWire 或 USB 。
连接到互联网帮助中心，搜索互联网。
使用 Thunderbolt 端口帮助中心，搜索Thunderbolt 。
连接外部显示器 帮助中心，搜索显示器端口。
刻录 CD 或 DVD 帮助中心，搜索刻录光盘。
技术规格技术规格网页网址为 www.apple.com.cn/support/specs。或者打开
系统信息，方法是从菜单栏中选取苹果菜单 (K) > 关于本机，然
后点按更多信息。
Apple 新闻Apple 网站：www.apple.com.cn。
软件下载Mac App Store（Mac OS X v10.6.6 或更高版提供）。
Apple 产品的操作说明、技术
支持和手册
Apple 支持网站：www.apple.com.cn/support。
帮助中心 内存
www.apple.com.cn/store
增强 MacBook Pro 的性能
3
36 第 3 章 增强 MacBook Pro 的性能
本章提供了有关在 MacBook Pro 中升级硬盘驱动器和安装附加内存的信息和说明。
【警告】Apple 建议由 Apple 认证的技术人员来安装更换用的驱动器和内存。请查阅电脑附带的
服务与支持信息，以了解有关如何联系 Apple 以获得服务的信息。如果您尝试安装更换用的驱动
器或内存而损坏了设备，则这种损坏将不包含在电脑的有限保修范围之内。
用户不可以自行更换 MacBook Pro 中的电池。如果您认为需要更换电池，请联系 Apple Store 零
售店或 Apple 授权服务商。
第 3 章 增强 MacBook Pro 的性能37
更换硬盘驱动器
您可以升级 MacBook Pro 中的硬盘驱动器。打开 MacBook Pro 的后盖后，您就可以看到硬盘
驱动器位于内建电池旁边。更换用的驱动器必须是带有串行 ATA (SATA) 接口的 2.5 英寸驱动器。
【重要事项】Apple 建议您在移除并装回硬盘驱动器之前应先备份硬盘驱动器上的数据。Apple 对
任何丢失的数据概不负责。
若要更换 MacBook Pro 中的硬盘驱动器：
1 将 MacBook Pro 关机。断开电源适配器、以太网电缆、USB 电缆、防盗锁和所有连接到
MacBook Pro 上的其他电缆，以防止损坏电脑。
【警告】MacBook Pro 的内部组件可能会发热。如果您一直在使用 MacBook Pro，请在关机后
等候 10 分钟，待内部组件冷却后再继续下面的操作。
2 将 MacBook Pro 翻过来并拧下固定底盖的十颗螺丝。以下图所示角度拧下较短的几颗螺丝。取下
底盖并将其放在旁边。
38 第 3 章 增强 MacBook Pro 的性能
【重要事项】由于螺丝的长度不等，请注意螺丝的长度和位置以便可以正确装回螺丝。将它们放在
旁边的安全位置。
第 3 章 增强 MacBook Pro 的性能39
【重要事项】移除底盖会暴露内部的敏感组件，这些组件易于受到静电干扰。
3 触摸硬盘驱动器组件之前先触摸电脑内部的金属表面来释放您身上的静电。
40 第 3 章 增强 MacBook Pro 的性能
4 找到位于驱动器顶部上的支架。使用十字螺丝刀拧开使支架固定到位的两颗固定螺丝。将支架放在
旁边的安全位置。
5 使用扣舌轻轻地斜向上抬起驱动器。
第 3 章 增强 MacBook Pro 的性能41
6 握住驱动器的两侧，同时轻轻拔出驱动器左侧上的插头以取下驱动器。切勿用手指按压驱动器，避
免触碰到驱动器底部的电路。
插头连接在电缆上并留在硬盘驱动器仓位中。
【重要事项】硬盘驱动器的两侧上有四颗安装螺丝。如果更换用的驱动器不包含安装螺丝，请从旧
驱动器上卸下螺丝并安装在更换用的驱动器上，然后再安装更换用的驱动器。
7 将插头连接到更换用的驱动器的左侧。
42 第 3 章 增强 MacBook Pro 的性能
8 倾斜插入更换用的驱动器，确定安装螺丝正确固定到位。
9 装回支架并拧紧螺丝。
第 3 章 增强 MacBook Pro 的性能43
10 装回底盖。将您在步骤 2 中取下的十颗螺丝装回其适当的位置并拧紧，同时确定以下图所示角度插
入较短的螺丝。
有关安装 Mac OS X 和捆绑应用程序的信息，请参阅第 54 页修复、恢复或重新安装 Mac OS X
软件。
44 第 3 章 增强 MacBook Pro 的性能
安装附加内存
您的电脑有两个内存插槽，取出底盖即可看到。MacBook Pro 预装了至少 4 GB 的 1333 MHz 双
倍数据速率 (DDR3) 同步动态随机存取存储器 (SDRAM)。每个内存插槽可以插一条符合以下规格
的 SDRAM 内存条：
 双倍数据速率小型双列直插存储器模块 (DDR3) 格式
 30 毫米（1.18 英寸）
 204 针
 2 GB 或 4 GB
 PC3-10600S DDR3 1333 MHz 类内存
您可以添加两条 4 GB 内存条，从而达到最多的 8 GB 内存。若要获得最佳性能，请在两个内存插
槽中都安装内存，每个插槽均安装相同规格的内存条。
若要在 MacBook Pro 中安装内存：
1 按照从第 37 页开始的步骤 1 和步骤 2 来移除底盖。
【重要事项】移除底盖会暴露内部的敏感组件，这些组件易于受到静电干扰。
2 触摸内存组件之前先触摸电脑内部的金属表面来释放您身上的静电。
第 3 章 增强 MacBook Pro 的性能45
3 向外推开内存条两侧上的推出控制杆，以将内存从内存卡插槽中松开。
内存会倾斜弹出。取出内存之前，请确定您看到半圆的舌片。如果没有看到，请再次尝试向外推开
控制杆。
46 第 3 章 增强 MacBook Pro 的性能
4 握住内存条的舌片将内存条从插槽中取出。
5 取出另一个内存条。
【重要事项】握住内存条的边缘，不要触摸金属接头。
6 将新的内存条插入内存插槽：
a 将内存条金黄色边缘上的槽口与下方的内存插槽中的槽口对齐。
b 使卡倾斜并将内存推入插槽中。
c 用两个手指稳固均匀地向下按压内存条。当内存正确安装到位时，您会听到轻微的喀哒声。
d 重复上面的步骤以安装附加内存条到顶部插槽中。向下按压内存条以确保它是水平的。
第 3 章 增强 MacBook Pro 的性能47
7 请按照第 43 页上步骤 10 中的说明装回底盖。
48 第 3 章 增强 MacBook Pro 的性能
确定 MacBook Pro 能识别新内存
在 MacBook Pro 中安装附加内存后，请检查电脑是否可以识别新内存。
若要检查电脑的内存：
1 启动 MacBook Pro。
2 当您看到 Mac OS X 桌面时，请从菜单栏选取苹果菜单 ()，然后选取关于本机。
若要更详细地查看电脑中已安装的内存，请点按更多信息以打开系统信息，然后点按内
存。
如果 MacBook Pro 不能识别内存或者不能正常启动，请确保您安装的内存与 MacBook Pro 兼容
并已正确安装。
帮助中心 帮助
www.apple.com.cn/support
问题及其解决方案
4
50 第 4 章 问题及其解决方案
使用 MacBook Pro 时偶尔会遇到一些问题。有关故障排除方面的提示，请继续阅读本章，以便在
遇到问题时尝试使用这些提示。您也可以在帮助中心和 MacBook Pro 支持网站
www.apple.com.cn/support/macbookpro 上找到更多故障排除信息。
如果您在使用 MacBook Pro 时遇到问题，通常总有一种简单快捷的解决方案。请回想一下导致问
题发生的情况。记下出现问题前您执行过的操作可以帮助您缩小查找可能的故障原因的范围，再寻
找您需要的答案。需要记下的内容包括：
 发生问题时使用的应用程序。如果问题仅发生在某一特定应用程序上，则可能的原因是此应用程
序与电脑上安装的 Mac OS 版本不兼容。
 您安装的所有新软件，特别是在系统文件夹中添加了项目的软件。
 所有新安装的硬件，如附加内存或外围设备。
防患于未然
为了预防您的电脑或软件出现问题，请让 Time Machine 备份保持最新以确保数据不会丢失。如
果您经常进行 Time Machine 备份，您可以将软件和所有数据准确恢复到备份时的状态。即使发
生严重问题也不用担心，只要使用了 Time Machine 来保护您的信息。
第 4 章 问题及其解决方案51
无法使用 MacBook Pro 的问题
如果 MacBook Pro 无响应或鼠标指针不移动
在极少数情况下，应用程序会在屏幕上停止响应。Mac OS X 提供了一种方法，使您不需要重
新启动电脑就可以退出已停止响应的应用程序。
若要强制应用程序退出：
1 按下 Command (x)-Option-Esc 键，或者从菜单栏中选取苹果菜单 () > 强制退出。
强制退出应用程序对话框会出现，并且当前应用程序已被选定。
2 点按强制退出。
该应用程序会退出，而所有其他应用程序仍保持打开。
如果需要，您也可以从这个对话框重新启动 Finder。
接下来，重新启动电脑以确保问题彻底消除。
如果问题经常发生，请从屏幕顶部的菜单栏中选取帮助> 帮助中心。请搜索词语停止响
应以获得有关电脑停止响应或不响应的帮助。
如果问题只是在您使用某个特定应用程序时才发生，请咨询该应用程序的制造商，了解一下它与您
的电脑是否兼容。若要获得有关 MacBook Pro 附带的软件的支持和联系信息，请访问
www.apple.com.cn/downloads。
如果您知道某个应用程序是兼容的，则可能需要重新安装电脑的系统软件。请参阅第 54 页修复、
恢复或重新安装 Mac OS X 软件。
52 第 4 章 问题及其解决方案
如果 MacBook Pro 在启动时停止响应、显示闪动的问号或屏幕不亮而睡眠指示灯一直亮着（并未
睡眠）
闪动的问号通常表示电脑无法在硬盘或连接的其他磁盘上找到系统软件。
 稍等几秒钟。如果电脑经过一段时间仍未启动，请关机，方法是按住电源按钮 (®) 大约 8 至 10
秒钟。断开所有外围设备并尝试重新启动，方法是按住 Option 键的同时按下电源按钮 (®)。电
脑启动时，点按硬盘图标，然后点按右箭头。电脑启动后，打开系统偏好设置，然后点按
启动磁盘。选择本机的 Mac OS X 系统文件夹。
如果问题经常发生，您可能需要重新安装电脑的系统软件。请参阅第 54 页修复、恢复或重新安
装 Mac OS X 软件。
如果 MacBook Pro 无法开启或启动
请按顺序尝试以下建议，直到您可以开启电脑：
 确定电源适配器已插入电脑并已插在一个已通电的电源插座上。确保使用的是 MacBook Pro 附
带的 85W MagSafe Power Adapter 适配器。在插入电源线时，如果电源适配器停止充电，而
MagSafe 插头上的指示灯不亮，请尝试将电源适配器从电源插座上拔下来然后再插入到其他插
孔，或尝试使用其他电源插座。
 检查电池是否需要充电。按下电脑左侧上的小按钮。您应当会看到有一个到八个灯亮起以表明电
池的电量。如果只有一个指示灯亮着，请连接电源适配器以重新充电。有关电池指示灯的更多信
息，请参阅第 53 页。
第 4 章 问题及其解决方案53
 如果问题仍然存在，请关闭所有已打开的文稿并退出所有应用程序。请将电脑恢复到出厂设置
（同时仍然保留您的文件），方法是同时按下左边的 Shift 键、Option (alt) 键、Control 键和
电源按钮 (®) 五秒钟，直至电脑重新启动。
 如果最近安装了附加内存，请确定它已正确安装并且与电脑兼容。移除新安装的内存，再装回原
来的内存，检查电脑是否可以启动（请参阅第 44 页）。
 按下电源按钮 (®) 并立即同时按住 Command 键 (x)、Option 键、P 键和 R 键，直到您听到
第二次启动声，以复位参数内存 (PRAM)。
 如果仍然无法启动 MacBook Pro，请参阅第 64 页了解更多信息及服务与支持，以获得有关
联系 Apple 进行维修的信息。
如果屏幕突然黑屏或 MacBook Pro 停止响应
尝试重新启动 MacBook Pro。
1 拔下连接在 MacBook Pro 上的任何设备（电源适配器除外）。
2 按下电源按钮 (®) 重新启动系统。
3 让电池至少充电到总电量的 10%，然后再插上任何外部设备并继续工作。
若要查看电池的充电进度，请点按菜单栏中的电池状态图标 ( )，或检查位于 MacBook Pro 左
侧的电池电量指示灯。
如果为电池设定了节能器功能，屏幕也可能会变暗。
54 第 4 章 问题及其解决方案
如果按下电池按钮后，所有电池指示灯迅速闪烁五次
电池需要更换。请联系 Apple Store 零售店或 Apple 授权服务商。
如果按下电池按钮后，电池指示灯从左到右然后从右到左连续闪烁五次
电池没有被识别。请联系 Apple Store 零售店或 Apple 授权服务商。
如果推出光盘有问题
退出所有可能正在使用光盘的应用程序，然后再试一次。如果此方法无效，请重新启动电脑，然后
立即按住触控板。
修复、恢复或重新安装 Mac OS X 软件
如果您的 Mac 软件或硬件出现问题，Mac OS X 提供了修复和恢复实用工具，可帮助您消除问
题，甚至将您的软件恢复为原始出厂设置。可以从Mac OS X 实用工具应用程序访问这些实用
工具（即使您的电脑未正确启动）。
第 4 章 问题及其解决方案55
使用Mac OS X 实用工具应用程序进行以下操作：
 从 Time Machine 备份恢复软件和数据。
 重新安装 Mac OS X 和 Apple 应用程序。
 将您的电脑恢复为出厂设置，方法是抹掉它的磁盘并重新安装 Mac OS X 和您的 Apple 应用
程序。
 使用磁盘工具修复电脑的磁盘。
如果电脑检测到问题，它会自动打开Mac OS X 实用工具应用程序。您也可以通过重新启动电
脑来手动打开它。
56 第 4 章 问题及其解决方案
若要打开Mac OS X 实用工具应用程序：
m 重新启动电脑并同时按住 Command 键 (x) 和 R 键。Mac OS X 实用工具面板将出现。
Mac OS X 实用工具应用程序中的某些实用工具要求访问互联网和 Mac App Store。您可能需
要确定您的电脑已使用以太网络或 Wi-Fi 网络连接到互联网。
若要通过 Wi-Fi 网络进行连接：
1 从屏幕右上角的 Wi-Fi 状态菜单中选取网络。
2 如果需要，请键入网络的密码。
若要加入封闭网络，请选取加入其他网络。输入网络的名称和密码。
使用磁盘工具修复磁盘
如果您的电脑出现了问题，或者您启动电脑时看到了Mac OS X 实用工具应用程序，则可能需
要修复电脑的磁盘。
1 在Mac OS X 实用工具面板中选择磁盘工具，然后点按继续。
2 在左侧的列表中选择磁盘或分区，然后点按急救标签。
3 点按修复磁盘。
如果磁盘工具不能修复磁盘，请备份尽可能多的信息，然后按照第 54 页修复、恢复或重新安
装 Mac OS X 软件中的说明进行操作。
有关磁 盘工具及 其选项的信息， 请参阅帮 助中心， 或者打开磁 盘工具（ 在
Launchpad 的实用工具文件夹中）并选取帮助> 磁盘工具帮助。
第 4 章 问题及其解决方案57
使用 Time Machine 备份恢复信息
如果您先前创建了一个 Time Machine 备份，则可以使用恢复实用工具将您的电脑上的所有
内容都恢复到先前的状态。
使用 Time Machine 备份将您的信息仅恢复到该备份的源电脑。如果要将信息传输到新电脑，请
使用迁移助理（在 Launchpad 的实用工具文件夹中）。
1 如果备份位于 Time Capsule 上，请确定电脑已连接到以太网或 Wi-Fi 网络。（若要连接到 Wi-Fi
网络，请按照第 56 页上的说明进行操作。）
2 在Mac OS X 实用工具面板中，请选择从 Time Machine 备份进行恢复，然后点按继
续。
3 选择包含 Time Machine 备份的磁盘，然后按照屏幕指示进行操作。
重新安装 Mac OS X 和 Apple 应用程序
在某些情况下，您可能需要重新安装 Mac OS X 和 Apple 应用程序。重新安装后，您的文件和用
户设置都完好无损。
1 确定 MacBook Pro 已通过以太网络或 Wi-Fi 网络连接到互联网。（若要使用 Wi-Fi 网络进行连
接，请按照第 56 页上的说明进行操作。）
2 在Mac OS X 实用工具面板中，选择重新安装 Mac OS X ，然后点按继续。
3 在要求您选择磁盘的面板中，请选择您的当前 Mac OS X 磁盘（大多数情况下，它是唯一的可用磁
盘）。
4 若要选择或取消选择一些可选软件，请点按自定。
5 点按安装。
58 第 4 章 问题及其解决方案
您可以在不抹掉磁盘的情况下安装 Mac OS X，这样可以存储现有文件和设置，或者也可以先抹掉
磁盘，这将抹掉您的所有数据，从而准备好电脑让您重新安装 Mac OS X 和 Apple 应用程序。
【重要事项】Apple 建议您在恢复软件之前先备份磁盘上的数据。Apple 对任何丢失的数据概不
负责。
将电脑恢复为出厂设置
如果您将电脑恢复为出厂设置，则您电脑上的所有内容（用户帐户、网络设置以及所有文件和文件
夹）都将被删除。恢复之前，请备份您想要保留的任何文件，将它们拷贝到另一个磁盘。从网
络偏好设置中记下您的网络设置，以便在重新安装 Mac OS X 后轻松地再接入网络。
1 请确定您的电脑已使用以太网络或 Wi-Fi 网络连接到互联网。（若要连接到 Wi-Fi 网络，请按照
第 56 页上的说明进行操作。）
2 在Mac OS X 实用工具面板中，选择磁盘工具，然后点按继续。
3 在左侧列表中选择磁盘，然后点按抹掉标签。
4 从格式弹出式菜单中选择Mac OS 扩展（日志式） ，为磁盘键入名称，然后点按抹掉。
5 在磁盘已被抹掉后，请选取磁盘工具> 退出磁盘工具。
6 在Mac OS X 实用工具面板中，选择重新安装 Mac OS X ，然后点按继续。
7 若要重新安装 Mac OS X 和您的应用程序，请按照 Mac OS X 安装器中的说明进行操作。
恢复 Mac OS X 和您的应用程序后，您可以选择性地从 Time Machine 备份来恢复您的其他数据
和应用程序。
第 4 章 问题及其解决方案59
使用 Apple Hardware Test
如果怀疑 MacBook Pro 硬件有问题，您可以使用 Apple Hardware Test 应用程序来帮助诊断电
脑组件（如内存或处理器）是否有问题。
若要使用 Apple Hardware Test：
1 从电脑上断开所有外部设备（电源适配器除外）。
如果连接了以太网电缆，请断开它。
2 重新启动电脑，并在电脑启动时按住 D 键。
3 当 Apple Hardware Test 选择屏幕出现时，请选择您所在地区对应的语言。
4 按下 Return 键或点按右箭头按钮。
5 当 Apple Hardware Test 主屏幕出现时（大约 45 秒钟后），请按照屏幕指示进行操作。
6 如果 Apple Hardware Test 检测到问题，它会显示错误代码。请记下错误代码，然后寻求技术支
持。如果 Apple Hardware Test 没有检测到硬件故障，则问题可能与软件有关。
有关互联网连接的问题
MacBook Pro 上的网络设置助理应用程序可以帮助您完成互联网连接的设置。打开系统偏
好设置并点按网络。点按向导按钮以打开网络设置助理。
如果在建立互联网连接时遇到麻烦，您可以尝试本部分中适用于您的连接类型的步骤，或者也可以
使用网络诊断。
60 第 4 章 问题及其解决方案
若要使用网络诊断：
1 选取苹果菜单 () > 系统偏好设置。
2 点按网络，然后点按向导。
3 点按诊断以打开网络诊断。
4 按照屏幕指示进行操作。
如果网络诊断不能解决问题，则可能是尝试连接的互联网服务商 (ISP)、用来连接 ISP 的外部
设备或尝试访问的服务器发生了问题。您还可以尝试以下步骤。
线缆调制解调器、DSL 调制解调器和局域网互联网连接
确定所有的调制解调器电缆都已插紧，包括调制解调器电源线、连接调制解调器和电脑的电缆以及
连接调制解调器和墙上插孔的电缆。同时，检查以太网集线器及路由器的电缆连接和电源。
将 DSL 调制解调器或线缆调制解调器关闭几分钟，然后再开启它。某些 ISP 会建议您拔下调制解调
器的电源线。如果您的调制解调器有复位按钮，则可以在打开或关闭电源之前或之后按下此按钮。
【重要事项】与调制解调器相关的说明不适用于局域网用户。局域网用户可能有集线器、交换机、
路由器或者连接头等设备，而 DSL 调制解调器和线缆调制解调器用户没有这些设备。局域网用户
应当联系他们的网络管理员而不是 ISP。
第 4 章 问题及其解决方案61
PPPoE 连接
如果您无法使用 PPPoE（以太网上的点对点协议）来连接到互联网服务商，请确定您在网络偏
好设置中输入的信息是正确的。
若要检查网络偏好设置：
1 选取苹果菜单 () > 系统偏好设置。
2 点按网络。
3 点按网络连接服务列表底部的添加按钮 (+)，然后从接口弹出式菜单中选取PPPoE 。
4 从以太网弹出式菜单中选取用于 PPPoE 服务的接口。如果您准备连接到有线网络，请选取
以太网；如果您准备连接到无线网络，请选取Wi-Fi 。
5 点按创建。
6 输入从服务商处收到的信息，例如帐户名称、密码和 PPPoE 服务名称（如果服务商有所要求）。
7 点按应用以激活设置。
62 第 4 章 问题及其解决方案
网络连接
确定以太网电缆已与 MacBook Pro 连接并接入网络。检查以太网集线器及路由器的电缆连接和
电源。
如果有两台或两台以上的电脑尝试共享一个互联网连接，请确定您的网络已正确设置。您需要知道
ISP 是仅提供一个 IP 地址，还是提供多个 IP 地址（每台电脑一个）。
如果只有一个 IP 地址，则必须使用一个可以共享连接的路由器，也称为网络地址转换 (NAT) 或
IP masquerading 。有关设置信息，请查阅路由器附带的文稿，或者询问建立网络的人员。
AirPort 基站可用于在多台电脑之间共享一个 IP 地址。有关使用 AirPort 基站的信息，请查阅
帮助中心，或者访问 AirPort 支持网站 www.apple.com.cn/support/airport。
如果使用这些步骤不能解决问题，请联系您的 ISP 或网络管理员。
Wi-Fi 通信时出现问题
如果您在使用 Wi-Fi 通信时遇到问题
 确定您尝试连接的电脑或网络正在运行，并且有无线访问点。
 确定您已按照基站或访问点附带的说明正确配置了软件。
第 4 章 问题及其解决方案63
 确保 MacBook Pro 在其他电脑或网络访问点的天线覆盖范围内。附近的电子设备或金属结构会
干扰无线通信且会缩小其覆盖范围。重新放置电脑或转动电脑可以改善接收效果。
 检查菜单栏中的 Wi-Fi 状态图标 (Z)。最多出现四格，指示信号强度。如果没有信号，请尝试换
个位置。
 通过选取帮助> 帮助中心，然后搜索wi-fi 来获取在线帮助。也请查阅无线设备附带
的说明以了解更多信息。
保持软件最新
您可以接入互联网并自动下载和安装 Apple 提供的最新版免费软件、驱动程序以及其他增强软件。
当您的电脑接入互联网时， 软件更新会检查是否有任何可供您的电脑使用的更新。您可以设定
MacBook Pro 定期检查更新，那样您便可以下载并安装更新的软件。
若要检查更新的软件：
1 选取苹果菜单 () > 系统偏好设置。
2 点按软件更新图标，然后按照屏幕指示进行操作。
• 有关更多信息，请在帮助中心中搜索软件更新。
• 有关 Mac OS X 的最新信息，请访问 www.apple.com.cn/macosx。
64 第 4 章 问题及其解决方案
了解更多信息及服务与支持
除了硬盘驱动器和内存，MacBook Pro 没有用户可以自行维修的部件。如果需要维修，请联系
Apple 或将 MacBook Pro 送到 Apple 授权服务商处。您可以通过网上资源、屏幕帮助、系统信
息或 Apple Hardware Test 找到有关 MacBook Pro 的更多信息。
网上资源
有关网上服务与支持信息，请访问 www.apple.com.cn/support。从弹出式菜单中选取您的国家
或地区。您可以搜索 AppleCare 知识库，核查软件更新，或者从 Apple 的论坛获得帮助。有关特
定于产品的最新信息，请访问 www.apple.com.cn/support/macbookpro。
屏幕帮助
您可以在帮助中心中查找问题的答案，以及查找相关说明和故障排除信息。选取帮助>
帮助中心。
系统信息
若要获得有关 MacBook Pro 的信息，请使用系统信息。它显示了已安装的硬件和软件、序
列号和操作系统版本、已安装内存的总量等。若要打开系统信息，请从菜单栏中选取苹果菜单
() > 关于本机，然后点按更多信息。
AppleCare 服务与支持
MacBook Pro 享有 90 天的技术支持和一年的硬件保修服务，这些支持与服务可在 Apple Store 零
售店或 Apple 授权的维修中心获得，如 Apple 授权服务商。您可以通过购买 AppleCare Protection
Plan 来延长保修范围。有关信息，请访问 www.apple.com.cn/support/products，或者访问下
面列出的您所在国家或地区的网站。
第 4 章 问题及其解决方案65
如果您需要协助，AppleCare 电话支持代表可以提供安装和打开应用程序的帮助，以及进行基本
的故障排除。请致电离您最近的支持中心（前 90 天免费）。致电之前请准备好购买日期以及
MacBook Pro 的序列号。
【注】您的 90 天免费电话支持于购机之日起开始生效。您可能要自理电话费用。
国家或地区电话网站
中国(86) 4006-272273 www.apple.com.cn/support
香港(852) 2112-0099 * www.apple.com/hk/support
www.apple.com/hk/en/support
印度(91) 1800 4250 744
或 (91) 80-4140-9000
www.apple.com/in/support
印度尼西亚(62) 0018 03061 2009 www.apple.com/id/support
韩国(82) 1544-2662 www.apple.com/kr/support
马来西亚1-800 803-638 www.apple.com/my/support
菲律宾1-800-1441-0234 www.apple.com/ph/support
新加坡800-186-1087
或 (65) 6835-1812 *
www.apple.com/sg/support
台湾(886) 0800-095-988 www.apple.com/tw/support
泰国001800 4412904 www.apple.com/th/support
电话号码可能会有更改，可能会使用本地或国内长途电话费率。完整的列表可在以下网站上找到：
www.apple.com/support/contact/phone_contacts.html
66 第 4 章 问题及其解决方案
找到产品序列号
使用以下一种方法来查找电脑的序列号：
 将 MacBook Pro 翻过来。序列号蚀刻在转轴附近的机壳上。
 选取苹果菜单 () > 关于本机。点按Mac OS X 字串下方的版本号以循环浏览 Mac OS X
版本号、版号和序列号。
 打开系统信息，它位于 Launchpad 的实用工具文件夹中。
帮助中心 人机工程学
www.apple.com.cn/environment
最后要点
5
68 第 5 章 最后要点
为了您个人和设备的安全，请务必依照这些规则来操作和清洁 MacBook Pro，同时也有利于您更
舒适地工作。将这些说明放在容易拿到的位置，以便您和其他用户参考。
【注意】存放或使用电脑不当可能会使制造商的保修无效。
重要安全信息
【警告】不遵循这些安全说明可能会导致起火、触电、其他伤害或损坏。
内建电池 切勿将电池从 MacBook Pro 中取出。该电池应该只能由 Apple 授权服务商来更换。如
果 MacBook Pro 跌落或受到挤压、弯曲、变形或损坏，请勿继续使用。切勿使 MacBook Pro 靠
近极热的热源，如散热器或壁炉，那里的温度可能超过 100 C 或 212 F。
正确处理 正常使用时，MacBook Pro 的底部会发热。MacBook Pro 符合用户接触表面温度限制
的国际标准，即 International Standard for Safety of Information Technology Equipment
(IEC 60950-1)。
第 5 章 最后要点69
若要安全地操作电脑并减小与发热相关的伤害的可能性，请按照这些指南进行操作：
 将 MacBook Pro 摆放在稳定的工作台上，以使电脑底部及四周通风顺畅。
 不要在枕头、毛毯或其他柔软的材料上操作 MacBook Pro，因为这些材料会阻塞通风散热孔。
 操作 MacBook Pro 时切勿在键盘上放置任何物品。
 切勿将任何物体插入通风口。
 如果您将 MacBook Pro 放在膝上且它热得让人不舒服，请将它移到平稳的工作台上。
有水和潮湿的地方 使 MacBook Pro 远离各种液体源，如饮料、洗脸池、浴缸、淋浴室等等。保
护 MacBook Pro 免受潮湿或阴雨天气（如雨天、雪天和雾气）的侵袭。
85W MagSafe Power Adapter 适配器 请仅使用 MacBook Pro 附带的电源适配器或与本产品
兼容并经 Apple 认可的电源适配器。将该适配器插入电源插座之前，请确定交流插头或交流电源
线已完全插入到电源适配器中。
正常使用时，电源适配器会发热。MagSafe Power Adapter 适配器符合用户接触表面温度限制的
国际标准，即 International Standard for Safety of Information Technology Equipment (IEC
60950-1)。
70 第 5 章 最后要点
若要减小电源适配器过热或者与发热相关的伤害的可能性，请执行以下一项操作：
 将电源适配器直接插入到电源插座中。
 如果使用的是交流电源线，请将电源适配器放在书桌或餐桌上，或者在通风良好的位置将电源适
配器放在地板上。
第 5 章 最后要点71
如果遇到以下任何一种情况，请断开电源适配器并拔下其他所有电缆：
 您想要添加内存或升级硬盘驱动器。
 您想要清洁机壳（请仅采用第 74 页描述的建议过程）。
 电源线或插头磨损或损坏。
 MacBook Pro 或电源适配器被雨水、溅入到机箱内的液体弄湿，或者严重受潮。
 MacBook Pro 或电源适配器跌落或机箱损坏，或者您觉得需要进行维修或修理。
MagSafe 电源端口含有磁体，能够抹去信用卡、iPod 或其他设备上的数据。若要保护数据，请
将这些物品或其他磁性敏感介质或设备远离电源适配器端口，至少相隔 25 毫米（1 英寸）以上。
如果有碎屑进入 MagSafe 电源端口，请用棉签轻轻地将碎屑取出。
MagSafe 电源规格：
 频率：50 至 60 Hz（单相）
 线路电压：100 至 240 V
 输出电压：18.5 V 直流，4.6 A
72 第 5 章 最后要点
听力损伤 使用耳塞或耳机时如果音量很高，可能会造成听力的永久性损伤。听一段时间音乐后，
您会习惯高一些的音量，虽然听起来可能很正常，但会损坏您的听力。如果您出现耳鸣或谈话声听
起来模糊不清，请停止听音乐并检查一下您的听力。音量越大，听力就越容易受到影响。听力专家
建议按如下方法保护您的听力：
 限制以高音量使用耳塞或耳机的时间。
 避免通过调高音量来隔离嘈杂的周围环境。
 如果您听不见周围人说话，请将音量调低。
高危险活动警告 本电脑不适用于核设施、飞机导航或通信系统、空中交通管制系统中的操作，也
不适用于由于电脑出现故障可能导致死亡、人身伤害或严重环境破坏的其他任何用途。
光盘驱动器的激光信息
【警告】调整或执行设备手册中指定操作之外的操作会导致有害的辐射泄漏。
在正常使用情况下，电脑的光盘驱动器中的激光对人体是安全的，但如果光盘驱动器遭到拆解，则
可能对人眼造成损害。为了您的安全，此设备只能由 Apple 授权服务商维修。
第 5 章 最后要点73
重要处理信息
【注意】如未能遵循这些处理说明，则可能导致 MacBook Pro 或其他财产受损。
操作环境 在以下温度范围之外操作 MacBook Pro 可能会影响其性能：
 操作温度：10 至 35 C（50 至 95 F）
 存放温度：-20 至 45 C（-4 至 113 F）
 相对湿度：5% 至 90%（非凝结）
 操作海拔高度：0 至 3048 米（0 至 10,000 英尺）
开启 MacBook Pro MacBook Pro 的内部和外部零件尚未完全装好之前，切勿开启电脑。在电脑
缺少部件的情况下操作电脑会很危险，而且会损坏电脑。
携带 MacBook Pro 如果您使用提包或公文箱来携带 MacBook Pro，请确定其中没有零散物件
（如回形针或硬币），以免它们从电脑的通风散热孔意外进入电脑内部或光盘驱动器插槽，或者堵
塞端口。同时，使磁性敏感物品远离 MagSafe 电源端口。
使用插头和端口 切勿强行将插头推入端口。连接设备时，请确定端口中没有碎屑、插头与端口匹
配，并且插头和端口的方向正确对应。
74 第 5 章 最后要点
使用光盘驱动器 安装在 MacBook Pro 中的 SuperDrive 驱动器支持标准的 12 厘米（4.7 英寸）
光盘。不支持形状不规则的光盘或直径小于 12 厘米（4.7 英寸）的光盘，这些光盘会卡在驱动
器中。
处理玻璃部件 MacBook Pro 包含玻璃组件，包括显示屏和触控板。如果它们已损坏，请勿使用
MacBook Pro，直至 Apple 授权服务商将它修理好。
存放 MacBook Pro 如果打算长期存放 MacBook Pro，请将其置于阴凉的环境中（理想温度为
22 C 或 71 F），并将电池放电到总电量的 50% 或以下。当要存放 MacBook Pro 的时间超过
五个月时，请将电池放电到总电量的 50% 左右。若要维持电池的电量，请每隔六个月左右将电池
重新充电到总电量的 50%。
清洁 MacBook Pro 清洁 MacBook Pro 的外壳及其组件之前，请先将 MacBook Pro 关机并拔
下电源适配器。然后使用湿润、柔软、不起绒的擦拭布来清洁电脑的外壳。避免任何一个开口处
受潮。不要将液体直接喷射到电脑上。不要使用可能会破坏电脑表面的气雾喷剂、溶剂或研磨剂。
清洁 MacBook Pro 屏幕 若要清洁 MacBook Pro 屏幕，请先将 MacBook Pro 关机并拔下电源
适配器。然后蘸湿附带的擦拭布（仅限用水）并擦拭屏幕。不要将液体直接喷射到屏幕上。
第 5 章 最后要点75
了解人机工程学
下面是有关如何设置健康的工作环境的一些技巧。
键盘和触控板
使用键盘和触控板时，双肩要放松。上臂和前臂应形成一个稍大于直角的角度，手腕和手掌大致成
一条直线。
76 第 5 章 最后要点
在击键或使用触控板时手指要轻触，双手和手指应保持放松。不要把拇指卷曲在手掌下。
经常改变一下手的姿势以避免疲劳。在不间断的频繁操作之后，有些电脑用户会感到手、手腕或手
臂不适。如果手、手腕或手臂出现慢性疼痛或不适，请向合格的健康专家咨询。
外部鼠标
如果您使用外部鼠标，请将鼠标与键盘放置在同一高度且操作舒适的位置。
座椅
最好使用可调节高度的座椅，且带有坚固而舒适的靠背。调整座椅的高度，使大腿放平，双脚平放
在地板上。座椅靠背应支撑背的下部（腰部）。请参照制造商的说明，根据自身体形调节椅背。
第 5 章 最后要点77
您可能需要调高座椅，使前臂和手与键盘成适当的角度。如果这样做您的双脚无法平放在地板上，
则可以用高度和倾角可调的搁脚板将脚垫平。您也可以降低桌面，这样就不需要搁脚板了。还有一
种方法是使用键盘托架比常规工作表面稍低的工作台。
内建显示屏
调整显示屏的角度，为在您的环境中观看进行优化。如果调整显示屏时遇到阻力，请不要强行调
整。显示屏打开角度不能超过 130 度。
当您将电脑从一个工作地点移到另一个工作地点或者工作环境的灯光有所改变时，您可以相应地调
整显示屏的亮度。
有关人机工程学的更多信息，可以在以下网站上找到：
www.apple.com/about/ergonomics
Apple 和环境
Apple Inc. 已经意识到有责任将产品的操作和产品本身对环境造成的影响降到最小。
有关更多信息，可以在以下网站上找到：
www.apple.com.cn/environment
78
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.
L‘utilisation de ce dispositif est autorisée seulement aux
conditions suivantes: (1) il ne doit pas produire de brouillage et (2)
l’utilisateur du dispositif doit étre prêt à accepter tout brouillage
radioélectrique reçu, même si ce brouillage est susceptible de
compromettre le fonctionnement du dispositif.
Radio and Television Interference
This computer equipment generates, uses, and can radiate radiofrequency
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 has demonstrated EMC compliance under conditions
that included the use of compliant peripheral devices and shielded
cables (including Ethernet network 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, television
sets, and other electronic devices.
Responsible party (contact for FCC matters only):
Apple Inc. Corporate Compliance
1 Infinite Loop, MS 26-A
Cupertino, CA 95014
Wireless Radio Use
This device is restricted to indoor use when operating in the 5.15 to
5.25 GHz frequency band.
Cet appareil doit être utilisé à l’intérieur.
Exposure to Radio Frequency Energy
The radiated output power of the Wi-Fi technology is below the
FCC radio frequency exposure limits. Nevertheless, it is advised to
use the wireless equipment in such a manner that the potential for
human contact during normal operation is minimized.
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.
79
Canadian Compliance Statement
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.
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.
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. This device complies with RSS 210 of Industry
Canada.
Bluetooth Europe—EU Declaration of Conformity
This wireless device complies with the R&TTE Directive.
Europe—EU Declaration of Conformity
Български Apple Inc. декларира, че това MacBook Pro е
в съответствие със съществените изисквания и другите
приложими правила на Директива 1999/5/ЕС.
Česky Společnost Apple Inc. tímto prohlašuje, že tento
MacBook Pro je ve shodě se základními požadavky a dalšími
příslušnými ustanoveními směrnice 1999/5/ES.
Dansk Undertegnede Apple Inc. erklærer herved, at følgende
udstyr MacBook Pro overholder de væsentlige krav og øvrige
relevante krav i direktiv 1999/5/EF.
Deutsch Hiermit erklärt Apple Inc., dass sich das MacBook Pro
in Übereinstimmung mit den grundlegenden Anforderungen
und den übrigen einschlägigen Bestimmungen der Richtlinie
1999/5/EG befinden.
Eesti Käesolevaga kinnitab Apple Inc., et see MacBook Pro
vastab direktiivi 1999/5/EÜ põhinõuetele ja nimetatud direktiivist
tulenevatele teistele asjakohastele sätetele.
简体中文 Apple Inc. 特此声明此 MacBook Pro 符合 Directive 1999/5/
EC 的基本要求和其他相关条款。
Español Por medio de la presente Apple Inc. declara que este
MacBook Pro cumple con los requisitos esenciales y cualesquiera
otras disposiciones aplicables o exigibles de la Directiva
1999/5/CE.
Ελληνικά Mε την παρούσα, η Apple Inc. δηλώνει ότι αυτή
η συσκευή MacBook Pro συμμορφώνεται προς τις βασικές
απαιτήσεις και τις λοιπές σχετικές διατάξεις της Οδηγίας
1999/5/ΕΚ.
Français Par la présente Apple Inc. déclare que l’appareil
MacBook Pro 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
MacBook Pro fullnægir lágmarkskröfum og öðrum viðeigandi
ákvæðum Evróputilskipunar 1999/5/EC.
Italiano Con la presente Apple Inc. dichiara che questo
dispositivo MacBook Pro è conforme ai requisiti essenziali ed alle
altre disposizioni pertinenti stabilite dalla direttiva 1999/5/CE.
Latviski Ar šo Apple Inc. deklarē, ka MacBook Pro ierīce atbilst
Direktīvas 1999/5/EK būtiskajām prasībām un citiem ar to
saistītajiem noteikumiem.
Lietuvių Šiuo „Apple Inc.“ deklaruoja, kad šis MacBook Pro
atitinka esminius reikalavimus ir kitas 1999/5/EB Direktyvos
nuostatas.
Magyar Alulírott, Apple Inc. nyilatkozom, hogy a MacBook Pro
megfelel a vonatkozó alapvetõ követelményeknek és az
1999/5/EC irányelv egyéb elõírásainak.
Malti Hawnhekk, Apple Inc., jiddikjara li dan MacBook Pro
jikkonforma mal-ħtiġijiet essenzjali u ma provvedimenti oħrajn
relevanti li hemm fid-Dirrettiva 1999/5/EC.
80
Nederlands Hierbij verklaart Apple Inc. dat het toestel
MacBook Pro in overeenstemming is met de essentiële eisen
en de andere bepalingen van richtlijn 1999/5/EG.
Norsk Apple Inc. erklærer herved at dette MacBook Pro
-apparatet er i samsvar med de grunnleggende kravene og
øvrige relevante krav i EU-direktivet 1999/5/EF.
Polski Niniejszym Apple Inc. oświadcza, że ten MacBook Pro są
zgodne z zasadniczymi wymogami oraz pozostałymi stosownymi
postanowieniami Dyrektywy 1999/5/EC.
Português Apple Inc. declara que este dispositivo
MacBook Pro está em conformidade com os requisitos
essenciais e outras disposições da Directiva 1999/5/CE.
Română Prin prezenta, Apple Inc. declară că acest aparat
MacBook Pro este în conformitate cu cerinţele esenţiale şi cu
celelalte prevederi relevante ale Directivei 1999/5/CE.
Slovensko Apple Inc. izjavlja, da je ta MacBook Pro skladne z
bistvenimi zahtevami in ostalimi ustreznimi določili direktive
1999/5/ES.
Slovensky Apple Inc. týmto vyhlasuje, že toto MacBook Pro spĺňa
základné požiadavky a všetky príslušné ustanovenia Smernice
1999/5/ES.
Suomi Apple Inc. vakuuttaa täten, että tämä MacBook Pro
tyyppinen laite on direktiivin 1999/5/EY oleellisten vaatimusten ja
sitä koskevien direktiivin muiden ehtojen mukainen.
Svenska Härmed intygar Apple Inc. att denna MacBook Pro 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
This equipment can be used in the following countries:
Korea Warning Statements
B()
(B)
,
.
Singapore Wireless Certification
Taiwan Wireless Statements
Taiwan Class B Statement
81
Japan VCCI Class B Statement
外置 USB 调制解调器信息
使用外置 USB 调制解调器将 MacBook Pro 连接到电话线路时，请参阅此
调制解调器附带的文稿中的电信机构信息。
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 electronic equipment manufacturers to promote energyefficient
products. Reducing energy consumption of products
saves money and helps conserve valuable resources.
This computer is shipped with power management enabled with
the computer set to sleep after 10 minutes of user inactivity. To
wake your computer, click the mouse or trackpad or press any key
on the keyboard.
For more information about ENERGY STAR®, visit:
www.energystar.gov
处理和回收信息
此符号表示您必须根据当地的法律和法规来正确处理您的产品。当产品的使
用寿命到了尽头时，请联系 Apple 或当地管理部门以了解回收方式。
有关 Apple 的回收计划的信息，请访问
www.apple.com.cn/environment/recycling。
欧盟 处理信息：
上面的符号表明根据当地的法律和法规，您的产品必须和家庭垃圾分开处
理。当此产品的使用寿命到了尽头时，请将它送到当地管理部门指定的收集
点。一些收集点免费接受产品。处理您的产品时，分开收集和回收将有助于
节约自然资源，并确保回收是以保护人类健康和环境的方式进行的。
Türkiye
EEE yönetmeliğine (Elektrikli ve Elektronik Eşyalarda Bazı Zararlı
Maddelerin Kullanımının Sınırlandırılmasına Dair Yönetmelik)
uygundur.
Brasil— Informações sobre descarte e reciclagem
O símbolo acima indica que este produto e/ou sua bateria
não devem ser descartadas no lixo doméstico. Quando decidir
descartar este produto e/ou sua bateria, faça-o de acordo com
as leis e diretrizes ambientais locais. Para informações sobre o
programa de reciclagem da Apple, pontos de coleta e telefone de
informações, visite www.apple.com/br/environment.
82
电池处理信息
请根据当地的环保法规处理电池。
Deutschland: Dieses Gerät enthält Batterien. Bitte nicht in den
Hausmüll werfen. Entsorgen Sie dieses Gerät 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.
China Battery Statement
Taiwan Battery Statement
KK Apple Inc.
© 2011 Apple Inc. 保留一切权利。
根据版权法，未经 Apple 书面同意，不得复制本手册中的全部或部分内容。
我们已尽力确保本手册上的信息准确。Apple 对印刷或文字错误概不负责。
Apple
1 Infinite Loop
Cupertino, CA 95014
408-996-1010
www.apple.com
Apple 标志是 Apple Inc. 在美国及其他国家和地区注册的商标。未经
Apple 事先书面同意，将键盘Apple 标志 (Option-Shift-K) 用于商
业用途可能会违反美国联邦和州法律，并可能被指控为侵犯商标权和进
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Apple、苹果、Apple 标志、AirPort、FaceTime、Finder、FireWire、
GarageBand、iChat、iLife、iMovie、iPhone、iPhoto、iPod、
iPod touch、iTunes、Keynote、Mac、MacBook、Mac OS、
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Apple、AppleCare、Apple Store 和 iTunes Store 是 Apple Inc. 在美
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App Store 是 Apple Inc. 的服务标记。
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本产品经 Dolby Laboratories 许可后制造。Dolby、Pro Logic 和双 D
符号是 Dolby Laboratories 的商标。未公开的机密著作，© 1992–1997
Dolby Laboratories, Inc. 保留一切权利。
本手册英文版在美国和加拿大同时出版。
Logic
Pro
7.2 .1
Dedicated
Control
Surface
Support
Apple
Computer,
Inc.
©
2004–2006
Apple
Computer,
Inc.
All
rights
reserved.
Under
the
copyright
laws,
this
manual
may
not
be
copied,
in
whole
or
in
part,
without
the
written
consent
of
Apple.
Your
rights
to
the
software
are
governed
by
the
accompanying
software
licence
agreement.
The
Apple
logo
is
a
trademark
of
Apple
Computer,
Inc.,
registered
in
the
U.S.
and
other
countries.
Use
of
the
“keyboard”
Apple
logo
(Option-Shift-K)
for
commercial
purposes
without
the
prior
written
consent
of
Apple
may
constitute
trademark
infringement
and
unfair
competition
in
violation
of
federal
and
state
laws.
Every
effort
has
been
made
to
ensure
that
the
information
in
this
manual
is
accurate.
Apple
Computer,
Inc.
is
not
responsible
for
printing
or
clerical
errors.
Apple
Computer,
Inc.
1
Infinite
Loop
Cupertino,
CA
95014-2084
408-996-1010
www.apple.com
Apple,
the
Apple
logo,
Aqua,
Final
Cut,
Final
Cut
Pro,
FireWire,
iBook,
iMac,
iPod,
iTunes,
Logic,
Mac,
Macintosh,
Mac
OS,
PowerBook,
Power
Mac,
Power
Macintosh,
and
QuickTime
are
trademarks
of
Apple
Computer,
Inc.,
registered
in
the
U.S.
and
other
countries.
Finder
and
GarageBand
are
trademarks
of
Apple
Computer,
Inc.
AppleCare
is
a
service
mark
of
Apple
Computer,
Inc.
Other
company
and
product
names
mentioned
herein
are
trademarks
of
their
respective
companies.
Mention
of
third-party
products
is
for
informational
purposes
only
and
constitutes
neither
an
endorsement
nor
a
recommendation.
Apple
assumes
no
responsibility
with
regard
to
the
performance
or
use
of
these
products.
3
1
Contents
Preface 7 Introduction
7
What
Are
Control
Surfaces?
8
How
Control
Surface
Integration
Works
Chapter
1 13 Control
Surface
Setup
13
Control
Surface
Plug-ins
13
About
Software
and
Firmware
14
Getting
Started
15
Connecting
the
Unit(s)
16
Installing
and
Setting
Up
Control
Surfaces
17
Control
Surface
Groups
19
Setup
Window
Parameters
25
Control
Surface
Preferences
29
Customizing
Control
Surfaces
34
The
Controller
Assignments
Editor
45
About
Modal
Dialogs
46
Tips
Chapter
2 47 Logic
Control
47
Set
Up
48
The
Displays
50
The
Channel
Strip(s)
54
The
Assignment
Zone
69
Fader
Bank
Zone
71
Master
Fader
71
Display
Zone
73
The
Function
Key
Zone
74
The
Global
View
Zone
75
Function
Button
Zone
79
The
Transport
Zone
87
The
Cursor/Zoom
Key
Zone
88
The
Jog/Scrub
Wheel
Zone
89
Assignment
Overview
4
Contents
Chapter
3 101 M-Audio
iControl
101
Setting
Up
the
iControl
102
Compatibility
102
Channel
Views
102
The
Assignment
Buttons
105
Arrow
Up
and
Arrow
Down
Buttons
105
The
Channel
Strip(s)
106
The
Jog
Wheel
106
The
Transport
Zone
107
Master
Fader
108
Assignment
Overview
Chapter
4 111 EuCon
Support
of
Euphonix
MC
and
System
5-MC
111
Setting
Up
the
MC
or
System
5-MC
With
Logic
112
Setting
Up
Soft
Key
Assignments
113
Main-Tracks
Touchscreen
113
Main-Layouts
113
Faders
114
Choosing
Automation
Modes
115
Knobsets
120
Monitors
and
Control
Room
120
Clear
Keys
120
Track
Control
Bar
120
System
5-MC
Specific
Features
Chapter
5 123 CM
Labs
Motormix
123
Set
Up
123
Assignment
Overview
Chapter
6 131 Frontier
Design
TranzPort
131
Set
Up
131
LCD
132
Assignment
Overview
Chapter
7 135 JLCooper
CS-32
MiniDesk
135
Set
Up
135
Assignment
Overview
Chapter
8 141 JLCooper
FaderMaster
4/100
141
Requirements
141
Set
Up
142
Assignment
Overview
Contents
5
Chapter
9 143 Korg
microKONTROL
and
KONTROL49
143
Set
Up
143
Assignment
Overview
Chapter
10 147 Mackie
Baby
HUI
147
Set
Up
147
Assignment
Overview
Chapter
11 151 Mackie
C4
151
Set
Up
151
V-Pots,
V-Selects
157
Buttons
at
Bottom
160
Marker
Overlay
160
Track
Overlay
160
Channel
Strip
Overlay
161
Function
Overlay
Chapter
12 163 Mackie
HUI
163
Set
Up
163
Assignment
Overview
Chapter
13 173 Radikal
Technologies
SAC-2K
173
Set
Up
173
Assignment
Overview
178
Troubleshooting
Chapter
14 179 Roland
SI-24
179
Set
Up
179
Assignment
Overview
Chapter
15 185 Tascam
FW-1884
185
Introduction
185
Set
Up
185
Assignment
Overview
Chapter
16 193 Tascam
US-2400
193
Set
Up
194
Assignment
Overview
Chapter
17 199 Tascam
US-428
and
US-224
199
Set
Up
199
Assignment
Overview
Chapter
18 203 Yamaha
01V96
203
Set
Up
6
Contents
204
Assignment
Overview
206
Selected
Channel
Section
207
Data
Entry
Section
207
Channel
Strips
207
Stereo
Channel
Strip
208
User
Defined
Keys
Section
Chapter
19 211 Yamaha
02R96
211
Set
Up
212
Assignment
Overview
Chapter
20 217 Yamaha
DM1000
217
Set
Up
218
Assignment
Overview
Chapter
21 225 Yamaha
DM2000
225
Set
Up
226
Assignment
Overview
Appendix
A 235 Logic
Control—Specifications
235
Logic
Control
(Base
Unit)
237
Logic
Control
XT
(Extension
Unit)
Appendix
B 239 Logic
Control—MIDI
Implementation
239
SysEx
Message
Header
240
Global
Control
Messages
242
Common
Control
Messages
Appendix
C 251 Logic
Control—Control
Surface
Layout
and
IDs
Appendix
D 255 Logic
Control—MIDI
Implementation
Chart
7
Introduction
This
manual
covers
the
control
surface
support
of
Logic
Pro.
Please
read
it
thoroughly
to
make
the
most
of
your
new
controller(s).
All
of
the
functions
in
Logic
Pro
that
are
normally
associated
with
the
use
of
an
analog
style
mixer
can
be
performed
using
just
a
mouse
and
a
computer
keyboard.
The
addition
of
many
commercially
available
control
surfaces
can
greatly
enhance
your
creative
experience
by
providing
you
with
hands-on
control
of
most
realtime
parameters
in
Logic.
Move
a
fader
and
the
on-screen
fader
in
Logic
will
move
with
it.
Similarly,
when
you
make
a
fader
move
on-screen,
the
control
surface
fader
moves
(this
only
applies
to
control
surfaces
equipped
with
motorized
faders).
Adjust
EQ
parameters
by
turning
one
of
your
control
surface’s
knobs
and
Logic
will
update
instantly.
What
Are
Control
Surfaces?
Control
surfaces
are
hardware
units
that
enable
the
operation
of
Logic
Pro
using
faders,
rotary
knobs,
switches,
and
displays.
There
are
a
number
of
simple
control
surfaces
that
feature
conventional
faders
and
no
displays.
More
progressive
units
are
equipped
with
motorized
faders,
rotary
encoders,
LED
rings,
and
programmable
displays.
The
more
feedback
a
control
surface
provides,
the
easier
it
is
to
use,
as
you
don’t
need
to
watch
the
computer
screen
in
order
to
determine
what
mode
the
unit
is
currently
in.
Control
surfaces—dependent
on
the
options
(buttons,
knobs,
switches,
displays,
and
so
on)
available—have
the
potential
to:
Â
control
all
Logic
transport
functions
 adjust
instrument,
input,
bus,
aux,
master,
and
audio
channel
volume
and
pan
levels
 control
Channel
EQ
and
Linear
Phase
EQ
parameters
 select
and
control
all
effect
and
Instrument
parameters
 select,
solo,
mute,
and
arm
tracks
 set
and
adjust
send
parameters
8 Chapter
Introduction
 remotely
switch
between
Screensets
 scrub
MIDI
and
audio
 zoom
in
on
individual
tracks
 create,
delete,
and
move
between
markers,
and
much
more
For
live
use,
control
surfaces
are
ideal.
The
performing
musician
only
needs
to
take
a
laptop,
equipped
with
suitable
audio
and/or
MIDI
interfaces,
a
keyboard,
and
a
control
surface
to
a
live
event.
Some
units
available
nowadays
incorporate
a
keyboard,
audio
interface,
control
surface,
and
MIDI
interface
into
a
single
package.
Given
that
Logic
Pro’s
track
automation
facilities
can
be
active,
even
when
not
in
record
mode,
you
can
capture
your
“live”
real
time
changes
for
later
recall.
This
ensures
that
you’ll
never
again
lose
that
“once-in-a-lifetime”
performance—on
stage
or
in
the
studio.
How
Control
Surface
Integration
Works
Logic
Pro
features
dedicated
support
for
a
number
of
control
surface
models.
This
is
achieved
through
several
plug-ins
that
are
directly
integrated
into
Logic.
Some
plug-ins
support
multiple,
similarly-featured
control
surface
models.
Note:
Although
many
other
control
surfaces
are
supported,
the
Logic/Mackie
Control,
C4,
and
XT
control
surface
units
are
recommended
for
use
with
Logic.
Logic
also
allows
you
to
reprogram
existing
assignments
for
supported
control
surfaces
and
to
program
new
assignments
for
unsupported
control
surfaces.
This
facility
allows
you
to
extend
the
use
of
faders,
knobs,
and
switches,
either
directly
or
through
the
use
of
modifier
commands.
You
can
use
any
combination
of
control
surfaces
with
Logic
Pro.
You
will
get
most
out
of
them,
however,
when
used
in
a
Control
Surface
Group
(provided
all
devices
are
supported
by
the
same
plug-in).
Universal
information,
that
applies
to
all
control
surfaces,
is
covered
in
the
following
chapter.
Please
read
this
before
taking
a
look
at
the
dedicated
section
on
your
control
surface(s).
A
detailed
overview
of
group,
installation,
and
other
control
surface
setup
parameters
is
found
in
Chapter
1,
“Control
Surface
Setup,”
on
page
13.
Please
read
this,
as
it
contains
a
lot
of
useful
information
that
will
help
you
to
customize
and/or
make
the
most
of
your
control
surface(s).
Important:
Specific
information
on
device
setup
is
found
at
the
beginning
of
the
relevant
chapter
for
your
control
surface
(see
the
table
below).
Chapter
Introduction 9
It
is
assumed
that
you
are
familiar
with
the
basic
use
and
terminology
of
Logic
Pro.
As
such,
the
functionality
and
uses
of
individual
Logic
parameters
are
not
covered
in
this
documentation.
Please
consult
your
Logic
Pro
7
Reference
manual
or
the
Online
Help,
if
you
require
further
information.
You
are
strongly
encouraged
to
press
buttons,
move
sliders
and
turn
the
knobs
of
your
control
surface
while
reading
through
the
following
chapters.
This
will
help
you
to
get
a
“feel”
for
how
your
control
surface
works,
and
how
the
various
parts
of
the
control
surface
interact
with
one
another,
and
Logic.
A
listing
of
control
surfaces
that
are
directly
supported
by
Logic
(via
a
control
surface
plug-in
included
in
the
Logic
package),
how
they
differ
from
similar
devices,
and
cross
references
to
the
relevant
sections
are
shown
below.
Note:
It
is
possible
that
your
device
may
be
directly
supported
in
Logic
via
a
suitable
control
surface
plug-in,
supplied
by
the
manufacturer.
Please
check
the
website
of
your
control
surface
manufacturer.
Follow
any
written
instructions
supplied
with
the
plug-in,
if
available.
Supported
Devices Manufacturer Notes
01V96 Yamaha The
Yamaha
01V96
emulates
two
HUI
units,
using
two
virtual
MIDI
in
and
out
connections
over
its
USB
cable.
See
“Yamaha
01V96”
on
page
203.
01X Yamaha The
Yamaha
01X
emulates
a
Logic
Control.
It
does
not
feature
all
controls
available
to
the
Logic
(and
Mackie)
units,
however.
Please
refer
to
the
01X
documentation
for
details.
Logic
recognizes
the
01X
as
such
and
displays
a
custom
icon,
but
communication
is
as
with
a
Logic
Control.
See
“Logic
Control”
on
page
47.
02R96 Yamaha The
Yamaha
02R96
emulates
three
HUI
units,
using
three
virtual
MIDI
in
and
out
connections
over
its
USB
cable.
See
“Yamaha
02R96”
on
page
211.
Baby
HUI Mackie The
Baby
HUI
is
a
stripped-down
version
of
the
HUI.
See
“Mackie
Baby
HUI”
on
page
147.
C4 Mackie The
Logic
Control
plug-in
has
been
extended
to
support
the
Mackie
C4.
See
“Mackie
C4”
on
page
151.
CM408T Euphonix See
“EuCon
Support
of
Euphonix
MC
and
System
5-MC”
on
page
111.
CS-32
MiniDesk JLCooper See
“JLCooper
CS-32
MiniDesk”
on
page
135.
10 Chapter
Introduction
DM1000 Yamaha The
Yamaha
DM1000
emulates
two
HUI
units,
using
two
virtual
MIDI
in
and
out
connections
over
its
USB
cable.
See
“Yamaha
DM1000”
on
page
217.
DM2000 Yamaha The
Yamaha
DM2000
emulates
three
HUI
units,
using
three
virtual
MIDI
in
and
out
connections
over
its
USB
cable.
See
“Yamaha
DM2000”
on
page
225.
FaderMaster
4/100 JLCooper See
“JLCooper
FaderMaster
4/100”
on
page
141.
FE-8 Tascam Extension
unit
for
FW-1884.
See
“Tascam
FW-
1884”
on
page
185.
FW-1082 Tascam A
stripped-down
version
of
the
FW-1884,
with
dedicated
support
in
the
FW-1884
plug-in.
See
“Tascam
FW-1884”
on
page
185.
FW-1884 Tascam See
“Tascam
FW-1884”
on
page
185.
HUI Mackie Important:
The
HUI
plug-in
has
been
tested
with
the
original
Mackie
HUI.
There
are
a
number
of
control
surfaces
not
mentioned
here
which
can
emulate
the
HUI.
We
have
not
tested
all
devices
capable
of
HUI
emulation,
and
don’t
provide
any
support
for
them,
nor
do
we
guarantee
that
they
will
work
with
Logic
in
HUI
emulation
mode.
See
“Mackie
HUI”
on
page
163.
iControl M-Audio See
“M-Audio
iControl”
on
page
101.
KONTROL
49 Korg A
larger
version
of
the
microKONTROL,
with
dedicated
support
in
the
microKONTROL
plug-in.
See
“Korg
microKONTROL
and
KONTROL49”
on
page
143.
Logic
Control
XT Mackie/Emagic This
is
the
extension
unit
for
the
Logic
Control.
It
only
offers
the
channel
strip
section,
making
it
less
useful
without
a
Logic
Control.
See
“Logic
Control”
on
page
47.
Also
see
the
Appendix
for
more
details.
Logic/Mackie
Control Mackie/Emagic See
“Logic
Control”
on
page
47.
Also
see
the
Appendix
for
more
details.
Mackie
Control Mackie The
original
Mackie
Control
hardware
is
similar
to
the
Logic
Control.
The
front
panel
legend
is
different,
however.
You
should
request
a
Logic
Control
Lexan
Overlay
from
Mackie.
As
Logic
also
recognizes
the
Mackie
Control
protocol,
you
may
use
any
firmware
version.
If
you
have
firmware
version
1.02
or
higher,
you
can
freely
use
either
the
Logic
Control
or
Mackie
Control
mode.
See
“Logic
Control”
on
page
47.
Supported
Devices Manufacturer Notes
Chapter
Introduction 11
Mackie
Control
Extender Mackie Mackie
Control
version
of
the
Logic
Control
XT.
As
Logic
also
recognizes
the
Mackie
Control
protocol,
you
may
use
any
firmware
version.
If
you
have
firmware
version
1.02
or
higher,
you
can
freely
use
either
the
Logic
Control
or
Mackie
Control
mode.
See
“Logic
Control”
on
page
47.
Mackie
Control
Universal Mackie A
Mackie
Control
with
Logic
Control
silk
screening
(legend)
and
firmware
version
2.0
or
higher
(including
HUI
emulation).
As
Logic
also
recognizes
the
Mackie
Control
protocol,
you
may
use
any
firmware
version.
If
you
have
firmware
version
1.02
or
higher,
you
can
freely
use
either
the
Logic
Control
or
Mackie
Control
mode.
See
“Logic
Control”
on
page
47.
MC Euphonix See
“EuCon
Support
of
Euphonix
MC
and
System
5-MC”
on
page
111.
microKONTROL Korg See
“Korg
microKONTROL
and
KONTROL49”
on
page
143.
Motormix CM
Labs See
“CM
Labs
Motormix”
on
page
123.
Radikal
Technologies SAC-2.2 There
is
a
dedicated
plug-in
for
the
SAC-2.2/2k’s
native
mode.
The
Logic
Control
plug-in
detects
an
SAC-2.2
(in
Logic
Control
emulation
mode)
and
ignores
it,
avoid
two
installations
of
the
SAC-2.2.
See
“Radikal
Technologies
SAC-2K”
on
page
173.
Radikal
Technologies SAC-2k See
“Radikal
Technologies
SAC-2K”
on
page
173.
SI-24 Roland See
“Roland
SI-24”
on
page
179.
TranzPort Frontier
Design
Group See
“Frontier
Design
TranzPort”
on
page
131.
US-224 Tascam A
stripped-down
version
of
the
US-428,
with
dedicated
support
in
the
US-428
plug-in.
See
“Tascam
US-428
and
US-224”
on
page
199.
US-2400 Tascam Logic
has
support
for
the
US-2400’s
native
mode.
In
contrast
to
its
Logic
Control
mode,
all
controls,
including
the
joystick,
are
supported.
See
section
“Tascam
US-2400”
on
page
193.
US-428 Tascam See
“Tascam
US-428
and
US-224”
on
page
199.
Supported
Devices Manufacturer Notes
1
13
1 Control
Surface
Setup
Logic
offers
dedicated
support
for
a
number
of
control
surfaces,
plus
the
option
to
program
unsupported
devices.
The
following
chapter
describes
functions
applicable
to
all
control
surface
models.
Specific
documentation
for
various
models
is
available
in
the
following
chapters.
Control
Surface
Plug-ins
Dedicated
control
surface
support
is
achieved
through
the
use
of
special
plug-in
files.
These
files
are
automatically
added
when
Logic
is
installed.
They
are
located
in
the
/Contents/MIDI
Device
Plug-ins
sub-folder
of
the
Logic
application
bundle
(to
view
the
bundle
contents,
Control
or
right-click
on
the
Logic
application
icon,
and
choose
Show
Package
Contents
from
the
menu).
Logic
also
checks
for
control
surface
plug-ins
in
the
(optional)
“/Library/Application
Support/
Logic/MIDI
Device
Plug-ins”
and
“~/Library/Application
Support/Logic/MIDI
Device
Plug-ins”
(the
“~”
denotes
your
user
home
directory)
folders.
When
new
control
surface
plug-ins
are
released
independently
from
a
Logic
update,
please
place
them
in
the
folders
described
above
(or
as
advised
in
the
documentation
supplied
with
the
plug-in).
About
Software
and
Firmware
Most
control
surfaces
have
no
“intelligence”
of
their
own.
Their
functionality
is
host
software-based,
making
them
reliant
on
Logic
to
tell
them
what
to
do/how
to
behave.
What
this
means
is
that
control
surfaces
cannot
perform
any
function
that
Logic
itself
isn’t
capable
of.
It
also
means
that
if
Logic
is
not
booted,
most
control
surface
units
will
do
nothing
at
all.
This
reliance
on
the
host
application
makes
your
control
surface
the
ultimate
upgradable
hardware.
As
new
functions
are
added
to
Logic,
or
you
create
new
assignments
(see
“Control
Surface
Setup”
on
page
13),
your
control
surface
will
be
able
to
access
and
control
them.
14 Chapter
1
Control
Surface
Setup
Most
control
surface
units
do,
however,
have
a
form
of
software
called
“firmware.”
This
firmware
is
much
like
the
BIOS
found
in
your
computer.
New
behaviors—at
a
hardware
level—such
as
improved
control
of
fader
servo
motors
and
changes
to
the
display
can
be
made
via
firmware
updates.
The
firmware
is
usually
stored
on
an
EEPROM
(Electronically
Erasable
Programmable
Read
Only
Memory)
chip.
It
can
often
be
updated
via
a
simple
MIDI
dump
procedure,
in
the
form
of
a
MIDI
file.
Should
new
firmware
become
available,
you
can
simply
download
the
appropriate
MIDI
file
and
play
it
to
your
control
surface(s),
which
will
be
updated
accordingly.
The
steps
required
to
perform
a
firmware
update
will
be
outlined
in
the
documentation
that
accompanies
the
MIDI
file.
Please
read
this
before
attempting
any
update.
Note:
Some
control
surfaces
may
require
a
physical
chip
replacement
for
firmware
updates.
Please
contact
the
manufacturer
of
your
device
for
details.
Getting
Started
To
make
use
of
your
control
surface,
you
will
require:
 An
installed,
authorized
copy
of
Logic
Pro.
 If
a
USB
or
FireWire
equipped
device
(such
as
a
Yamaha
01X)—a
free
USB
or
FireWire
port.
This
should
preferably
be
a
direct
USB/FireWire
connection
with
the
computer,
rather
than
via
a
USB/FireWire
hub.
Please
refer
to
the
documentation
provided
by
the
manufacturer
of
your
control
surface.
 If
a
MIDI-only
device
(such
as
a
Logic
Control)—a
free
MIDI
in
and
out
port
for
each
unit,
on
any
suitable
MIDI
interface.
As
an
example;
if
using
a
Unitor
8
or
AMT
8,
which
feature
8
MIDI
in
and
8
MIDI
out
ports,
with
one
Logic
Control
and
one
Logic
Control
XT,
you
will
need
to
use
two
of
the
Unitor8/AMT8’s
MIDI
ins
and
two
of
its
MIDI
outs.
 An
installed
driver
(if
required
by
your
control
surface)
that
is
supported
by
the
operating
system
version
being
used.
Important:
Your
MIDI
interface
must
feature
driver
software
that
supports
SysEx
communication.
Please
consult
the
documentation
that
shipped
with
your
MIDI
interface.
The
number
of
units
that
can
be
run
simultaneously
is
dependent
on
the
availability
of
free
MIDI
in
and
out,
FireWire
or
USB
ports
on
your
system.
In
a
standard
setup,
a
single
control
surface
will
be
used
alone,
or
accompanied
by
one
or
more
units.
It
is
also
possible
to
make
use
of
several
units
to
create
Control
Surface
Groups,
as
discussed
in
“Control
Surface
Groups”
on
page
17.
Chapter
1
Control
Surface
Setup 15
The
use
of
multiple
control
surfaces
expands
on
the
number
of
tracks,
parameters,
and
so
on
that
can
be
controlled
with
individual
faders,
knobs,
and
switches.
As
an
example,
the
Logic/Mackie
Control
XT
units
are
basically
identical
to
the
channel
strip
section
(fader,
V-Pot,
and
LCD)
of
the
main
Logic/Mackie
Control
unit.
The
Mackie
C4
features
a
number
of
V-Pots,
but
no
faders.
You
may
add
as
many
XT,
C4,
or
other
control
surface
units
as
you
wish
to
your
Logic
system,
provided
enough
MIDI
in
and
out
ports
are
available.
Connecting
the
Unit(s)
Connect
your
(MIDI)
control
surfaces
as
shown
in
the
diagram
below.
As
mentioned
earlier,
each
MIDI
control
surface
must
have
a
discrete
MIDI
in
and
MIDI
out
connection.
Do
not
“daisy-chain”
other
MIDI
devices
via
MIDI
thru
to
the
MIDI
in
or
out
ports
used
by
control
surfaces,
as
this
may
result
in
data
errors.
FireWire
and
USB
units
are
connected
via
a
single
cable
to
the
computer.
It
is
generally
recommended
that
this
is
a
direct
connection
with
the
Macintosh,
rather
than
via
a
FireWire/USB
hub.
Daisy-chaining
or
the
use
of
hubs
can
result
in
data
errors.
Optional
Footswitches
and
Pedals
If
your
control
surface
features
suitable
connectors,
you
may
use
optional
foot
switches
to
remotely
control
start/stop
and
other
functions.
This
may
be
useful
when
using
guitars
or
other
instruments
that
require
two-handed
playing.
Computer MIDI
Interface
Optional
Footswitches
16 Chapter
1
Control
Surface
Setup
Power
Up
Once
everything
is
connected,
press
the
power
switch
on
your
control
surface.
Once
powered,
the
displays
and/or
LEDs
will
illuminate
and
the
LCD
(if
applicable)
will
generally
display
a
welcome
message
(often
including
the
firmware
version
number).
Each
fader
will
slide
to
the
top,
and
back
to
the
bottom
of
its
travel
on
most
motorized
control
surfaces.
This
self-diagnostic
power-on
procedure
indicates
that
your
units
are
functioning
correctly.
Your
computer
and
MIDI
interface
can
be
powered
up
before
or
after
initialization
of
your
control
surface
units.
Logic
can
be
started
either
before
or
after
the
units
have
completed
initialization.
Installing
and
Setting
Up
Control
Surfaces
Some
control
surface
units
(Logic/Mackie
Control,
for
example)
will
automatically
be
detected
when
Logic
is
launched.
Units
which
are
not
detected
automatically
can
be
added
via
the
Setup
window.
This
is
accessed
via
the
Setup
option
in
the
Preferences
>
Control
Surfaces
menu.
Installation
is
very
easy
(and
is
covered
in
the
Set
Up
section
of
the
chapter
on
your
specific
device).
Some
devices
may
require
different
or
additional
steps,
but
generally,
all
you
need
to
do
is
select
the
device(s)
that
you
wish
to
use
in
Logic,
as
follows:
To
install
control
surfaces
using
the
Scan
function
of
Logic:
1 Choose
New
>
Install,
and
in
the
ensuing
Install
window,
select
the
desired
device
from
the
list.
Note:
You
may
select
one
or
more
models.
To
select
more
than
one
model,
select
them
with
Command
held
down.
If
you
select
more
than
one
model,
Logic
performs
the
desired
operation
for
each
model
in
turn.
2 Press
the
Scan
button.
You
can
also
press
Enter
or
double-click
the
device
name.
Logic
will
then
analyze
your
MIDI
system,
and
will
automatically
install
the
devices
it
finds,
including
the
correct
connection
settings.
Note:
The
Scan
function
is
preferable
to
manual
installation,
as
Logic
is
able
to
gather
the
maximum
amount
of
information
about
the
devices.
If
you
don’t
want
to
select
the
models
to
be
scanned
manually,
you
can
also
click
“Scan
all.”
This
will
search
for
all
supported
control
surface
units
on
all
MIDI
ports.
Please
be
aware
that
this
may
take
a
while.
Some
control
surfaces
don’t
support
automatic
scanning.
Such
devices
must
be
added
manually
to
your
setup.
In
this
scenario,
you
will
need
to
manually
set
the
MIDI
In
and
Out
port
parameters.
Chapter
1
Control
Surface
Setup 17
To
manually
add
the
selected
devices
to
your
system:
1 Select
the
desired
devices
from
the
list
in
the
Install
window.
2 Click
the
Add
button.
Note:
Alternatively
you
can
Option-double-click
the
desired
device.
If
a
control
surface
of
the
selected
type
already
exists
in
your
setup,
you
will
be
asked
whether
or
not
you
really
want
to
add
the
new
device.
You
will
need
to
manually
alter
the
MIDI
In
and
Out
port
values
in
the
device
parameters
to
match
those
of
the
connected
unit.
Once
you
have
completed
the
scanning
or
installation
of
the
devices,
click
Done.
The
Install
window
will
close.
Rebuilding
Defaults
The
Preferences
>
Control
Surfaces
>
Rebuild
Defaults
option
re-initializes
the
support
of
all
connected
control
surfaces.
Control
Surface
Groups
If
you
have
multiple
control
surface
units,
you
can
define
how
they
relate
to
each
other,
and
build
Control
Surface
Groups.
A
Control
Surface
Group
consists
of
a
number
of
control
surface
units
(using
the
same
plug-in)
which
are
combined
to
create
a
single,
unified
(and
larger)
control
surface.
You
can
build
up
to
20
Control
Surface
Groups.
Each
“group”
can
consist
of
any
number
of
physical
units.
The
only
limiting
factor
is
the
number
of
available
MIDI
In/Out
(or
USB/FireWire—defined
as
MIDI)
ports.
When
multiple
control
surface
units
are
combined,
you
can
independently
determine
the
default
behavior
for
each
physical
device.
This
is
discussed
in
the
Device
Parameters
(p.
19)
section.
To
build
a
Control
Surface
Group
out
of
several
units:
m Simply
arrange
their
icons
(in
the
Setup
window)
in
a
single
horizontal
row—by
dragging
each
icon
to
the
desired
onscreen
location.
The
order
of
the
icons
from
left
to
right
also
defines
how
the
tracks
and
parameters
are
arranged
on
the
units.
To
use
two
control
surfaces
independently:
m Simply
arrange
them
in
separate
rows—that
is,
one
above
the
other.
18 Chapter
1
Control
Surface
Setup
Here
is
an
example
with
two
Logic
Control,
three
Logic
Control
XT
units
and
a
HUI:
Computer
icon
connected
to
three
rows,
as
below:
The
top
row,
consisting
of
Logic
Control
XT
#1,
Logic
Control
XT
#2
and
Logic
Control
#1
form
a
single
Control
Surface
Group
with
24
channels.
XT
#1
controls
channels
1
to
8,
XT
#2
controls
channels
9
to
16,
and
Logic
Control
#1
handles
channels
17
to
24.
Logic
Control
#2
and
Logic
Control
XT
#3
form
a
second
Control
Surface
Group,
displaying,
say
instruments
(on
channels
1
to
8)
and
busses
(on
channels
9
to
16).
The
HUI
forms
a
single
unit
control
surface
group.
Each
Control
Surface
Group
has
individual
settings,
such
as
Flip
Mode,
Fader
Bank
Offset,
Plug-in
Parameter
Bank
Offset
and
others.
This
allows
you
to
access,
edit,
and
automate
different
sections
of
the
Logic
mixer.
In
our
example,
the
three
units
in
the
top
row
could
be
used
for
control
over
audio
tracks
and
MIDI
channels.
In
the
middle
row,
Logic
Control
#2
could
be
used
for
Audio
Instrument
channels
1
to
8,
and
XT
#3
could
be
used
for
busses.
The
HUI
might
edit
group
definitions.
The
physical
placement
of
units,
and
the
way
you
use
them,
is
entirely
up
to
you.
Note:
The
placement
of
your
control
surface
units
in
relation
to
each
other
should
be
the
same
onscreen
as
in
the
real-world.
Simply
drag
’n
drop
the
desired
icon
horizontally
in
your
Control
Surface
Group
to
do
so.
Chapter
1
Control
Surface
Setup 19
Setup
Window
Parameters
The
three
Parameter
boxes
along
the
left
edge
of
the
Setup
window
allow
you
to
configure
your
control
surface
setup
to
meet
your
needs.
Device
Parameters
Each
control
surface
unit
must
be
connected
to
an
independent
MIDI
in
and
out
port
(or
corresponding
USB/FireWire
port,
designated
as
a
MIDI
port
by
the
device
driver).
The
automatic
setup
or
Scan
procedure
should
have
found,
and
set,
the
correct
MIDI
in/
out
port
settings
for
each
unit.
In
the
event
that
the
MIDI
in
or
out
port
identification
is
incorrect,
you
can
manually
select
the
appropriate
one
for
the
unit.
To
do
so,
click-hold
on
the
MIDI
Input
and
Output
pull-down
menus,
and
select
the
appropriate
port(s)
of
your
MIDI
interface/
device.
Some
devices
allow
you
to
define
a
device
ID
(or
global/basic
channel).
This
can
be
set
in
this
area.
Module
name,
model
name
and
firmware
version
are
also
displayed
in
the
device
parameters.
The
Color
parameter
defines
the
color
of
the
Track
Control
Bar—a
bar
displayed
in
the
Arrange
window,
indicating
the
tracks
that
are
currently
being
accessed
by
your
control
surface.
The
Track
Control
Bar
of
each
control
surface
can
be
assigned
a
different
color.
Special
Parameters
Some
control
surfaces
may
allow
the
definition
of
“special”
parameters.
An
example
of
this
is
fader
touch
sensitivity.
Such
parameters
can
be
found
in
the
Special
Parameters
area.
A
detailed
description
can
be
found
in
the
documentation
of
the
particular
control
surface
plug-in.
Control
Surface
Group
Parameters
The
following
parameters
are
shown
in
the
Setup
window.
They
apply
to
the
Control
Surface
Group
associated
with
the
selected
device,
and
allow
you
to
set
each
group
up
to
meet
your
needs.
This
facility
is
of
great
benefit
when
multiple
Control
Surface
Groups
have
been
created.
Many
(if
not
all)
Control
Surface
Group
parameters
can
also
be
changed
directly
from
the
control
surface.
The
parameter
display
in
the
Setup
window
is
for
information
purposes
only.
Any
changes
to
settings
(made
here,
or
on
the
control
surface)
are
saved
in
a
preferences
file,
which
is
independent
of
the
Logic
program
preferences:
it’s
named
“com.apple.logic.pro.cs”,
and
is
located
in
~/Library/Preferences/Logic.
20 Chapter
1
Control
Surface
Setup
Display
Parameters
The
following
section
describes
the
display
parameters
of
a
Control
Surface
Group.
Flip
Mode
Many
control
surfaces
offer
both
a
fader
and
a
rotary
encoder
for
each
channel
strip.
Flip
Mode
allows
you
to
swap
the
encoder
assignment
with
that
of
the
fader
for
each
channel.
Alternately,
you
can
assign
both
controls
to
the
same
parameter.
There
are
four
“flip”
or
“swap”
modes.
 Off—disables
Flip
Mode,
making
the
fader
act
as
a
volume
control.
 Duplicate—makes
both
the
fader
and
encoder
active
for
the
currently
selected
encoder
parameter.
 Swap—swaps
the
fader
and
encoder,
making
the
fader
a
pan
control
and
the
encoder
a
channel
volume
control,
for
example.
 Mute—disables
the
faders.
This
is
useful
for
situations
where
recording
is
taking
place
in
the
same
room
as
the
control
surface,
and
you
wish
to
avoid
the
mechanical
noise
of
the
faders.
Any
existing
automation
data
will
still
function
as
per
normal.
Display
Mode
If
there
is
insufficient
space
available
for
the
display
of
both
the
parameter
name
and
value
(on
the
control
surface
LCD),
you
can
specify
what
is
displayed
here:
 Value—displays
the
parameter
value.
 Name—displays
the
parameter
name.
Clock
Display
If
your
control
surface
features
a
song
position
display,
the
Clock
Display
parameter
allows
you
to
set
the
display
mode:
 Beats—the
song
position
display
shows
Bars/Beats/(optional)
Sub
Division/Ticks.
 SMPTE—as
above,
but
in
Hours/Minutes/Seconds/Frames.
Note:
The
exact
elements
displayed,
and
thus
their
positions,
depend
on
the
selected
SMPTE
or
bar/beat
display
option
defined
in
the
Logic
Preferences.
Track
View
Mode
This
parameter
determines
which
tracks
or
channels
are
displayed:
 Mixer—displays
channels
in
their
order
of
appearance
in
the
Track
Mixer
window
(while
Global
mode
is
disabled).
Channel
Strip
1
in
the
Track
Mixer
is
equivalent
to
channel
1
on
the
control
surface,
Channel
Strip
2
in
the
Track
Mixer
is
equivalent
to
channel
2
and
so
on.
Instruments/channels
used
by
multiple
tracks
are
merged
into
one
channel.
Mixer
View
is
the
default
mode
of
most
devices,
including
the
Logic/
Mackie
Control.
Chapter
1
Control
Surface
Setup 21
 Global—displays
all
Objects
of
certain
type(s)—MIDI
or
Bus
channels,
for
example—
independent
of
their
usage
by
tracks.
They
merely
need
to
be
defined
as
Environment
Objects
to
be
visible.
The
Object
types
to
be
displayed
are
defined
by
another
parameter
which
is
not
shown
in
the
parameter
list.
If
a
control
surface
supports
switching
to
Global
View,
it
will
also
allow
you
to
define
which
Objects
to
display.
The
Track
Mixer
window
contents
automatically
follow
the
state
of
the
Global
View
buttons.
It
also
sets
Object
filters
in
accordance
with
the
Object
classes
activated
in
Global
View.
 Arrange—
Arrange
View
is
similar
to
Mixer
View,
with
one
exception:
Namely,
if
multiple
tracks
play
back
via
the
same
Environment
Object,
all
of
these
tracks
will
be
displayed
on
separate
channel
strips.
This
is
helpful
when
used
in
conjunction
with
the
nudge
commands,
for
example.
The
Hide
button
status
is
taken
into
account,
with
tracks
hidden
in
the
Arrange
window
also
being
hidden
on
the
control
surface.
These
modes
are
mutually
exclusive,
so
if
you’re
in
one
View
mode,
you
cannot
be
in
the
other.
It
is
important
to
note
that
the
Mixer
vs.
Global
View
modes
is
a
property
of
the
Control
Surface
Group,
not
a
global
setting.
So
one
group
can
display
busses,
while
the
other
shows
tracks,
for
example.
Mixer
View
Fader
Bank
This
parameter
affects
the
Track
View
mode
by
shifting
channels
by
the
defined
amount.
Imagine
that
your
control
surface
has
eight
channel
strips,
and
you
were
looking
at
audio
tracks
1
to
8
in
the
Arrange
window.
These
would
appear
as
channels
1
to
8
on
the
control
surface.
Using
the
Mixer
View
Fader
Bank
parameter,
you
could
offset
this
view
by
a
defined
number
of
channels,
to
see
audio
tracks
3
to
11,
for
example.
Global
View
Fader
Bank
The
Global
View
Fader
Bank
parameter
performs
much
like
the
Mixer
View
Fader
Bank,
but
only
applies
if
multiple
Object
types
are
enabled.
When
single
Object
types
are
enabled,
there
are
separate
fader
bank
parameters
(these
aren’t
displayed
in
the
parameter
list).
Track/Channel
Parameters
The
track
or
channel
parameters
define
the
behavior
of
a
control
surface’s
channel/
track
controls.
Track
Parameter
Defines
the
current
track
assignment
behavior
for
the
encoders.
Options
are:
 Volume—encoders
adjust
channel
volume.
 Pan—encoders
adjust
channel
panorama
position.
 Mode—encoders
adjust/select
channel
mode
(mono/stereo).
22 Chapter
1
Control
Surface
Setup
 Input—encoders
adjust/select
channel
input
source.
 Output—encoders
adjust/select
channel
output
(main
outs/busses/surround).
 Automation—encoders
adjust/select
channel
automation
mode.
 Group—encoders
adjust
group
membership
of
the
track.
Editing
the
parameter
allows
you
to
set
either
no
group
or
a
single
group.
Enabling
membership
of
multiple
groups
is
not
possible
here.
 Displayed
parameter—encoders
adjust
the
automation
parameter
displayed
in
the
Arrange
window.
This
is
especially
useful
if
you
set
the
control
surface
to
Arrange
View
mode,
and
your
Arrange
window
shows
multiple
sub-tracks
with
various
parameters.
Surround
Parameter
Defines
the
default
pan/surround
assignment
behavior
for
the
encoders.
Options
are:
 Angle—
encoders
adjust
surround
angle.
 Diversity—encoders
adjust
surround
diversity
(direction).
 LFE—encoders
alter
LFE
level.
 Mode—encoders
switch
between
the
various
surround
formats.
 X—encoders
adjust
surround
x
position.
 Y—encoders
adjust
surround
y
position.
 Center—encoders
adjust
the
Center
Level
values
of
a
surround
output
channel.
Note:
The
X
and
Y
parameters
are
a
different
representation
of
the
Angle
and
Diversity
parameters,
and
thus
are
independent
from
them.
The
X
and
Y
parameters
support
the
use
of
surround
joysticks.
EQ
Band
The
EQ
Band
parameter
allows
you
to
select
the
current
EQ
band,
if
you
wish
to
edit
a
particular
Channel
EQ
or
Linear
Phase
EQ
parameter
for
all
tracks
in
the
EQ
Multi
Channel
View.
EQ
Parameter
This
parameter
determines
which
parameter
of
the
selected
EQ
Band
is
edited
by
the
encoders
in
EQ
Multi
Channel
View:
 Frequency—encoders
determine
the
frequency
of
the
selected
band.
 Gain—encoders
change
the
gain
of
the
selected
EQ
band.
For
the
Low
Cut
(band
1)
and
High
Cut
(band
8)
bands
of
the
Channel
and
Linear
Phase
EQ,
this
parameter
controls
the
slope.
 Q—encoders
change
the
Q
factor
of
the
selected
band.
 On/Off—encoders
bypass
the
selected
EQ
band.
Chapter
1
Control
Surface
Setup 23
EQ
Parameter
Page
The
EQ
Parameter
Page
parameter
defines
the
EQ
parameter
displayed
in
the
EQ
Channel
Strip
View.
To
explain:
The
Channel
and
Linear
Phase
EQs
feature
8
bands
per
audio
channel,
with
each
band
offering
four
parameters.
All
of
these
parameters
can
be
accessed
with
your
control
surface.
If
you
use
a
control
surface
that
does
not
display
all
EQ
parameters
at
once,
you
need
to
step
through
the
parameter
“pages.”
As
an
example:
Imagine
you
are
using
an
eight
channel
control
surface.
You
can
directly
affect
parameters
1
to
8
with
knobs/sliders
1
to
8—once
you’ve
switched
to
EQ
Channel
Strip
Edit
View.
You
then
need
to
switch
by
a
“page”
to
access
parameters
9
to
16.
Send/Plug-in
Parameters
These
parameters
define
how
your
control
surface
controls
send
and
plug-in
parameters.
Send
Slot
The
Send
Slot
parameter
determines
the
currently
selected
Send
slot.
Normally,
a
value
of
1
would
be
used,
as
this
accesses
the
first
(top)
Send
on
each
channel.
A
value
of
2
accesses
the
second
Send,
and
so
on,
to
Send
8.
The
Send
slots
are
accessed
by
pressing
the
Up/Down
buttons
on
your
control
surface—if
applicable.
Send
Parameter
Defines
the
Send
parameter
(to
be
edited
with
the
encoders)
when
in
the
Send
Multi
Channel
view:
 Destination:—encoder
is
used
to
determine
the
bus
channel
number
for
the
Send
slot.
 Level—encoder
is
used
to
adjust
the
Send
level.
 Position—encoders
set
Pre
or
Post
fader
modes.
 Mute—encoders
mute/unmute
the
selected
Send
slot.
Send
Parameter
Page
Much
like
the
EQ
parameters,
up
to
32
parameters
are
available
in
Send
Channel
Strip
View
for
a
given
channel
(Eight
Send
slots
multiplied
by
the
four
parameters
listed
above).
Send
Parameter
Page
determines
the
current
page
for
these
parameters.
Split:
no.
of
upper
parameters
Control
surfaces
that
support
split
mode
allow
the
display
of
two
separate
parameter
sections
within
one
plug-in
(or
even
different
plug-ins).
They
are
called
Split
Upper
and
Split
Lower.
24 Chapter
1
Control
Surface
Setup
This
parameter
defines
how
many
encoders
belong
to
Split
Upper,
leaving
the
remaining
encoders
to
Split
Lower.
A
value
of
0
means
that
Split
Mode
is
off—with
all
encoders
assigned
to
the
Split
Upper
area.
Instrument
Parameter
Page
The
Instrument
Parameter
Page
option
determines
the
parameter
(counted
from
1)
which
is
assigned
to
the
left-most
encoder
when
editing
an
Audio
Instrument.
The
next
Instrument
parameter
is
assigned
to
encoder
2,
and
so
on.
This
applies
to
Split
Upper
when
Split
Mode
is
enabled.
Inst
Parameter
Page
(Split
Lower)
As
above,
but
for
Split
Lower.
Insert
Slot
Determines
the
current
Insert
slot
number
for
both
selecting
a
plug-in
(in
Plug-in
Channel
Strip
View)
and
editing
its
parameters.
A
value
of
1
accesses
the
first
(top)
plugin
slot
on
each
channel.
A
value
of
2
accesses
the
second
plug-in
slot,
and
so
on.
With
Split
Mode
enabled,
this
applies
to
Split
Upper.
Insert
Slot
(Split
Lower)
As
with
Insert
Slot,
but
for
Split
Lower.
Plug-In
Parameter
Page
As
with
Instrument
Parameter
Page,
but
for
editing
plug-ins.
Having
these
parameters
separate
allows
you
to
quickly
switch
between
editing
an
instrument
and
an
effect
on
a
track,
without
the
need
to
adjust
the
parameter
page
every
time.
With
Split
Mode
enabled,
this
applies
to
Split
Upper.
Plug-In
Parameter
Page
(Split
Lower)
As
with
Plug-In
Parameter
Page,
but
for
Split
Lower.
Track
Specifies
the
currently
displayed
track
for
Channel
Strip
Views.
With
Split
Mode
enabled,
this
applies
to
Split
Upper.
Track
(Split
Lower)
As
with
Track,
but
for
Split
Lower.
Track
Lock
When
this
parameter
is
set
to
“on,”
selecting
a
track
in
Logic
does
not
change
the
Track
and
Track
(Split
Lower)
parameters.
In
other
words,
the
control
surface
group
continues
to
display
the
same
track,
independent
from
the
currently
selected
track.
When
Track
Lock
is
disabled,
the
control
surface
group
automatically
switches
to
the
selected
track,
whenever
a
track
is
selected.
Chapter
1
Control
Surface
Setup 25
Other
Parameters
The
following
section
describes
the
Track
Name
Format,
Parameter
Page
Shift
Mode,
Relative
Change
Mode,
Mix
Group
and
Group
Parameter
Page
parameters.
Track
Name
Format
Changes
the
track
name
display
to
show
the
track
name
alone,
or
the
track
name,
and
its
track
number.
As
an
example,
a
track
named
“Audio1”
may
actually
be
placed
on
track
12
in
the
Arrange
window.
When
a
value
of
#:Name
is
toggled,
“Audio1”
would
be
displayed
as
“12:Au1”.
Parameter
Page
Shift
Mode
Defines
whether
the
parameter
is
shifted
by
an
entire
“page”
or
by
one
parameter.
Relative
Change
Mode
This
determines
the
behavior
of
controller
assignments
that
features
a
relative
value
change
mode
(for
example
rotary
encoders).
 Coarse:
the
parameter
can
be
adjusted
in
coarse
steps.
 Full:
In
this
mode,
a
turn
to
the
right
sets
the
encoder
to
its
maximum
value.
A
turn
to
the
left
sets
the
encoder
to
its
minimum
value.
The
encoder
also
stops
at
its
default
value.
As
an
example:
When
the
Pan
knob
is
somewhere
left
of
center,
turning
the
encoder
to
the
right
will
initially
set
the
Pan
parameter
to
its
center
(default
value)
position,
with
a
further
right-turn
setting
the
full
right
(maximum
value)
position.
 Fine:
the
value
is
incremented/decremented
in
fine
steps—by
one
tick
or
“unit,”
for
example.
In
this
mode,
the
standard
adjustable
resolution
is
ignored,
and
the
highest
possible
resolution
is
used.
As
an
example,
using
the
Sample
Delay
parameter:
every
encoder
rotation
tick
in/decreases
the
value
by
1
ms,
regardless
of
the
resolution
value.
Note:
Coarse
is
the
default
mode.
Mix
Group
When
in
Group
Edit
mode,
this
parameter
defines
the
edited
group.
Group
Parameter
Page
As
with
the
Instrument
Parameter
Page,
but
for
the
parameters
of
the
edited
group.
26 Chapter
1
Control
Surface
Setup
Control
Surface
Preferences
The
Control
Surface
preferences
window
is
accessible
via
the
Logic
>
Preferences
>
Control
Surfaces
>
Preferences
menu.
Note:
You
can
also
use
the
global
Control
Surfaces
Preferences
key
command.
General
The
following
section
outlines
the
General
control
surface
preferences.
Resolution
of
Relative
Controls
This
defines
the
default
resolution
of
controls
that
change
values
in
a
relative
manner.
The
default
is
128
steps.
As
an
example:
adjusting
the
Sample
Delay
(value
range
0
to
4000
ms)
in/decreases
the
value
by
40
ms
with
every
encoder
rotation
“tick,”
if
resolution
is
set
to
100.
Maximum
MIDI
Band
Width
This
slider
determines
the
maximum
amount
of
MIDI
bandwidth
that
can
be
used
by
your
control
surface.
By
default,
this
is
set
to
50%,
which
should
be
suitable
for
most
situations.
You
can
adjust
the
value
if
you
find
that
your
MIDI
or
automation
playback
is
being
affected.
Touching
fader
selects
track
Activation
of
this
parameter
will
automatically
select
the
track
that
corresponds
to
the
selected
fader.
You
require
a
device
that
features
touch-sensitive
faders
for
this
functionality
to
work.
Jog
resolution
depends
on
horizontal
zoom
If
your
control
surface
features
a
jog/shuttle
wheel
(or
similar),
the
precision
of
any
scrubbing
is
affected
by
the
horizontal
zoom
level
of
Logic.
To
retain
a
consistent
resolution,
regardless
of
Logic
window
zoom
levels,
disable
this
checkbox.
Pickup
Mode
If
your
control
surface
does
not
feature
motorized
faders
and
knobs,
parameter
changes—caused
by
playing
back
existing
automation—are
not
reflected
on
its
surface.
Such
control
surfaces
usually
offer
a
Pickup
mode.
In
Pickup
mode,
the
current
value
must
be
reached
(“picked
up”)
by
the
control
surface
before
a
value
change
can
occur.
This
prevents
sudden
“jumps”
of
parameter
values
after
parameter
changes
caused
by
playing
back
automation.
A
display
(usually
a
pair
of
LED’s)
will
indicate
the
direction/
distance
you
need
to
move
the
controller
to
match
(also
known
as
“NULL”)
the
settings
shown
in
Logic.
Once
you
have
matched
the
onscreen
values,
deactivate
Pickup
mode,
and
start
automating.
Chapter
1
Control
Surface
Setup 27
When
the
Pickup
mode
option
is
disabled,
adjusting
a
fader
modifies
the
parameter
immediately.
Multiple
Controls
per
Parameter
These
parameters
determine
whether
one,
or
multiple,
encoders
are
used
per
parameter
when
editing
plug-ins
or
audio
instruments.
When
multiple
encoders
are
used
per
parameter,
the
encoders
are
subdivided
into
groups
(for
example
1/2,
3/4,
5/6,
7/8).
The
first
encoder
of
each
sub-division
controls
the
parameter
shown
in
the
display.
The
remaining
encoder(s)
are
inactive.
Using
more
than
one
encoder
per
parameter
shows
fewer
parameters
at
any
given
time,
but
you
gain
space
on
the
LCD
to
cater
for
longer
parameter
names
and
values.
The
more
control
surfaces
you
have
within
a
Control
Surface
Group,
the
more
you
benefit
from
this
feature.
The
Multiple
controls
per
parameter
pull-down
menu
defines
the
maximum
number
of
encoders
which
will
be
used
for
a
single
parameter.
 1:
Parameters
are
always
displayed
using
one
encoder
per
parameter,
with
the
least
space
available
for
parameter
name
and
value
in
the
LCD.
 2:
On
each
unit,
encoders
1
and
2
are
used
for
the
first
parameter,
encoders
3
and
4
for
the
second,
and
so
on.
 4:
On
each
unit,
encoders
1
to
4
are
used
for
the
first
parameter,
encoders
5
to
8
for
the
second,
and
so
on.
Only
when
all
Parameters
fit
in
one
Page
When
this
option
is
checked,
the
defined
number
of
encoders
are
only
used
when
there
are
sufficient
encoders
available
to
show
all
parameters
without
changing
pages.
As
an
example:
 You
have
a
Logic
Control
and
two
Logic
Control
XTs,
providing
you
with
24
encoders.
 A
plug-in
with
13
parameters
will
be
shown
with
one
encoder
per
parameter.
Eleven
encoders
will
remain
unused.
 A
plug-in
with
11
parameters
will
be
shown
with
two
encoders
per
parameter.
Two
encoders
will
remain
unused
(as
will
the
inactive
encoders
of
the
abovementioned
sub-divisions).
When
the
option
is
unchecked,
multiple
encoders
are
used
for
each
parameter,
which
may
require
scrolling.
This
would
not
be
the
case
if
only
one
encoder
was
used
for
each
parameter.
28 Chapter
1
Control
Surface
Setup
Show
Value
Units
For:
Allows
you
to
adjust
whether
parameter
values
will
be
appended
by
the
measurement
“unit,”
where
applicable—“Hz”
or
“%”,
for
example.
You
can
set
this
option
separately
for
Instrument
/
Plug-in
parameters
and
Volume
and
other
parameters.
If
you
can
do
without
the
value
units,
the
display
is
less
cluttered.
Controller
Assignments
The
Controller
Assignments
button
launches
the
Controller
Assignments
Editor.
Setup
The
Setup
button
launches
the
Control
Surfaces
Setup
window.
Help
Tags
Control
Surfaces
that
offer
freely
programmable
displays
with
more
than
six
characters
per
line/segment
of
the
display,
can
use
Control
Surfaces
Help
Tags.
These
Help
Tags
are
similar
to
Logic
Help
Tags,
showing
additional
information
during
use.
You
can
determine
the
type
of
information
displayed
in
the
Help
Tags
pane
of
the
Control
Surfaces
preferences.
While
Editing
Show
Long
Names
For:
 Parameter
Name—While
editing
a
parameter,
the
upper
LCD
line
displays
the
full
parameter
name,
rather
than
an
abbreviated
form
of
it.
 Parameter
Value—While
editing
a
parameter,
the
lower
LCD
line
displays
the
full
parameter
value.
If
the
Show
value
unit
for
parameter
box
(see
below)
is
checked,
it
will
be
appended
by
the
measurement
unit,
where
applicable—“dB”,
“Hz”
or
“%”.
Note:
The
following
options
only
have
an
effect
if
at
least
one
of
the
two
parameters
above
is
active.
Display
duration
(s)
Use
the
mouse
to
adjust
the
time
that
parameter
names
and
values
remain
on
the
LCD
display,
following
selection/adjustments.
Allow
multiple
info
This
determines
the
behavior
when
you
edit
multiple
parameters
simultaneously.
When
enabled:
the
long
name
info
remains
in
the
display,
until
the
most
recently
edited
parameter’s
display
times
out.
This
may
cause
overlapping
text.
When
disabled:
the
long
name
display
is
only
shown
for
the
most
recently
edited
parameter.
This
can
cause
flicker.
Show
info
when
selecting
tracks
When
this
option
is
checked,
and
you
select
a
track,
you
will
see
“Selected”
in
the
upper
row,
and
the
selected
track’s
name
in
the
lower
row
of
the
LCD.
You
can
disable
this
feature,
if
you
find
it
disconcerting.
Chapter
1
Control
Surface
Setup 29
Show
info
when
editing
volume
When
this
option
is
checked,
and
you
edit
a
track’s
volume,
you
will
see
“Volume”
in
the
upper
row
and
the
new
volume
value
in
the
lower
row.
You
can
disable
this
feature,
if
you
find
it
disconcerting.
Show
Value
Units
For:
Allows
you
to
adjust
whether
parameter
values
will
be
appended
by
the
measurement
“unit,”
where
applicable—“Hz”
or
“%”,
for
example.
You
can
set
this
option
separately
for
Instrument
/
Plug-in
parameters
and
Volume
and
other
parameters.
If
you
can
do
without
the
value
units,
the
display
is
less
cluttered.
Note:
This
parameter
only
applies
while
editing.
Customizing
Control
Surfaces
Logic
allows
you
to
reprogram
existing
assignments
for
supported
control
surfaces
and
to
program
new
assignments
for
unsupported
control
surfaces.
This
facility
allows
you
to
extend
the
use
of
faders,
knobs,
and
switches,
either
directly
or
through
the
use
of
modifier
commands.
As
an
example,
The
buttons
F1
to
F8
of
the
Logic
Control
are
assigned
to
screensets
1
to
8
by
default.
When
reassigned
directly,
or
combined
with
the
Shift,
Option,
Control,
and
Command
modifiers
(used
in
any
combination),
you
can
freely
assign
any
command
to
these
function
keys
(F1
to
F8).
To
assign
a
MIDI
control
to
a
parameter:
1 Click
the
destination
parameter
that
you
want
to
“teach”
Logic.
2 Activate
Learn
by
pressing
Command-L
(default),
or
via
the
Logic
>
Preferences
>
Control
Surfaces
>
Learn
Assignment
for
“xxx”
menu
option
(the
parameter
name
is
appended
to
the
menu
item
text).
3 The
(small)
assignment
editor
window
is
launched,
with
the
Learn
Mode
button
enabled.
 If
you
continue
to
hold
down
the
computer’s
Command
key
(or
whatever
modifier
key
is
assigned
to
the
key
command),
a
Help
Tag
will
indicate
what
needs
to
be
done
next
(move
control,
for
example).
 If
MIDI
messages
are
received
while
the
Command
key
is
held
down,
releasing
the
key
closes
the
Help
Tag
window,
and
the
learn
procedure
is
completed.
Note:
If
no
MIDI
messages
are
received,
releasing
the
Command
(modifier)
key(s)
leaves
the
Learn
Mode
button
enabled,
allowing
you
to
immediately
retry
the
generation
of
the
intended
control
message.
You
will
need
to
disable
the
Learn
Mode
button
manually,
once
the
procedure
is
completed.
To
abort
the
learn
procedure:
m Either
press
Command-L
a
second
time,
or
click
the
Learn
Mode
button.
30 Chapter
1
Control
Surface
Setup
This
will,
however,
result
in
a
new,
unfinished
assignment.
You
can
re-enable
the
Learn
Mode
button
to
assign
a
message.
To
delete
a
MIDI
control
assignment:
1 Click
the
destination
parameter
that
you
would
like
to
delete.
2 Select
the
Logic
>
Preferences
>
Control
Surfaces
>
Delete
Assignment
for
“xxx”
menu
option
(the
parameter
name
is
appended
to
the
menu
item
text),
press
the
backspace
key—or
you
may
use
the
Edit
>
Clear
menu
option.
To
assign
a
control
surface
button
to
a
key
command:
1 Select
the
desired
key
command
in
the
Key
Commands
window.
2 Click
the
Learn
New
Assignment
button.
3 Press
a
control
surface
button
that
sends
a
MIDI
message.
Note:
After
about
5
ms,
the
Learn
New
Assignment
button
is
automatically
deactivated.
This
is
designed
to
prevent
recording
of
a
button
release
message.
It
is
also
possible
to
assign
a
key
command
to
a
button/key
release
message:
1 Simply
press
and
hold
the
desired
button/key
before
you
enable
the
Learn
New
Assignment
button.
2 When
you
release
the
button/key,
the
selected
key
command
is
assigned
to
the
button
release
message.
To
delete
a
key
command
assignment:
1 Select
the
desired
key
command
in
the
Key
Commands
window.
2 Press
the
Backspace
key.
Changing
an
Existing
Assignment
The
Learn
procedure
opens
the
Assignment
Editor
in
Easy
View,
which
offers
an
overview
of
the
most
important
parameters,
allowing
you
to
tweak
the
newly-created
assignment
in
the
following
ways:
 Control
Name
(Learned
for
unsupported
devices;
name
of
control
for
supported
devices).
 Class
(Track,
for
example).
 Object
(Fader
Bank,
for
example).
 Parameter
(Volume
or
Plug-in
parameter
5—relative
to
the
parameter
bank,
for
example).
 Value
Change
message
(Display
only).
 Mode
(Direct,
Toggle,
Scaled,
Relative,
Rotate,
X-OR).
 For
On/Off
parameters,
the
mode
is
set
to
Toggle
by
default.
Otherwise
it
is
set
to
Scaled
if
an
absolute
control
(fader,
pot)
has
been
recognized,
or
to
Relative
if
an
encoder
has
been
recognized.
Chapter
1
Control
Surface
Setup 31
 Multiply,
with
shortcuts
for
+1
and
–1
(–1
for
decrementing).
Note:
For
details
on
the
abovementioned
Assignment
parameters
read
“Assignment
Parameters”
on
page
35.
For
a
full
view
of
all
parameters,
enable
the
Expert
View
option.
Shortcuts
for
Defining
Multiple
Assignments
If
you
want
to
define
multiple
assignments
in
the
Controller
Assignment
Editor,
you
can
use
the
following
shortcuts:
Scenario
1:
assign
faders
1
to
16
to
volume
of
tracks
1
to
16
1 Learn
volume
track
1
for
fader
1.
2 Learn
volume
track
16
for
fader
16.
3 As
the
track
“distance”
(15)
is
the
same
as
the
controller
number
distance
for
the
two
most
recently
learned
assignments,
a
“Do
you
want
to
fill
up
in
between?”
message
appears.
Select
OK
to
automatically
fill
the
faders
with
corresponding
Volume
assignments
for
each
track.
Note:
This
feature
also
works
for
any
other
track
parameter
(Pan,
Solo,
Mute,
and
so
on).
Scenario
2:
assign
knobs
1
to
16
to
plug-in
parameters
1
to
16
1 Learn
parameter
1
for
knob
1.
2 Learn
parameter
16
for
knob
16.
Note:
The
parameter
enumeration
is
shown
in
the
Plug-in
window’s
Control
View.
3 As
the
gap
between
parameter
numbers
(15)
is
the
same
as
the
gap
between
controller
numbers
for
the
two
most
recently
learned
assignments,
a
“Do
you
want
to
fill
up
in
between?”
message
appears.
Select
OK
to
automatically
fill
the
knobs
with
corresponding
Parameter
assignments
for
each.
Note:
This
feature
also
works
for
instrument
parameters.
Currently,
this
only
works
for
knobs
that
send
a
single
channel
message,
where
the
first
data
byte
is
the
controller
number
and
the
second
data
byte
is
the
value.
Alternatively,
the
controller
number
can
be
encoded
in
the
MIDI
channel,
with
a
fixed
first
data
byte.
Zones,
Modes,
and
Assignments
You
can
define
“groups”
of
controls
on
a
control
surface
that
can
be
switched
between
different
operating
modes.
As
an
example,
the
Logic
Control
rotary
encoders
can
be
used
to
control
Pan,
Send
Level
or
plug-in
parameters.
Such
“groups”
are
called
Zones.
The
different
operations
that
can
be
performed
within
a
Zone
are
called
Modes.
A
Zone
contains
one
or
more
Modes,
one
of
which
is
the
active
Mode.
A
Zone
may
also
contain
modeless
assignments—assignments
which
are
always
active.
32 Chapter
1
Control
Surface
Setup
The
reason
for
this
structure
is
that
you
can
place
modeless
assignments
nearer
to
the
modal
assignments
they
are
associated
with.
As
an
example,
where
pressing
and
releasing
the
Option
button
switches
between
two
modes
for
the
Function
keys
of
an
assignment.
A
Mode
contains
any
number
of
assignments.
Only
the
active
Mode’s
assignments
are
processed
for
incoming
MIDI
and
feedback.
Assignments
of
inactive
Modes
are
ignored.
A
Zone’s
active
Mode
can
be
switched
by
special
Assignments
(see
below).
There
can
be
multiple
Zones.
As
examples,
one
for
the
encoders
and
a
second
one
that
switches
the
F1
to
F8
keys
to
different
functions.
Zones
and
Modes
can
be
defined
across
multiple
control
surfaces,
to
create
Control
Surface
Groups.
You
can
visualize
the
Control
Surface
System
as
a
hierarchical
list.
As
an
example:
Zone
1
 Modeless
Assignment
 Modeless
Assignment
 Mode
1
 Modal
Assignment
 Modal
Assignment
 Mode
2
(active)
 Modal
Assignment
 Modal
Assignment
 Modal
Assignment
 Modal
Assignment
 Mode
3
 Modal
Assignment
Zone
2
 Mode
4
(active)
 Modal
Assignment
 Mode
5
 Modal
Assignment
 Modal
Assignment
Chapter
1
Control
Surface
Setup 33
Reassigning
a
Control
If
you
want
to
reassign
a
control,
the
procedure
depends
on
the
current
state
of
the
control.
Case
1:
Control
is
currently
active
(an
assignment
for
this
control
is
part
of
an
active
Mode).
If
you
attempt
to
learn
an
assignment
for
an
“active”
controller,
the
following
message
is
displayed:
“This
control
is
currently
assigned
to
xxx.
Do
you
want
to
reassign
the
control?”
 Cancel—Deletes
the
learned
assignment.
 Parallel
assignment—Retains
the
new
assignment.
Typical
usage:
one
knob
controls
multiple
parameters
as
a
macro.
 Reassign—Deletes
all
existing
active
assignments
for
this
parameter.
Typical
usage:
reassigning
an
F1
to
F8
key
to
a
new
key
command.
 Create
new
mode—Creates
a
new
mode
and
places
the
assignment
into
the
new
mode.
In
this
scenario,
you
will
need
to
learn
an
assignment
to
switch
between
the
old
and
new
modes.
Should
you
choose
the
latter
option,
the
Controller
Assignment
Editor
opens
in
Expert
view,
with
the
new
mode
selected,
and
a
warning
icon.
If
you
move
the
mouse
cursor
over
the
icon,
a
Help
Tag
indicates
that:
“There
is
no
mode
change
assignment
yet
to
switch
to
this
mode.
Please
click
“Learn
Mode
Change”
to
create
one.”
Case
2:
Control
is
currently
inactive
(an
assignment
for
this
control
is
part
of
an
inactive
mode).
The
learned
assignment
is
moved
to
the
active
mode
of
the
zone
where
the
inactive
assignment
was
found.
Typical
usage
of
this
facility:
Supported
control
surfaces
have
empty
user
pages
available,
allowing
for
new
encoder
assignments.
You
would
select
user
mode,
and
then
learn
an
assignment
for
the
encoder.
You
can
define
multiple
pages
for
a
control
surface.
Cases
1
and
2
can
occur
simultaneously.
Reassigning
a
Parameter
Logic
allows
you
to
reassign
a
parameter
that
is
already
assigned
to
a
MIDI
control.
The
procedure
depends
on
the
current
state
of
the
assignment.
Case
1:
Assignment
to
a
parameter
that
is
currently
active
(as
it
is
part
of
an
active
mode)
If
you
attempt
to
change
an
existing
“active”
parameter
assignment,
the
following
message
is
displayed:
“This
destination
parameter
is
currently
assigned
for
control
xxx.
Do
you
want
to
reassign
the
parameter?”
34 Chapter
1
Control
Surface
Setup
 Cancel—Deletes
the
learned
assignment.
 Parallel
assignment—Retains
the
new
assignment.
Typical
usage:
One
knob
controls
multiple
parameters
as
a
macro.
 Reassign—Deletes
all
existing
active
assignments
for
this
parameter.
Typical
usage:
Reassigning
an
F1
to
F8
key
to
a
new
key
command.
Case
2:
Assignment
to
a
parameter
is
currently
inactive
If
an
assignment
to
a
parameter
is
currently
inactive
(as
it
is
part
of
an
inactive
mode),
no
special
action
is
required.
The
Controller
Assignments
Editor
The
Controller
Assignments
Editor
is
opened
via
the
Logic
>
Preferences
>
Control
Surfaces
>
Controller
Assignments
menu
item.
It
allows
you
to
edit
all
assignments
of
the
Controller
Assignments
table.
This
table
is
a
part
of
the
Control
Surfaces
Preferences
and
is
stored
(along
with
all
other
control
surface
support
settings)
in
the
~/Library/Preferences/com.apple.Logic.pro.cs
file.
The
Controller
Assignments
Editor
offers
two
view
modes:
Easy
and
Expert.
The
view
modes
can
be
switched
via
the
Expert
View
option
at
the
top
of
the
window.
Easy
mode
is
designed
to
make
learning
Track
parameter
assignments
as
fast
and
efficient
as
possible.
Therefore,
this
window
only
shows
Track
parameters—when
first
opened.
After
switching
to
Expert
view
and
manually
choosing
another
parameter
class,
the
corresponding
parameters
are
also
shown
in
Easy
view.
It
is
generally
recommended
that
Easy
view
is
only
used
for
Track
parameter
assignments.
Easy
mode
offers
an
overview
of
the
following
parameters:
 Parameter:
Displays
clear
text
of
the
addressed
parameter.
 Track
(default):
This
field
can
be
used
to
specify
the
track
parameter
you
would
like
to
assign.
You
can
choose
between
the
Selected
option
(which
is
the
default,
if
creating
assignments
on
the
selected
track)
or
a
fixed
track
number
(if
you
want
to
set
up
your
controls
as
a
mixer
surface).
 Input
message:
Displays
the
incoming
message
data.
Note:
For
details
on
the
abovementioned
Assignment
parameters
read
“Assignment
Parameters”
on
page
35.
For
a
full
view
of
all
parameters,
enable
the
Expert
View
option.
Only
one
set
of
assignment
parameters
are
visible
at
a
time.
You
can
choose
the
desired
assignment
with
the
left/right
arrows
at
the
bottom
of
the
window.
If
you
activate
the
Follow
option
at
the
top
of
the
Controller
Assignments
window,
the
window
always
selects
the
assignment
that
matches
the
most
recently
received
incoming
MIDI
message.
Chapter
1
Control
Surface
Setup 35
In
Expert
mode,
there
are
four
re-sizable
columns:
 Zone—Selects
the
Zone
that
contains
the
Modes
and
assignments
being
edited.
The
first
entry
“(No
Zone)”
is
for
zoneless
assignments.
Double-click
a
Zone
name
to
edit
it.
 Mode—Selects
the
Mode
that
contains
the
assignments
being
edited.
The
first
entry
“(No
Mode)”
is
for
mode-less
assignments.
Double-click
a
Mode
name
to
edit
it.
Selecting
a
Mode
in
the
list
also
makes
it
the
Zone’s
active
Mode.
The
active
Mode
is
marked
with
an
arrow.
 Control/Parameter—Selects
the
assignment
displayed
in
the
editor
to
the
right.
Multiple
selection
is
possible
for
operations
in
the
Edit
menu.
In
this
scenario,
however,
only
the
first
selected
assignment
is
displayed.
The
left
column
displays
the
control
name,
the
right
column
the
controlled
parameter
(in
an
abbreviated
form).
 Assignment
Parameters—Displays
all
parameters
of
an
assignment.
See
the
next
section.
If
you
activate
the
Follow
option
at
the
top
of
the
Controller
Assignment
Editor,
the
window
always
selects
the
assignment
that
matches
the
most
recently
received
incoming
MIDI
message.
Assignment
Parameters
The
following
section
covers
all
parameters
that
can
be
edited
in
the
Controller
Assignment
Editor.
Control
Name
Name
of
the
control
(Fader
1,
for
example).
This
is
Learned
by
default
for
assignments
created
with
the
Learn
function
(see
above)
from
supported
control
surfaces.
This
name
is
for
information
purposes
only
and
has
no
influence
on
functionality.
Label
Text
displayed
on
control
surfaces
that
feature
a
display
(and
are
supported
by
a
plugin).
A
@
character
starts
an
escape
sequence
which
acts
as
a
placeholder
for
dynamically
generated
text.
The
escape
sequence
consists
of
three
characters:
@
and
two
additional
characters:
36 Chapter
1
Control
Surface
Setup
First
Character:
Second
Character:
Example:
“Send@s#”
shows
“Send1”,
“Send2”,
and
so
on.
Flip
Group
When
set
(to
any
value
other
than
“none”),
this
number
defines
a
counterpart
for
Flip
Mode.
By
setting
a
fader
and
an
encoder
to
the
same
Flip
Group,
for
example,
they
are
coupled.
To
set
“none,”
enter
0.
Exclusive
Only
for
supported
control
surfaces:
when
the
Exclusive
checkbox
is
enabled,
the
assignment
deactivates
all
other
assignments
that
have
Exclusive
disabled
(for
the
same
control).
This
limits
the
overwriting
of
a
modeless
assignment
to
particular
modes.
Example:
Faders
normally
control
volume.
If
you
want
to
create
a
mode
where
faders
control
send
level,
enable
Exclusive.
Class
This
pop-up
menu
can
be
used
to
define
the
assignment
class
or,
put
another
way,
what
type
of
destination
parameter
is
controlled.
The
following
section
explains
all
available
Class
options.
Character Meaning
t Track
r Surround
s Send
slot
S All
Sends
e EQ
band
E all
EQs
p Plug-in
Insert
slot
i
Instrument
Character Meaning
# Number
of
above
(track
number,
Send
slot,
EQ
band,
Plug-in
slot)
n Name
of
above
p Name
of
parameter
addressed
by
the
assignment
P Name
of
first
parameter
o Parameter
offset,
counted
from
1
O Maximum
parameter
offset,
counted
from
1
b Parameter
bank
(=
parameter
offset/bank
size),
counted
from
1
B total
number
of
banks
(=
parameter
offset/bank
size),
counted
from
1
Chapter
1
Control
Surface
Setup 37
Mode
Change
The
Mode
Change
option
allows
you
to
use
an
assignment
to
activate
a
mode
in
a
Zone.
An
additional
Mode
pop-up
menu
appears
below
the
Class
menu,
offering
different
Modes
you
can
switch
to.
As
an
example:
The
Assignment
buttons
on
a
Logic
Control
choose
several
Modes
for
the
encoders.
Note:
The
Mode
that
is
recalled
also
depends
on
the
option
set
in
the
Value
section’s
Mode
menu
(See
“Mode”
on
page
43.).
The
following
table
explains
how
the
different
Value
Modes
take
effect.
Global
The
Global
option
allows
you
to
use
an
assignment
to
control
global
parameters.
An
additional
Global
pop-up
menu
appears
below
the
Class
menu,
offering
the
parameters
listed
in
the
following
table.
Value
Mode
option Explanation
Direct
The
stated
Mode
is
activated
in
the
Zone
it
belongs
to.
It
is
not
necessary
for
the
Mode
Change
assignment
to
be
located
in
the
same
Zone.
Example:
While
Shift
is
held
down,
button
X
switches
the
encoders
to
EQ
view.
The
Shift
and
X
buttons
are
in
Zone
A,
but
the
encoders
are
in
Zone
B.
All
other
value
modes:
Only
the
Modes
of
the
Zone
the
Mode
Change
assignment
is
located
in
can
be
recalled.
The
destination
parameter
minimum
is
this
Zone’s
first
Mode,
and
the
maximum
is
the
Zone’s
last
Mode.
Toggle A
button
might
toggle
between
the
Zone’s
first
Mode
and
the
stated
Mode
Relative Useful
for
stepping
up
and
down
through
Modes
of
a
Zone
using
two
buttons,
or
for
choosing
a
mode
using
an
encoder.
Rotate Useful
for
stepping
through
all
modes
using
a
single
button.
A
jog
wheel,
for
example:
Off
→
Scrub
→
Shuttle
→
Off
Global
Options Explanation
SPL Song
Position
Line;
Text
feedback
in
format
of
foreground
window
(beats
or
time
code)
SPL
(Beats) Song
Position
Line;
Text
feedback
in
beats
format
SPL
(Time
Code) Song
Position
Line;
Text
feedback
in
time
code
format
SPL
(Beats,
Scrubbing)
Song
Position
Line;
Text
feedback
in
beats
format.
Value
change
does
not
set
SPL
directly,
but
initiates
scrubbing.
The
value
defines
the
scrubbing
speed
Move
Locators Moves
left
and
right
locators
Left
Locator Sets
left
locator
Right
Locator Sets
right
locator
Move
Drop Moves
Drop
In
and
Drop
Out
locators
Drop
In
Locator Sets
Drop
In
locator
Drop
Out
Locators Sets
Drop
Out
locator
38 Chapter
1
Control
Surface
Setup
Note:
All
options
listed
in
the
table
above
work
only
in
relative
mode.
See
the
“Clock
Part”
sub-parameter.
Dependent
of
the
option
chosen
in
the
Global
menu,
you
have
access
to
the
following
two
additional
parameters:
 Clock
Part—Chooses
the
resolution
of
the
parameter
change:
Bar,
Beat,
Format,
Ticks,
Cycle
Length
 Marker
No—Determines
the
destination
marker
number
Marker
Position Edits
position
of
current
marker
Marker
Length Edits
length
of
current
marker
Global
Options Explanation
Global
Options Explanation
Nudge
selected
Regions/Events
Nudges
the
selected
Regions
or
events
by
the
chosen
Nudge
Value
(see
below)
Any
Solo Feedback
only,
used
for
“Rude
Solo
Light”.
On
if
any
Solo
(track
or
Region)
switch
is
enabled
Nudge
Value Nudge
Value
used
for
Nudge
selected
Regions/Events.
Possible
values
are:
Tick,
Format,
Beat,
Bar,
Frame,
1/2
Frame
Scrub
Status Sets
the
scrubbing
status
for
parameter
SPL
(beats,
scrubbing).
Possible
values
are:
set
clock,
audio
scrubbing,
Shuttle
Automation
of
all
tracks
Sets
the
automation
mode
of
all
tracks.
Possible
values
are:
Off,
Read,
Touch,
Latch,
Write,
MIDI
Alert
Text,
Alert
Button,
Alert
Icon
Used
by
plug-ins
to
define
special
alert
mode.
Dummy No
function;
Used
to
temporarily
disable
a
modeless
assignment,
using
“Exclusive”
Cycle Sets
Cycle
mode
Drop Sets
Drop
mode
Go
to
Marker Sets
the
SPL
to
marker
number
Group
Clutch Sets
the
Automation
Group
Clutch;
Automation
Groups
are
disabled
when
the
Clutch
is
enabled.
For
buttons,
set
the
Group
Clutch
to
1
when
the
button
is
pressed,
and
set
it
to
0
when
the
button
is
released
Active
Sense Used
by
the
HUI
to
process
incoming
“Active
Sensing”
messages
Shuttle
Speed Sets
Shuttle
Speed
directly;
Use
for
shuttle
rings
that
send
an
absolute
value
Waveform
Zoom Sets
Waveform
zoom
in
active
Arrange
window,
if
open
and
in
foreground
Quantize
value Sets
the
Quantize
value
in
the
current
window
(if
this
parameter
is
available)
Format
Sets
the
Format
value
in
the
current
window
(if
this
parameter
is
available)
Horizontal
Zoom Sets
horizontal
zoom
in
the
current
window
(if
this
parameter
is
available)
Vertical
Zoom Sets
vertical
zoom
in
the
current
window
(if
this
parameter
is
available)
Chapter
1
Control
Surface
Setup 39
Track
The
Track
option
allows
you
to
use
an
assignment
to
set
a
track
parameter.
An
additional
Track
pop-up
menu
appears
below
the
Class
menu,
offering
the
parameters
listed
in
the
following
table.
If
you
choose
the
Fader
Bank,
Index,
Bus,
Output,
or
Master
option
in
the
Track
pop-up
menu,
the
following
two
parameters
are
also
available:
 No.—A
0-based
offset
which
is
added
to
the
track
number.
Typical
usage:
Fader
1
uses
offset
0,
Fader
2
uses
offset
1
and
so
on.
 Parameter—Clear
text
of
the
addressed
parameter.
Can
only
be
set
by
the
Learn
Assignment
for
xxx
menu
item.
Note
that
for
plug-in
and
instrument
parameters,
Parameter
Page
offsets
apply,
allowing
you
to
shift
the
parameter
addressing
up
and
down.
Key
If
you
choose
the
Key
option
in
the
Class
menu,
a
key
press
is
emulated.
A
field
appears
below
the
Class
menu,
allowing
you
to
input
the
desired
key.
Key
Command
If
you
choose
the
Key
Command
option
in
the
Class
menu,
a
key
command
is
executed.
A
field
appears
below
the
Class
menu,
where
the
key
command
that
should
be
executed
is
displayed.
Some
key
commands
provide
on/off
or
enabled/disabled
feedback.
This
can
only
be
set
by
using
the
Learn
New
Assignment
button
in
the
Key
Commands
window.
Track
Options Explanation
Fader
Bank This
addresses
a
track
in
the
Control
Surface
Group’s
current
View
mode
(Mixer,
Global,
Arrange),
depending
on
the
Control
Surface
Group’s
current
Fader
Bank
value
for
this
Mode
(see
below).
Example:
The
View
mode
is
Mixer,
the
Mixer
view
Fader
Bank
is
five,
and
the
number
next
to
this
parameter
is
two.
Thus,
the
eighth
track
in
the
Mixer
view
is
addressed
(Fader
Bank
and
No.
are
0-based,
so
add
1)
Selected This
normally
corresponds
to
the
selected
Arrange
track.
Exception:
if
the
Control
Surface
Group’s
Track
Lock
parameter
is
enabled,
then
“Selected”
corresponds
to
the
track
that
was
selected
when
Track
Lock
was
enabled
Index Same
as
Fader
Bank
option,
but
doesn’t
depend
on
the
current
Fader
Bank
value
Bus An
Audio
Bus.
No.
defines
which
Bus
is
addressed
(again:
0-based;
to
address
Bus
2,
use
a
value
of
1)
Output Same
as
Bus
option,
but
for
Output
Objects
Master The
Master
Output
Object;
If
it
does
not
exist
in
the
song,
the
first
Output
Object
is
addressed
40 Chapter
1
Control
Surface
Setup
If
you
want
your
key
command
assignment
to
be
repeatedly
executed,
enable
the
Key
Repeat
checkbox
at
the
bottom
of
the
Key
Command
Assignments
Editor.
For
further
information,
see
“Key
Repeat
Checkbox”
on
page
44.
Control
Surface
Group
If
you
choose
the
Control
Surface
Group
option
in
the
Class
menu,
you
can
set
a
property
for
the
Control
Surface
Group
that
the
assignment
belongs
to.
A
Parameter
menu
appears
below
the
Class
menu,
where
you
can
choose
between
the
options
described
in
“Control
Surface
Group
Parameters”
on
page
19,
with
the
additions
listed
in
the
following
table.
Note:
Assignments
for
unsupported
control
surfaces
always
belong
to
the
first
Control
Surface
Group.
If
you
choose
a
Fader
Bank
or
Parameter
Page
option
in
the
Parameter
menu,
the
following
Bank
Type
options
are
also
available.
 By
One—The
fader
bank
or
parameter
page
is
shifted
by
one
track
or
parameter.
 By
Bank—The
fader
bank
or
parameter
page
is
shifted
by
the
number
of
displayed
tracks
or
parameters.
 CS
Group
Setting—The
fader
bank
or
parameter
page
is
shifted
by
the
value
defined
by
the
“Parameter
Shift
Mode”
Control
Surface
Group
Parameter.
Parameter
Option Additional
Info
Current
Mode
Fader
Bank Maps
to
the
Fader
Bank
for
the
currently
used
View
mode
(Mixer,
Global,
Arrange).
This
way,
you
need
only
one
assignment
per
left/right
button
for
all
View
Modes.
Global
View
Filter When
this
parameter
is
selected,
eight
additional
switches
for
the
eight
object
classes
are
displayed
when
the
View
mode
is
Global.
Depending
on
the
Value
Mode,
these
switches
define
which
objects
are
displayed
(by
using
“Direct”
mode)
or
which
are
toggled
(by
using
“X-OR”
mode).
MIDI
Tracks
Fader
Bank;
Inputs
Fader
Bank;
Audio
Tracks
Fader
Bank;
Instruments
Fader
Bank;
Aux
Fader
Bank;
Busses
Fader
Bank;
Output
Fader
Bank;
User
Fader
Bank;
These
Fader
Bank
parameters
are
used
in
Global
View
when
only
one
object
class
is
displayed.
This
way,
you
can
switch
between
several
object
classes
while
retaining
the
current
Fader
Bank
for
each
class.
Chapter
1
Control
Surface
Setup 41
Automation
Group
If
you
choose
the
Automation
Group
option
in
the
Class
menu,
you
can
use
the
assignment
to
set
an
automation
group
parameter.
A
Parameter
Group
field
that
allows
you
to
determine
the
edited
group
appears
below
the
Class
menu.
Current
(entered
with
“0”)
means
the
group
selected
in
the
Automation
Group
Control
Surface
Group
parameter.
The
additional
Parameter
menu
allows
you
to
set
the
automation
group
parameter.
For
further
information,
see
the
Group
Settings
section
in
the
Logic
Pro
7
Reference
Manual.
MIDI
Input
Incoming
MIDI
messages
are
only
processed
on
MIDI
Input.
When
this
parameter
is
changed,
all
other
assignments
using
the
same
input
will
also
have
their
input
changed
accordingly.
If
the
assignment
belongs
to
a
supported
control
surface,
the
device’s
MIDI
Input
will
also
change
in
the
Setup
window.
This
feature
allows
you
to
create
default
assignments
for
a
new
control
surface,
which
other
users
can
use
immediately.
To
do
so,
they
simply
need
to
place
your
com.apple.Logic.cs
preferences
file
into
their
Preferences
folder,
open
the
Controller
Assignments
Editor
and
change
one
assignment’s
MIDI
Input
parameter
in
accordance
with
their
MIDI
setup.
Value
Change
The
incoming
MIDI
message(s)
that
cause
a
value
change
in
the
destination
parameter
are
displayed
here.
To
edit
these
MIDI
messages,
switch
to
the
Expert
View
by
activating
the
corresponding
checkbox
in
the
upper
right
corner
of
the
Controller
Assignments
Editor.
In
the
Expert
View
you’ll
find
two
fields:
the
lower
one
is
only
a
display
that
shows
the
Value
Change
message
in
plain
text.
The
upper
field
display
allows
the
messages
to
be
viewed
and
edited
as
a
sequence
of
bytes,
displayed
in
hexadecimal.
There
are
placeholders
for
the
variable
part:
 Lo7:
Low
7
bits
of
the
value
 Hi7:
High
7
bits
of
the
value
If
there
is
only
a
Lo7
placeholder
in
the
message,
the
value
is
treated
as
7
bit.
If
there
is
also
a
Hi7
placeholder,
the
value
is
treated
as
14
bit.
The
order
of
Lo7
and
Hi7
is
honored,
and
there
may
be
constant
bytes
in
between.
This
allows
you
to
define
Control
Change
LSB
and
MSB
portions.
As
an
example:
B0
08
Hi7
B0
28
Lo7
Note:
When
entering
multiple
MIDI
messages,
do
not
use
Running
Status.
Always
write
down
the
entire
MIDI
message(s),
ensuring
that
you
repeat
the
status
byte,
even
if
it’s
the
same.
42 Chapter
1
Control
Surface
Setup
If
the
message
does
not
contain
Lo7
or
Hi7
placeholders,
an
incoming
value
of
1
is
assumed.
This
is
typical
for
pressed
or
released
buttons.
Also
see
the
“Multiply”
section
below.
Touch/Release
The
incoming
MIDI
message(s)
causes
a
change
in
the
touched/released
status
of
the
destination
parameter.
A
non
zero
value
means
touched;
a
value
of
0
means
released.
The
messages
are
displayed
and
entered
in
the
same
way
as
the
Value
Change
field
(see
the
“Value
Change”
section
above).
Note:
This
only
applies
to
the
Track
assignment
class
and
parameters
that
can
be
automated.
Min/Max
Defines
the
minimum
and
maximum
range
for
incoming
values
represented
by
Lo7
and
Hi7.
Typically,
the
full
range
of
0–127
is
used,
but
some
control
surfaces
may
use
the
same
message
with
different
value
ranges
for
different
controls
(CM
Labs
Motor
Mix,
for
example).
Format
Defines
the
way
negative
values
are
encoded
in
the
7-bit
portions
sent
over
MIDI.
You
can
choose
between
the
following
options:
 Unsigned—No
negative
values
are
possible.
The
full
7
or
14
bit
range
is
treated
as
a
positive
number.
This
results
in
a
value
range
of
0
to
127
or
0
to
16383.
 2's
complement—If
the
most
significant
bit
is
set,
the
value
is
negative.
To
obtain
the
absolute
value,
invert
all
bits
and
add
1.
This
results
in
a
value
range
of
–128
to
127
or
–8192
to
8191.
 1's
complement—If
the
most
significant
bit
is
set,
the
value
is
negative.
To
set
the
absolute
value,
invert
all
bits.
Note
that
this
allows
two
possible
encoding
values
for
zero.
This
results
in
a
value
range
of
–127
to
127
or
–8191
to
8191.
 Sign
Magnitude—If
the
most
significant
bit
is
set,
the
value
is
negative.
To
set
the
absolute
value,
clear
the
most
significant
bit.
Note
that
this
allows
two
possible
encoding
values
for
zero.
This
results
in
a
value
range
of
–127
to
127
or
–8191
to
8191.
The
appropriate
format
that
should
be
used
is
usually
documented
in
your
control
surface
user
manual.
If
unavailable,
check
the
control
surface
manufacturer’s
website,
or
contact
them
via
phone.
Multiply
Allows
the
incoming
value
to
be
scaled.
Especially
useful
for
button
presses
that
have
a
value
of
1.
Examples:
to
set
the
automation
mode
to
Write,
set
Multiply
to
4.00
and
Mode
to
Direct.
To
decrement
a
parameter
by
1
with
a
button
press,
set
Multiply
to
−1.00
and
Mode
to
Relative.
The
1
and
–1
menu
items
in
the
combo
box’s
menu
conveniently
enter
the
most
commonly
used
values
of
1
and
–1
Chapter
1
Control
Surface
Setup 43
Mode
Defines
the
way
the
incoming
value
modifies
the
current
parameter
value.
You
can
choose
between
the
following
parameters:
 Direct—The
incoming
value
is
the
new
parameter
value.
 Toggle—If
the
parameter’s
current
value
is
0,
it
is
set
to
the
incoming
value.
Otherwise
it
is
set
to
0.
This
option
is
useful
for
buttons
which
toggle
a
value:
Mute,
Solo,
and
so
on.
 Scale—The
incoming
value
is
scaled
from
its
value
range
to
the
destination
parameter’s
value
range.
Most
useful
for
faders
and
rotary
pots.
 Relative—The
incoming
value
is
added
to
the
parameter’s
current
value.
Used
by
encoders,
but
also
for
buttons
that
increment/decrement
by
a
certain
amount
(set
by
the
Multiply
parameter).
 Rotate—The
incoming
value
is
added
to
the
parameter’s
current
value,
cycling
between
maximum
and
minimum
values.
This
is
useful
for
button
presses
that
cycle
between
modes:
automation
mode,
for
example.
 X-OR—The
value
defines
a
bit
mask
which
is
applied
to
the
parameter’s
current
value
with
the
“exclusive
or”
Boolean
operation.
Useful
for
enabling/disabling
single
Object
types
in
Global
View.
Feedback
Defines
the
way
the
parameter’s
current
value
is
displayed
on
the
control
surface.
You
can
choose
between
the
following
options:
 None—No
feedback
is
sent.
 Single
Dot/Line—LED
rings:
only
one
LED;
LCDs:
a
single
vertical
line.
 Left
to
Right
Bar—A
bar
from
the
minimum
to
the
current
value.
 Right
to
Left
Bar—A
bar
from
the
current
value
to
the
maximum.
 Q/Spread—A
bar
from
the
center
to
the
current
value.
 Ascending
Bar
LCDs—A
bar
from
the
bottom
to
the
current
value.
 Descending
Bar
LCDs—A
bar
from
the
top
to
the
current
value.
 Text
Only—LED
rings:
no
feedback;
LCDs:
no
feedback
as
a
graphic
element.
 Automatic—Dependent
on
the
currently
assigned
parameter,
the
most
suitable
feedback
mode
is
used:
Plug-in
and
Instrument
parameters
carry
this
information,
Pan
uses
Single
Dot/Line,
all
other
parameters
use
Left
to
Right
Bar.
Note:
Feedback
only
works
for
supported
control
surfaces,
and
not
all
settings
are
available
for
all
controls.
Text
Feedback
Checkbox
If
enabled,
a
textual
representation
of
the
current
value
is
sent
to
the
control
surface’s
display.
The
plug-in
determines
the
display
position
and
number
of
characters
that
are
used.
44 Chapter
1
Control
Surface
Setup
Local
Feedback
(Fader/Knob)
Checkbox
If
enabled,
no
feedback
is
sent
while
the
parameter
is
in
Touched
mode.
This
prevents
motorized
faders
from
“fighting”
against
the
user.
Key
Repeat
Checkbox
When
you
enable
the
Key
Repeat
checkbox,
the
assignment
is
repeatedly
executed.
The
Key
Repeat
Rate
slider—set
in
the
Mac
OS
X
Keyboard
&
Mouse
preferences—
determines
how
quickly
Logic
repeats
the
assignment.
The
duration
that
the
button/
controller
must
be
held
for,
before
the
assignment
is
repeated,
is
set
with
the
Delay
Until
Repeat
slider
in
the
Keyboard
&
Mouse
preferences.
Example:
This
facility
is
particularly
useful
for
the
zoom
function:
If
you
assign
a
key
repeat
command
to
the
Zoom
buttons
on
the
Logic
Control,
for
example,
you
can
simply
hold
down
the
Zoom
In
button.
Logic
will
zoom
in
until
the
Zoom
In
button
is
released.
This
mirrors
the
behavior
of
the
Zoom
key
commands.
In
earlier
versions,
you
had
to
repeatedly
press
the
(Logic
Control)
Zoom
buttons
to
zoom
in/out
more
than
one
level.
Note:
The
Key
Repeat
checkbox
is
only
available
for
key
commands,
key
presses
and
relative
value
changes.
If
any
other
assignment
class
is
selected,
the
checkbox
is
dimmed.
Logic
Pro
factory
key
command
assignments
already
support
the
Key
Repeat
function
(if
useful
and/or
applicable
to
the
control
surface/device)—making
changes
unnecessary
for
use
of
this
new
functionality.
If
you
want
to
enable
the
Key
Repeat
function
for
your
own
assignments,
you
may
need
to
use
the
re-learn
option
for
the
assigned
message.
Key
Repeat
messages
must
include
the
Lo7
byte,
which
provides
information
on
the
up
(released)
or
down
(pressed)
state
of
the
assigned
button.
Logic
guides
you
through
the
re-learning
process:
The
current
MIDI
message
is
automatically
cleared,
Learn
mode
is
activated,
and
a
Help
tag
prompts
you
to
send
the
desired
MIDI
message.
Releasing
the
assigned
button—after
learning
the
MIDI
message—automatically
creates
the
Lo7
byte,
and
assigns
the
Lo7
value
for
the
button
release
message
to
the
Min
parameter.
The
Lo7
value
for
the
„button
pressed“
message
is
automatically
assigned
to
the
Max
parameter.
Typically,
the
value
range
of
1–127
is
used
for
the
button
pressed
message.
The
zero
(0)
value
is
generally
used
for
button
released.
Chapter
1
Control
Surface
Setup 45
Note:
Some
control
surfaces
may
use
different
value
ranges
(CM
Labs
MotorMix,
for
example).
Assigning
the
used
value
range
to
the
desired
Min
and
Max
values
ensures
that
key
repeat
also
works
with
such
devices.
This,
however,
also
means
that
you
need
to
take
care
when
manually
changing
the
Min
or
Max
value
for
a
key
command
(in
cases
where
the
Min
and
Max
values
do
not
match
the
button
on
and
button
release
(off )
states,
the
complete
assignment
will
not
work).
Please
consult
your
control
surface
manual
for
further
information
about
the
values
used.
About
Modal
Dialogs
All
modal
dialogs
(except
file
selector
boxes)
are
shown
on
control
surfaces
that
feature
text
displays.
Modal
dialogs
do
not
allow
you
to
perform
actions
in
any
other
window
when
visible.
As
examples,
authorization
warnings,
edit
confirmations,
or
error
messages.
When
these
windows
“pop
up”
on-screen,
the
upper
LCD
row
(if
applicable)
shows
the
first
part,
or
all,
of
the
alert
text.
If
the
dialog
text
does
not
fit
into
the
LCD’s
upper
row,
it
will
start
scrolling
after
three
seconds.
You
can
scroll
the
dialog
text
manually
with
the
appropriate
control
(see
assignment
tables
in
the
appropriate
chapter).
Once
you
start
doing
so,
automatic
scrolling
is
disabled.
 If
there
is
an
Enter
or
OK
button
on
the
control
surface,
it
triggers
the
dialog’s
default
button,
where
applicable.
 If
there
is
a
Cancel
or
Exit
button
on
the
control
surface,
it
triggers
the
button
labeled
Cancel
or
Abort,
where
applicable.
 All
buttons
(push
buttons,
including
Enter/default
and
Cancel,
as
well
as
checkboxes
and
radio
buttons,
but
not
pop-up
buttons)
are
shown
in
the
display’s
lower
row.
Pressing
a
control
surface
button
below
the
display
triggers
the
appropriate
button/
function
in
the
dialog,
if
applicable.
Following
use
of
the
Enter/Cancel
button
on
the
control
surface
or
with
the
mouse,
the
dialog
will
disappear,
and
all
controls
and
displays
will
return
to
their
previous
state.
When
a
file
select
box
is
onscreen,
a
There is a file select dialog on the screen
message
appears
on
the
LCD
or
other
display
(if
applicable
to
your
control
surface).
46 Chapter
1
Control
Surface
Setup
Tips
Control
surfaces
change
the
way
you
use
Logic,
and
are
most
effective
if
you
make
a
few
small
modifications
to
your
working
methods.
The
following
collection
of
hints
will
help
you
to
work
more
smoothly
and
efficiently
with
your
control
surface/Logic
system.
Customize
your
Template/Autoload
Songs
 Set
up
Screensets
1–7
to
your
liking.
These
can
be
accessed
directly
with
some
control
surfaces
(on
a
Logic/Mackie
Control—via
Function
Keys—F1
to
F7.
Function
Key
8
(F8)
will
close
the
top-most
window).
 It
is
recommended
that
a
full-screen
Arrange
window,
with
Track
Automation
View
set
to
on,
is
among
your
Screensets.
 A
full-screen
Track
Mixer
window
is
also
recommended.
Make
Use
of
Markers
Not
much
more
can
be
said.
Markers
allow
you
to
quickly
navigate
from
location
to
location
in
a
project.
Most
control
surfaces
feature
a
number
of
shortcuts
that
allow
you
to
rapidly
switch
between
Markers.
Markers
are
very
useful
for
the
creation/selection
of
Cycle
areas
and
a
number
of
other
tasks,
such
as
Drop
In
and
Replace.
If
you
tend
to
follow
a
particular
song
structure,
or
like
to
work
with
a
particular
number
of
bars
(4,
8,
16
bars,
and
so
on)
for
verse
and
chorus
sections,
then
set
up
a
number
of
Markers
at
suitable
locations
in
your
Template/Autoload
songs.
Always
use
Projects
As
soon
as
Logic
is
launched,
and
the
desired
Template
or
Autoload
song
is
loaded,
you
should
routinely
create
a
new
project
folder,
and
name
it.
This
will
provide
a
default
folder
structure/file
path
that
contains
the
song
file
and
all
audio
files
associated
with
the
project.
You
can
also
choose
to
include
plug-in
Settings
files,
video
files,
Space
Designer
IR
files
and
EXS
Instruments
into
your
Project
folder,
if
desired.
The
button
assigned
to
Save
operations
on
your
control
surface
will
open
the
File
Save
dialog.
Once
the
project/song
has
been
saved
once,
pressing
the
“Save”
button
will
incrementally
save
the
project
without
launching
the
File
Save
dialog
window.
2
47
2 Logic
Control
This
chapter
will
introduce
you
to
using
Logic
with
a
Logic/
Mackie
Control
unit.
The
Logic
Control
and
Mackie
Control
Universal
units
are
functionally
identical.
All
information
in
this
chapter
(as
appropriate
for
the
device)
applies
to
the
Mackie
Control
Universal,
the
Mackie
Extender,
and
the
C4.
To
use
Logic
with
a
Logic/Mackie
Control
unit,
you
need:
 a
Logic/Mackie
Control
unit.
 Logic
Pro
7.1,
or
newer.
Set
Up
A
powered
Logic/Mackie
Control
unit
will
be
automatically
detected
when
Logic
Pro
is
launched.
You
can
use
the
Logic/Mackie
Control
in
an
independent
control
surface
group
(with
other
control
surface
icons
placed
above/below
the
Logic/Mackie
Control
icon),
or
combined
into
one
control
surface
group
with
one
or
more
control
surfaces
(such
as
Logic/Mackie
Control
XT
or
C4
units—place
the
icon(s)
to
the
right
of
the
existing
icon(s).
Foot
Switches
The
foot
switch
sockets
can
use
momentary
foot
pedals
with
either
a
positive
or
negative
polarity.
By
default:
 USER
SWITCH
A
is
assigned
to
Start/Stop.
 USER
SWITCH
B
is
assigned
to
Record
(note
that
a
track
must
be
selected
and
armed
for
recording
to
take
place),
 EXTERNAL
CONTROL
is
assigned
to
the
MASTERfader
level.
Only
use
an
expression
pedal
with
this
socket.
48 Chapter
2
Logic
Control
The
polarity
of
the
foot
switches
is
determined
by
the
Logic
Control
when
powered
up.
As
such,
you
should
first
connect
the
foot
switches,
then
turn
the
power
on.
Topics
in
this
chapter
are
broken
down
into
“Zones”
of
the
Logic
Control
surface.
The
Displays
The
Logic
Control
features
four
displays,
in
addition
to
LEDs
associated
with
individual
switches:
 Main
LCD
 Assignment
LED
 Song
Position/SMPTE
Time
display
 Solo
LED
The
following
section
discusses
these
displays.
LCD Assignment
display Time
display
V-Pots
Rec
Rdy,
Solo,
Mute,
and
Select
buttons
Faders
Jog
Cursor
buttons Wheel
Transport
Control
buttons
Assignment
buttons
Display
buttons
Channel
buttons
Function
keys
Chapter
2
Logic
Control 49
Liquid
Crystal
Display
(LCD)
Each
channel/parameter
can
be
indicated
by
a
name
or
value.
In
general,
the
upper
row
of
each
channel/parameter
will
display
an
abbreviated
form
of
the
track
name,
and
the
lower
row
will
display
the
(abbreviated)
parameter
name
and/or
value.
In
some
modes,
a
long
(full,
in
other
words)
parameter
or
other
name
will
be
displayed
briefly
on-screen,
when
adjusted.
The
display
of
long
names,
and
the
duration
of
this
display,
is
set
in
the
Control
Surfaces
preferences.
These
settings
are
discussed
in
the
Logic
Reference
manual.
Note:
8-bit
ASCII
characters
such
as
curly
quotes
and
umlaut
characters
are
replaced
by
the
best-possible
7-bit
ASCII
equivalent.
As
examples:
ä
=
ae,
ö=oe,
ü=ue,
á
=
a,
ø
=
oe,
oe
=
oe,
ß
=
ss,
å
=
a.
Assignment
LED
(Mode
Display)
The
Logic/Mackie
Control
features
a
two
digit,
seven-segment
LED
display
which
indicates
the
current
assignment
status
(also
referred
to
as
the
mode
display).
A
period
is
shown
at
the
bottom-right
of
the
display
whenever
a
Channel
Strip
view
is
active.
Song
Position/SMPTE
Time
Display
The
Logic/Mackie
Control
includes
a
multi-digit,
seven-segment
LED.
It
is
accompanied
by
two
small
LEDs
which
provide
a
quick
visual
indication
of
the
currently
active
display
format:
SMPTE
or
BEATS.
When
BEATS
mode
is
selected,
the
Position/Time
Display
is
divided
into
four
segments,
separated
as
follows:
Bars/Beats/Sub
Divisions/Ticks
When
SMPTE
mode
is
selected,
the
Position/Time
Display
is
divided
into
four
segments,
separated
as
follows:
Hours/Minutes/Seconds/Frames
The
display
format
can
be
viewed
in
a
number
of
ways.
This
can
be
altered
in
the
Display
preferences.
Solo
LED
This
LED
indicates
that
either:
an
audio
track
is
set
to
solo,
or
the
track
solo
mode
is
enabled.
It
is
a
helpful
visual
aid
in
situations
where
a
track
has
been
soloed
and
the
fader
bank
has
been
shifted—making
the
soloed
track’s
Solo
LED
invisible
on
the
control
surface.
50 Chapter
2
Logic
Control
The
Channel
Strip(s)
As
each
channel
strip
is
identical,
the
information
discussed
in
this
section
applies
equally
to
all
eight
channel
strips
on
the
Logic
Control
and
Logic
Control
XT
units.
V-Pot/V-Select
This
“soft”
potentiometer
can
be
used
to
adjust
the
send
level
and
pan,
plus
any
other
parameter
for
EQ,
instruments,
effects,
and
so
on.
The
V-Pot
can
also
be
used
to
scroll
through
and
choose
items—such
as
plug-ins,
Audio
Instruments
and
more—from
menus,
and
to
determine
destinations
for
sends.
The
V-Pot
also
contains
an
integrated
V-Select
push
button.
This
button
generally
sets
a
“default”
parameter
value
(where
a
parameter
has
more
than
two
possible
values),
or
switches
between
two
parameter
values
(on/off ).
The
V-Select
can
also
be
used
to
activate
a
function,
selected
through
use
of
the
V-Pot.
As
an
example,
the
V-Pot
can
be
rotated
in
order
to
select
an
effect
plug-in
for
a
particular
channel
Insert
slot.
Once
the
desired
effect
is
displayed
in
the
LCD,
a
simple
press
downwards
on
the
top
of
the
VPot
will
activate
the
V-Select
button.
In
the
example
given,
this
would
select,
and
insert,
the
effect
and
launch
the
Plug-in
window.
On
occasion,
the
V-Select
is
used
to
switch
to
a
special
Assignment
mode.
The
current
value
of
any
parameter
being
adjusted
by
the
V-Pot
is
displayed
on
the
LCD
(dependent
on
the
Name/Value
setting),
and
is
also
indicated
by
the
ring
of
LEDs
which
surround
it.
The
various
LED
“ring”
displays
are
shown
here:
This
will
vary
as
follows,
dependent
on
the
selected
parameter:
 Connected
series
of
LED
segments
from
left
to
right
(send
level,
for
example)
 Single
segment
(panorama
or
frequency,
for
example)
 Connected
series
of
LED
segments,
starting
in
the
center
position
and
fanning
to
the
left
or
right
(EQ
gain,
for
example)
 Series
of
connected
LED
segments,
starting
in
the
center
position
and
fanning
to
the
left
and
right
(Q-Factor,
for
example)
 An
LED
dot
below
the
V-Pot
indicates
the
centered/default
position
of
the
parameter
Chapter
2
Logic
Control 51
Holding
down
the
x/ALT
button
sets
the
V-Pots
to
high
resolution
parameter
adjustment
(fine)
mode,
where
applicable.
Holding
down
the
OPTION
button,
and
turning
the
V-Pot,
switches
between
the
minimum,
default,
and
maximum
parameter
value.
Rec/Rdy
(Record/Ready)
Button
This
button
arms
or
disables
the
channel
for
recording.
Each
channel
features
an
independent
Rec/Rdy
LED
which
is
lit
when
a
track
is
armed
for
recording.
Holding
down
the
OPTION
button,
while
pressing
any
channel’s
REC/RDY
button
will
disarm
all
tracks.
In
Global
view,
if
you
arm
an
audio
channel
which
is
currently
not
used
by
any
track
in
the
song,
and
then
start
recording,
you
will
be
asked
if
you
want
to
create
a
new
track
with
this
audio
channel
in
the
current
recording
folder.
Signal
LED
Indicates
the
presence
of
any
outgoing
MIDI
or
audio
signal.
When
recording,
the
presence
of
an
incoming
signal
will
be
indicated.
SOLO
Button
For
isolating
a
channel’s
signal.
Each
channel
features
an
independent
Solo
LED
which
illuminates
when
a
track
is
soloed.
The
Rude
Solo
LED—just
to
the
right
of
the
Position/
Time
Display
LED—also
illuminates
whenever
any
track
is
soloed.
Holding
down
the
OPTION
button,
while
pressing
any
channel’s
SOLO
button
will
disable
solo
for
all
tracks.
52 Chapter
2
Logic
Control
In
the
Send
Destination/Level
views
(see
“Send
Assignment
Modes”
on
page
61),
the
SOLO
button
controls
the
Pre/Post
mode
selection—in
both
Multi
Channel
and
Channel
Strip
views.
MUTE
Button
Used
to
defeat
the
track’s
signal.
Each
channel
features
an
independent
Mute
LED
which
illuminates
when
a
track
is
muted.
Holding
down
the
OPTION
button,
while
pressing
any
MUTE
button
will
unmute
all
tracks.
In
the
EQ
Frequency/Gain
and
Send
Destination/Level
views,
the
MUTE
button
controls
the
EQ
bypass
or
Send
mute
function.
This
affects
both
Multi
Channel
and
Channel
Strip
views.
SELECT
Button
This
button
is
used
to
select
a
channel
for
channel-based
editing
or
assignment
commands.
Each
channel
features
an
independent
SELECT
LED
which
illuminates
when
a
track
is
selected.
When
holding
down
the
SHIFT
button,
pressing
any
channel
SELECT
button
will
set
the
track’s
volume
to
unity
level
(0
dB).
While
holding
down
SHIFT,
a
SELECT
button’s
LED
indicates
if
the
track’s
volume
is
set
to
0
dB.
When
holding
down
the
OPTION
button,
pressing
any
channel
SELECT
button
will
create
a
new
track
(assigned
to
the
same
instrument
of
the
selected
track),
and
switch
to
Arrange
view.
When
holding
down
the
SHIFT
and
OPTION
buttons,
pressing
any
channel
SELECT
button
will
create
a
new
track
(with
the
next
instrument,
following
the
selected
track),
and
switch
to
Arrange
view.
Chapter
2
Logic
Control 53
Touch-Sensitive
Motor
Fader
These
100
millimeter
faders
control
channel
levels.
When
Flip
mode
is
activated,
the
parameter
currently
assigned
to
the
V-Pot
can
be
controlled
with
the
fader.
This
allows
you
to
more
easily
control
pans,
aux
returns,
MIDI
track
parameters,
EQs,
plug-in,
Audio
Instrument,
or
other
channel
parameter
levels/values.
Movement
of
the
eight
faders
is
relative
to
the
activity
of
the
currently
chosen
bank
of
on-screen
faders.
The
fader
bank
is
shifted
when
one
of
the
FADER
BANK
buttons
is
pressed.
Fader
behavior
in
other
modes
 In
Flip
mode:
duplicates
or
swaps
with
V-Pot
of
same
channel.
 In
Surround
Angle/Diversity
view:
adjusts
surround
diversity.
 In
EQ
Frequency/Gain
view:
adjusts
gain
of
selected
EQ
band.
 In
Send
Destination/Level
Multi
Channel
view:
adjusts
send
level
of
selected
send.
 In
Send
Destination/Level
Channel
Strip
view:
adjusts
send
level
of
send
on
selected
track.
Changing
Parameters
and
Values
Individual
parameters
can
be
adjusted
via
the
associated
V-Pot
(or
fader,
if
the
FLIP
button
is
active),
located
directly
below
the
parameter
entry
in
the
LCD.
To
do
so,
simply
grab
and
turn
the
desired
V-Pot.
Once
the
required
parameter
value
is
visible
in
the
LCD,
simply
release
the
knob.
Press
the
V-Select
button
to
set
the
default
value
(for
parameters
that
have
more
than
two
values),
or
switch
between
two
values
(for
parameters
with
only
two
possibilities,
such
as
on/off ).
54 Chapter
2
Logic
Control
Some
parameters
require
confirmation,
such
as
the
selection
of
plug-ins,
Audio
Instruments,
sends,
inputs,
outputs,
and
so
on.
For
these
types
of
parameters,
press
the
V-Select
button
(press
down
on
the
top
of
the
V-Pot)
to
activate/select
the
desired
value.
In
the
case
of
a
plug-in
or
Audio
Instrument,
this
will
automatically
launch
the
Plug-in
window
in
Logic.
For
a
send,
the
confirmed
channel
send
destination
will
be
activated
in
the
Logic
mixer(s).
When
a
value
has
been
pre-selected,
but
not
confirmed/instantiated
(such
as
send
destination,
plug-in
insertion
and
so
on)
the
value
will
flash
until
the
V-Select
button
is
pressed.
An
exponential
increase
in
value
changes
will
occur
as
a
V-Pot
is
rotated
more
quickly.
The
Assignment
Zone
The
small
light
gray
area
just
below
the
mode
display
contains
six
buttons.
These
ASSIGNMENT
buttons
work
in
both
Track
and
Global
view
modes.
View
modes
are
discussed
in
“Track
View
Mode”
on
page
20.
When
these
buttons
are
pressed,
the
mode
display,
plus
the
LED
associated
with
each
button,
will
update
to
reflect
the
currently
selected
assignment
mode.
The
LCD
will
also
update
to
display
the
parameters
relevant
to
the
selected
assignment.
These
parameters
are,
of
course,
assigned
to
the
corresponding
V-Pots.
All
ASSIGNMENT
buttons
work
as
switches,
which
means
that
if
you
click
them
repeatedly,
they
will
switch
between
the
Multi
Channel
and
Channel
Strip
view
modes.
 Multi
Channel
view—you
see
the
same
parameter
for
multiple
channels.
In
Multi
Channel
view,
the
mode
display
does
not
show
a
period—Example:
P1
 Channel
Strip
view—you
see
multiple
parameters
for
a
single
channel.
In
Channel
Strip
view,
the
mode
display
shows
a
period
to
the
right—Example:
P1.
Switching
between
Multi
Channel
and
Channel
Strip
views
is
achieved
by
pressing
the
selected
ASSIGNMENT
button
multiple
times.
If
you
press
an
ASSIGNMENT
button
which
is
not
currently
selected,
the
Assignment
mode
changes,
and
the
view
switches
to
Multi
Channel
view.
Exception:
Switching
between
Instrument
Edit
view
and
Plug-in
Edit
view
retains
the
Channel
Strip
view.
Chapter
2
Logic
Control 55
The
NAME/VALUE
button
also
has
an
effect
on
what
is
shown
on
the
LCD
when
in
the
Multi
Channel
and
Channel
Strip
views.
More
information
can
be
found
in
“Display
Zone”
on
page
71.
Track
Assignment
Modes
The
TRACK
button
selects
Assignment
modes
which
allow
the
editing
of
a
number
of
global
track
parameters.
It
switches
between
all
displayed
channels
and
the
individual
parameters
of
the
selected
channel
(Track
Multi
Channel
view
or
Track
Channel
Strip
view).
The
parameters
in
Track
Multi
Channel
view
include:
Volume,
Pan,
Track
mode,
Track
Input,
Track
Output,
and
Automation.
In
Track
Channel
Strip
view
you
will
see
an
overview
of
the
most
important
track
parameters:
Volume,
Pan,
Instrument,
Insert
1,
Insert
2,
Send
1
Level,
Send
2
Level,
and
Send
3
Level.
Track
Multi
Channel
View
Track
Multi
Channel
view
allows
you
to
edit
a
single
“global”
track
parameter
for
all
tracks:
Volume,
Pan,
Track
mode,
Input,
Output,
or
Automation.
The
parameter
being
edited
will
be
displayed
briefly
when
switching
to
this
mode.
 The
mode
display
will
show
tr
(for
“Track”).
 The
upper
LCD
row
shows
track
names.
Pressing
NAME/VALUE
switches
the
display
mode
to
show
parameter
values
in
the
lower
row:
As
these
display
variants
can
be
switched
in
all
Multi
Channel
Strip
views,
the
following
will
only
show
displays
in
Value
mode.
 Turning
the
V-Pots
changes
the
associated
track
parameter.
 Pressing
a
V-Select
sets
the
parameter
to
its
default
value.
 Cursor
Left/Right
buttons
switch
to
the
next
or
previous
track
parameter.
The
selected
parameter
will
be
displayed
briefly
in
the
upper
LCD
row.
Audio1 Audio2 Audio3 Audio4 Audio5 Audio6 Audio7 Audio8
Volume Volume Volume Volume Volume Volume Volume Volume
Audio1 Audio2 Audio3 Audio4 Audio5 Audio6 Audio7 Audio8
+0.1dB -1.8dB +01.dB -30.0 +0.0dB -50.2 -24.7 -1.2dB
56 Chapter
2
Logic
Control
Channel
Strip
View
Track
Channel
Strip
view
allows
you
to
edit
all
parameters
listed
above,
for
the
selected
track.
Â
The
mode
display
will
show
tr.
(track
channel
strip).
Â
The
upper
LCD
row
shows
the
name
of
the
track
and
“Track
parameters.”
Pressing
NAME/VALUE
switches
the
display
mode
to
show
parameter
names
in
the
upper
row
and
parameter
values
in
the
lower
row:
As
these
display
variants
can
be
switched
in
all
Channel
Strip
views,
the
following
will
only
show
displays
in
Value
mode.
Â
V-Pot/V-Select
1—edits
Volume.
The
lower
LCD
row
shows
the
current
track
volumes,
either
in
dB
or
numeric
format,
depending
on
the
settings
of
the
underlying
Environment
Objects.
Â
V-Pot/V-Select
2—edits
Pan
position.
The
lower
LCD
row
shows
the
current
track
pan
value,
ranging
from
minus
64
to
plus
63.
A
value
of
0
is
the
centered
position.
If
Surround
is
selected
as
the
Output
value,
this
controls
the
Surround
Angle.
Â
V-Pot
3—selects
the
instrument
of
Audio
Instrument
tracks.
Confirm
with
V-Select
3.
Â
V-Pot/V-Select
4
and
5—selects
the
plug-in
used
in
Insert
slots
1
and
2
(on
audio
and
Audio
Instrument
tracks).
Confirm
with
V-Select.
Â
V-Pot/V-Select
6
to
8—edits
the
Send
Level
of
Sends
1
to
3.
Holding
SHIFT
while
pressing
one
of
the
MUTE
or
V-Select
buttons
switches
between
mute
or
bypass:
Â
1
and
2—activates/deactivates
the
track’s
Mute
button.
Â
3—activates/deactivates
Mute
of
the
Audio
Instrument
used
on
the
track.
Â
4
and
5—activates/deactivates
Bypass
of
plug-ins
used
in
Insert
slots
1
and
2
(of
Audio
and
Audio
Instrument
tracks).
Â
6
to
8—activates/deactivates
Mute
of
Sends
1
to
3.
Shortcuts
Menu
Holding
down
the
TRACK
button
accesses
a
further
sub-menu
in
the
LCD.
Â
The
mode
display
will
show
t_
(Track)
Â
V-Select
1
or
F1—switches
to
Track
Multi
Channel
view
and
selects
Volume.
Track 1 "Audio 1" Track parameters
Volume Pan Inst Ins.1 Ins.2 Send 1 Send 2 Send 3
Volume Pan Inst Ins.1 Ins.2 Send 1 Send 2 Send 3
+0.5dB 0 ES2 Dstrtn AutFlt -54.0 -27.0 -oo dB
Volume Pan TrkMod Input Output Auto Setup
Chapter
2
Logic
Control
57
Â
The
LCD’s
lower
line
shows
the
current
volume
of
the
tracks,
in
dB
or
numerically,
depending
on
the
setting
of
the
underlying
Environment
Object.
Â
Turning
a
V-Pot
changes
the
volume.
Â
pressing
a
V-Select
sets
the
volume
to
the
default
value.
Â
V-Select
2
or
F2—switches
to
Track
Multi
Channel
view
and
selects
Pan.
Â
V-Select
3
or
F3—switches
to
Track
Multi
Channel
view
and
selects
Track
mode.
Â
V-Select
4
or
F4—switches
to
Track
Multi
Channel
view
and
selects
Input.
Â
V-Select
5
or
F5—switches
to
Track
Multi
Channel
view
and
selects
Output.
Â
V-Select
6
or
F6
—switches
to
Track
Multi
Channel
view
and
selects
Automation
mode.
Â
V-Select
7
or
F7—switches
to
Track
Multi
Channel
view
and
displays
the
automation
parameter
selected
in
the
Arrange
window.
Also
switches
to
Arrange
view.
Â
V-Select
8
or
F8—switches
to
Track
Setup
Channel
Strip
view
(see
below).
Track
Setup
Channel
Strip
View
In
this
mode,
rarely
used
parameters
can
be
edited
for
the
selected
track.
Â
V-Pot/V-Select
1—edits
Track
mode
(mono,
stereo,
left,
right).
Â
V-Pot/V-Select
2—selects
the
Surround
mode.
Confirm
with
V-Select
2.
Â
V-Pot/V-Select
3—selects
the
Track
Input.
Confirm
with
V-Select
6.
Â
V-Pot/V-Select
4—selects
the
Track
Output.
Confirm
with
V-Select
7.
Â
V-Pot/V-Select
5—edits
Automation
mode.
Â
V-Pot/V-Select
6—edits
track
group
membership.
You
can
only
choose
one
group
or
“Off.”
To
make
a
track
a
member
of
multiple
groups,
use
Group
Edit
mode
(see
below).
Pan/Surround
Assignment
Modes
Briefly
pressing
the
PAN/SURROUND
button
switches
between
Pan/Surround
Multi
Channel
and
Pan/Surround
Channel
Strip
view.
Multi
Channel
View
Pan/Surround
Multi
Channel
view
allows
you
to
edit
one
pan/surround
parameter
on
all
tracks:
Angle
or
Pan
(on
non-surround
tracks),
Radius
(diversity),
LFE,
Surround
mode
(on
surround
tracks).
The
parameter
being
edited
will
be
displayed
briefly
when
switching
to
this
mode.
Regardless
of
which
surround
parameter
is
selected
and
active,
non-surround
tracks
always
display
the
standard
Pan
control.
In
a
song
that
contains
both
surround
and
non-surround
tracks,
you
can
edit
a
specified
surround
parameter
for
surround
tracks,
while
the
V-Pot
of
non-surround
tracks
will
edit
panning,
as
usual.
Â
The
mode
display
will
show
Pn
(Pan).
Â
The
upper
LCD
row
shows
track
names.
58 Chapter
2
Logic
Control
Â
Turning
the
V-Pots
changes
the
pan/surround
parameter.
 The
Surround
Angle
parameter
rotates
between
0
and
359
degrees,
avoiding
any
angle
limit.
 Pressing
a
V-Select
sets
the
parameter
to
its
default
value.
 Cursor
Left/Right
switches
to
the
next
or
previous
surround
parameter.
The
selected
parameter
will
be
displayed
briefly
in
the
upper
LCD
row.
Channel
Strip
View
Pan/Surround
Channel
Strip
view
allows
you
to
edit
all
surround
parameters
for
the
selected
track.
 The
mode
display
will
show
Pn.
(Pan/Surround
channel
strip).
 The
upper
LCD
row
shows
the
name
of
the
track
and
“Pan/Surround.”
 V-Pot/V-Select
1—edits
angle
(or
pan
on
non-surround
tracks).
 V-Pot/V-Select
2—edits
diversity.
 V-Pot/V-Select
3—edits
LFE
level.
 V-Pot
4—selects
the
surround
mode.
Confirm
with
V-Select
4.
 V-Pot/V-Select
5—edits
Surround
X.
 V-Pot/V-Select
6—edits
Surround
Y.
The
Angle/Diversity
and
X/Y
pairs
influence
each
other.
Only
the
Angle/Diversity
parameters
are
automated
and
recorded.
Alternate
Mode
Options
Holding
down
the
PAN/SURROUND
button
accesses
a
further
sub-menu
in
the
LCD:
 V-Select
1
or
F1—switches
to
Pan/Surround
Multi
Channel
view
and
selects
angle.
 V-Select
2
or
F2—switches
to
Pan/Surround
Multi
Channel
view
and
selects
diversity.
 V-Select
3
or
F3—switches
to
Pan/Surround
Multi
Channel
view
and
selects
LFE
level.
 V-Select
4
or
F4—switches
to
Pan/Surround
Multi
Channel
view
and
selects
surround
mode.
 V-Select
6
or
F5—switches
to
Pan/Surround
Channel
Strip
view.
 V-Select
7
or
F6—switches
to
Surround
Angle/Diversity
Multi
Channel
view:
 the
mode
display
will
show
Ad
(Angle/Diversity).
Track 1 "Audio 1" Pan/Surround
SrrAng SrrDvr SrrLFE mode
Angle Radius LFE mode CStrip Ang/Dv
Chapter
2
Logic
Control
59
Â
the
upper
LCD
row
shows
track
names.
Â
the
lower
LCD
row
shows
the
surround
angle
currently
assigned
to
each
track.
Â
turning
a
V-Pot
changes
the
surround
angle
(or
adjusts
pan
position
on
nonsurround
tracks).
Â
pressing
a
V-Select
sets
the
surround
angle
to
its
default
value.
Â
the
faders
edit
surround
diversity.
Â
V-Select
8
or
F7—switches
to
Surround
X/Y
Multi
Channel
view:
Â
the
mode
display
will
show
XY
(X/Y—the
X
character
is
not
available
on
a
7
segment
display).
Â
the
upper
LCD
row
shows
track
names.
Â
the
lower
LCD
row
shows
the
surround
X
value
currently
assigned
to
each
track.
Â
turning
a
V-Pot
changes
the
surround
X
value
(or
adjusts
pan
position
on
nonsurround
tracks).
Â
pressing
a
V-Select
sets
surround
X
to
its
default
value.
Â
the
faders
edit
surround
Y.
Notes
on
Surround
X/Y
Editing
X
and
Y
have
a
value
range
of
–1000
to
+
1000,
but
the
resolution
is
not
that
high,
as
surround
positions
are
currently
recorded
as
7
bit
data.
Note:
The
X
and
Y
parameters
are
limited
to
a
rectangular
coordinate
system.
As
such,
value
pairs
outside
the
surround
circle
are
not
possible.
When
trying
to
set
a
value
which
would
lead
to
an
invalid
position,
the
other
coordinate
is
automatically
adjusted
to
a
valid
position.
Example:
moving
Y
to
+
1000
will
result
in
an
X
coordinate
value
of
0.
When
editing
only
one
coordinate,
the
other
coordinate
of
the
most
recently
track
is
remembered.
This
aids
in
the
creation
of
linear
(straight)
lines
of
movement.
EQ
Assignment
Modes
Briefly
pressing
the
EQ
button
switches
between
EQ
Multi
Channel
view
or
EQ
Channel
Strip
view.
Note:
If
no
Channel
or
Linear
Phase
EQ
is
present
on
the
selected
track,
a
Channel
EQ
will
be
inserted
automatically
when
the
EQ
Channel
Strip
view
is
entered.
Multi
Channel
View
EQ
Multi
Channel
view
allows
you
to
edit
one
equalizer
parameter
for
all
tracks:
Frequency,
Gain,
Q,
or
EQ
bypass.
The
EQ
band
number,
and
parameter
being
edited
will
be
displayed
for
one
second
when
switching
to
this
mode.
Â
The
mode
display
will
show
E1
to
E8,
dependent
on
the
selected
EQ
band
number.
Â
The
upper
LCD
row
shows
track
names.
Â
Turning
the
V-Pots
changes
the
EQ
parameter.
60 Chapter
2
Logic
Control
Â
Pressing
a
V-Select
sets
the
parameter
to
its
default
value.
Â
Cursor
Up/Down
switches
to
the
next
or
previous
EQ
band.
 Cursor
Left/Right
switches
to
the
next
or
previous
EQ
parameter.
The
selected
parameter
will
be
displayed
briefly
in
the
upper
LCD
row.
 Pressing
a
MUTE
button
while
the
SHIFT
button
is
held
down
switches
the
current
EQ
band’s
Bypass
status.
 When
Flip
mode
is
enabled,
the
MUTE
buttons
display
and
edit
the
current
EQ
band’s
Bypass
status.
Channel
Strip
View
EQ
Channel
Strip
view
allows
you
to
edit
all
EQ
parameters—in
all
bands—for
the
selected
track.
 The
mode
display
will
show
EQ.
(EQ
channel
strip).
 The
upper
LCD
row
shows
the
name
of
the
track,
“EQs,”
the
page
number
and
total
number
of
pages—Example:
“Page
1/2”.
 V-Pot/V-Select
1—edits
the
Frequency
of
odd-numbered
EQ
bands.
 V-Pot/V-Select
2—edits
Gain
of
odd-numbered
EQ
bands.
 V-Pot/V-Select
3—edits
Q-Factor
of
odd-numbered
EQ
bands.
 V-Pot/V-Select
4—edits
Bypass
of
odd-numbered
EQ
bands.
 V-Pot/V-Select
5—edits
the
Frequency
of
even-numbered
EQ
bands.
 V-Pot/V-Select
6—edits
Gain
of
even-numbered
EQ
bands.
 V-Pot/V-Select
7—edits
Q-Factor
of
even-numbered
EQ
bands.
 V-Pot/V-Select
8—edits
Bypass
of
even-numbered
EQ
bands.
 Cursor
Left/Right
switches
to
the
next
or
previous
EQ
band.
The
number
of
EQ
bands
displayed
on
the
LCD
depends
on
the
number
of
Logic
Control
(XT)
units
(two
EQ
bands
are
shown
per
unit)
available.
Alternate
Mode
Options
Holding
down
the
EQ
button
accesses
a
further
sub-menu
in
the
LCD:
 The
mode
display
shows
E_
or
E_.,
dependent
on
whether
you
were
in
EQ
Multi
Channel
or
EQ
Channel
Strip
view.
 V-Select
1
or
F1—switches
to
EQ
Multi
Channel
view
and
selects
Frequency.
 V-Select
2
or
F2—switches
to
EQ
Multi
Channel
view
and
selects
Gain
 V-Select
3
or
F3—switches
to
EQ
Multi
Channel
view
and
selects
Q.
 V-Select
4
or
F4—switches
to
EQ
Multi
Channel
view
and
selects
Bypass.
 V-Select
6
or
F6—switches
to
EQ
Channel
Strip
view.
Chapter
2
Logic
Control 61
 V-Select
7
or
F7—switches
to
Frequency/Gain
Multi
Channel
view.
In
this
mode
you
can
edit
the
Frequency
and
Gain
parameters
of
a
specific
EQ
band
(1
to
8)
for
all
tracks.
 the
mode
display
will
show
F1
to
F8,
depending
on
the
selected
EQ
band.
 the
upper
LCD
row
shows
track
names.
 the
lower
LCD
row
shows
the
Frequency
of
the
selected
EQ.
 turning
a
V-Pot
changes
EQ
Frequency.
 pressing
a
V-Select
sets
the
EQ
Frequency
to
its
default
value.
 use
the
Mute
buttons
to
Bypass
the
EQ.
 use
the
faders
adjust
the
EQ
Gain.
 V-Select
8
or
F8—switches
to
Frequency/Gain
Channel
Strip
view.
In
this
mode
you
can
edit
the
Frequency
and
Gain
parameters
for
all
EQ
bands
of
the
selected
track.
Each
pair
of
channel
strips
corresponds
to
one
of
the
EQ
bands.
 the
mode
display
will
show
FG.
 V-Pots
1
to
8
control
the
Frequency
of
EQ
bands
1
to
8.
 Mute
buttons
1
to
8
control
the
Bypass
of
EQ
bands
1
to
8.
 Faders
1
to
8
control
the
Gain
of
EQ
bands
1
to
8.
Note
that
the
faders
form
a
frequency
response
curve
in
this
mode,
if
the
EQ
bands
have
ascending
frequency
values.
You
can
edit
another
track’s
EQ,
without
leaving
this
view
mode,
by
simply
selecting
the
track.
Send
Assignment
Modes
Briefly
pressing
the
SEND
button
switches
between
Send
Multi
Channel
or
Send
Channel
Strip
view.
Multi
Channel
View
Send
Multi
Channel
view
allows
you
to
edit
one
Send
parameter
for
all
tracks:
Destination,
Level,
Position,
and
Mute.
The
Send
slot
number,
and
parameter
being
edited
will
be
displayed
for
one
second
when
switching
to
this
mode.
 The
mode
display
will
show
S1
to
S8,
depending
on
the
selected
Send
slot.
 The
upper
LCD
row
shows
track
names.
 Turning
the
V-Pots
changes
the
Send
parameter.
 Pressing
a
V-Select
confirms
the
pre-selected
Send
Destination
and
sets
the
other
send
parameters
to
their
defaults.
 Cursor
Up/Down
switches
to
the
next
or
previous
Send
slot.
62 Chapter
2
Logic
Control
 Cursor
Left/Right
switches
to
the
next
or
previous
Send
parameter.
The
selected
parameter
will
be
displayed
briefly
in
the
upper
LCD
row.
 Pressing
a
MUTE
button
while
the
SHIFT
button
is
held
switches
the
current
Send’s
Mute
status.
 When
Flip
mode
is
enabled,
the
MUTE
buttons
display
and
edit
the
current
Send’s
Mute
status.
Note:
Ensure
that
the
ZOOM
button
isn’t
active
when
using
the
cursor
buttons.
Channel
Strip
View
Send
Channel
Strip
view
allows
you
to
edit
all
Send
parameters
for
the
selected
track.
 The
mode
display
will
show
SE.
(Send
channel
strip).
 The
upper
LCD
row
shows
the
name
of
the
track,
“Sends”,
the
page
number
and
total
number
of
pages—Example:
“Page
1/4”
 V-Pot/V-Select
1—edits
Destination
of
odd-numbered
Sends.
 V-Pot/V-Select
2—edits
Level
of
odd-numbered
Sends.
 V-Pot/V-Select
3—edits
Position
(pre/post)
of
odd-numbered
Sends.
 V-Pot/V-Select
4—edits
Mute
of
odd-numbered
Sends.
 V-Pot/V-Select
5—edits
Destination
of
even-numbered
Sends.
 V-Pot/V-Select
6—edits
Level
of
even-numbered
Sends.
 V-Pot/V-Select
7—edits
Position
(pre/post)
of
even-numbered
Sends.
 V-Pot/V-Select
8—edits
Mute
of
even-numbered
Sends.
 The
horizontal
cursor
buttons
shift
between
pages.
The
number
of
Sends
displayed
simultaneously
is
dependent
on
the
number
of
Logic
Control
XTs
you
have.
Alternate
Edit
Mode
Options
Holding
down
the
SEND
button
accesses
a
further
sub-menu
in
the
LCD:
 The
mode
display
shows
S_
or
S_.,
depending
on
whether
you
were
in
Send
Multi
Channel
or
Send
Channel
Strip
view.
Track 1 "Audio 1" Sends Page 1/2
Snd3Ds Send 3 Snd3Ps Snd3Mt Snd4Ds Send 4 Snd4Ps Snd4Mt
Dest Pos Level Mute CStrip CSt2 Ds/LvM Ds/LvC
Chapter
2
Logic
Control
63
Â
V-Select
1
or
F1—switches
to
Send
Multi
Channel
view
and
selects
Destination.
Â
V-Select
2
or
F2—switches
to
Send
Multi
Channel
view
and
selects
Send
Level.
Â
V-Select
3
or
F3—switches
to
Send
Multi
Channel
view
and
selects
Position.
Â
V-Select
4
or
F4—switches
to
Send
Multi
Channel
view
and
selects
Mute.
Â
V-Select
5
or
F5—switches
to
Send
Channel
Strip
view.
Â
V-Select
6
or
F6—switches
to
Send
Channel
Strip
2
view:
This
mode
is
similar
to
Send
Channel
Strip
view,
but
parameters
are
arranged
in
a
slightly
different
way.
You
can
control
one
parameter
of
all
Send
slots
for
the
selected
track.
Â
The
mode
display
will
show
SE.
(Send
channel
strip).
Â
The
upper
LCD
row
shows
the
name
of
the
track,
“Sends”,
the
page
number
and
total
number
of
pages.
Â
V-Pot/V-Select
1
to
8—edits
the
displayed
parameter.
Â
The
horizontal
cursor
buttons
shift
between
pages.
The
number
of
parameters
displayed
simultaneously
is
dependent
on
the
number
of
Logic
Control
XTs
you
have.
Â
V-Select
7
or
F7—switches
to
Destination/Level
Multi
Channel
view:
In
this
mode,
you
can
control
one
Send
slot
for
all
tracks.
Each
channel
strip
corresponds
to
the
track
shown
in
the
upper
LCD
row.
Â
the
mode
display
will
show
d1
to
d8,
depending
on
the
selected
Send.
Â
the
upper
LCD
row
shows
track
names.
Â
the
lower
LCD
row
shows
the
destination
of
the
selected
Send.
Â
turning
a
V-Pot
pre-selects
the
Send
Destination.
Â
pressing
a
V-Select
confirms
the
pre-selected
Send
Destination.
Â
the
SOLO
buttons
edit
Send
Position—
a
lit
SOLO
LED
indicates
Pre
Fader
mode.
Â
the
MUTE
buttons
edit
Send
Mute.
Â
the
faders
edit
Send
Level.
Â
V-Select
8
or
F8—switches
to
Destination/Level
Channel
Strip
view:
You
can
control
all
Send
slots
for
the
selected
track
in
this
mode.
Each
channel
strip
corresponds
to
the
(embossed)
Send
number
shown
below
the
LCD.
Â
the
mode
display
will
show
dL.
Â
turning
a
V-Pot
pre-selects
the
corresponding
Send
Destination.
Track 1 "Audio 1" Sends Page 1/2
Snd1Ds Snd2Ds Snd3Ds Snd4Ds Snd5Ds Snd6Ds Snd7Ds Snd7Ds
64 Chapter
2
Logic
Control
Â
pressing
a
V-Select
confirms
a
preselected
Send
Destination.
Â
the
Solo
buttons
edit
Send
Position—a
lit
Solo
LED
indicates
Pre
Fader
mode.
Â
the
MUTE
buttons
edit
Send
Mute.
Â
the
faders
edit
Send
Gain.
If
one
or
more
Sends
are
activated
on
multiple
channels,
you
can
switch
between
them
in
the
Channel
Strip
views
by
simply
pressing
the
SELECT
button
for
the
desired
channel.
Plug-in
Assignment
Modes
Pressing
PLUG-IN
switches
between
Plug-in
Multi
Channel
or
Plug-in
Channel
Strip
view.
Note:
There
is
one
exception
to
this
behavior:
if
you
are
in
Instrument
Edit
view,
pressing
this
button
switches
to
Plug-in
Edit
view.
Multi
Channel
View
This
mode
shows
the
plug-ins
associated
with
a
particular
Insert
slot
for
all
channels.
Â
The
mode
display
will
show
P1
to
P9,
or
simply
10
to
16,
dependent
on
the
selected
Plug-in
Insert
slot
number.
Note
that
if
an
Audio
Instrument
channel
is
selected,
the
display
will
show
P1
to
P9
and
10
to
15.
Â
The
upper
LCD
row
shows
track
names.
Â
The
lower
LCD
row
shows
the
currently
selected
plug-in
for
this
Insert
slot.
Muted
plug-ins
are
shown
with
an
asterisk
*
that
precedes
the
plug-in
name.
Â
Turning
the
V-Pots
pre-selects
a
new
plug-in.
The
plug-in
name
flashes
until
confirmed
with
the
V-Select.
Â
Turning
another
channel’s
V-Pot
will
cancel
any
earlier
pre-selection,
and
will
start
pre-selection
on
the
newly
selected
track.
Â
Pressing
a
V-Select:
Â
confirms/activates
the
pre-selected
plug-in
(assuming
that
you’ve
made
your
preselection
by
turning
the
V-Pot).
Â
opens
a
Plug-in
window,
if
none
are
opened.
If
a
Plug-in
window
is
open,
and
Link
mode
is
enabled,
the
selection
of
another
plug-in
will
replace
the
existing
Plug-in
window.
Â
switches
to
Plug-in
Edit
view.
 The
Cursor
Up/Down
buttons
change
the
currently
displayed
plug-in
Insert
slot
(1
to
15).
 Pressing
a
V-Select
or
the
MUTE
button
while
the
SHIFT
button
is
held
down
will
mute/unmute
the
plug-in.
Chapter
2
Logic
Control 65
To
remove
a
plug-in:
1 Pre-select
the
“--”
value
(by
turning
the
V-Pot
fully
counter-clockwise)
2 Press
the
V-Select
of
the
appropriate
Insert
slot.
Logic
Control
will
not
switch
to
Plug-in
Edit
view,
and
no
Plug-in
window
will
be
launched.
If
one
was
previously
opened,
it
will
be
closed
(if
Link
mode
is
inactive).
Channel
Strip
View
This
mode
shows
the
plug-ins
associated
with
all
Insert
slots
for
the
selected
channel.
 The
mode
display
will
show
PL.
 The
upper
LCD
row
shows
Ins1Pl
through
Ins8Pl
 The
lower
LCD
row
shows
the
plug-in
which
is
currently
selected
for
this
insert
slot.
Muted
plug-ins
are
indicated
by
an
asterisk
*,
which
precedes
the
plug-in
name.
 Turning
the
V-Pots
pre-selects
a
new
plug-in.
The
plug-in
name
flashes
until
activated.
 Turning
another
channel’s
V-Pot
will
cancel
any
previous
pre-selection
and
will
start
pre-selection
on
the
newly
selected
track.
 Pressing
a
V-Select:
 activates
the
pre-selected
plug-in
(assuming
that
you’ve
made
your
pre-selection
by
turning
the
V-Pot).
 opens
a
Plug-in
window
if
none
are
opened
(if
a
Plug-in
window
is
open
and
Link
mode
is
enabled,
the
selection
of
another
plug-in
will
replace
the
existing
plug-in).
 switches
to
Plug-in
Edit
view.
 Pressing
a
V-Select
while
the
SHIFT
button
is
held
will
mute/unmute
the
plug-in.
To
remove
a
plug-in:
1 Pre-select
the
“--”
value
(by
turning
the
V-Pot
fully
counter-clockwise).
2 Press
the
V-Select
linked
to
the
appropriate
Insert
slot.
Logic
Control
will
not
switch
to
Plug-in
Edit
view,
and
no
Plug-in
window
will
be
launched.
If
one
was
previously
opened,
it
will
be
closed
(if
Link
mode
is
inactive).
Plug-in
Edit
View
 The
mode
display
will
show
P1.
to
P8.,
depending
on
the
number
of
the
selected
plug-in
Insert
slot.
 Dependent
on
the
Name/Value
button,
the
LCD
display
will
change
in
the
following
ways
between
the
two
modes:
 Name:
The
upper
LCD
row
shows
the
track’s
name,
insert
number,
plug-in
name,
current
parameter
page
and
total
number
of
parameter
pages.
The
lower
LCD
row
shows
the
name
of
the
parameter
which
can
be
edited
via
the
V-Pot
located
below.
66 Chapter
2
Logic
Control
 Value:
The
upper
LCD
row
shows
the
name
of
the
parameter
which
can
be
edited
via
the
V-Pot
positioned
below.
The
lower
LCD
row
shows
the
current
value
of
the
parameter
edited
with
the
V-Pot.
If
there
is
sufficient
onscreen
space,
the
unit
type
will
be
added—Example:
Hz.
 Turning
the
V-Pots
changes
parameters.
 Pressing
a
V-Select
sets
the
parameter
to
its
default
value,
except
where
the
parameter
only
has
two
values
(on/off,
for
example).
In
this
case,
pressing
the
VSelect
switches
between
these
values.
 The
Cursor
Left/Right
buttons
switch
to
the
next
or
previous
parameter
page.
Note:
When
shifting
by
a
“page”
of
parameters,
the
display
is
“quantized”
to
integer
pages.
As
an
example:
 the
plug-in
has
19
parameters.
 Logic
Control
shows
parameters
1
to
8.
 Cursor
Right
shifts
to
display
parameters
9
to
16.
 Cursor
Right
shifts
to
display
parameters
12
to
19.
 Cursor
Left
shifts
back
to
display
parameters
9
to
16,
not
parameters
4
to
11.
This
way,
you
always
revert
to
the
page
positions
you
expect
to
find,
and
are
comfortable
with.
 To
switch
by
a
single
parameter,
rather
than
by
“page,”
hold
down
the
x/ALT
key
while
pressing
the
Cursor
Left/Right
button.
 The
Cursor
Up/Down
buttons
change
the
currently
displayed
plug-in
Insert
slot
(1
to
15).
Note:
If
you
have
a
control
surface
group
consisting
of
several
physical
Logic
Control
and
XT
units,
the
parameters
are
distributed
across
their
displays.
The
number
of
parameters
shown
is
dependent
on
the
Multiple
Controls
Per
Parameter
settings
in
the
Preferences
>
Control
Surfaces
>
Preferences,
as
discussed
in
the
Control
Surface
Setup
chapter.
When
exiting
Plug-in
Edit
view,
the
Plug-in
window
will
be
closed.
Chapter
2
Logic
Control 67
Compatibility
Logic
Control
can
edit
all
plug-ins
that
can
be
automated.
The
plug-in
type
(Logic
native,
TDM,
Audio
Units)
is
irrelevant.
Some
third-party
manufacturer
plug-ins
unfortunately
don’t
provide
parameter
names
and/or
values
as
text.
In
such
cases,
parameters
are
enumerated
as
“Control
#1,”
“Control
#2”
and
so
on,
with
values
displayed
as
numbers
ranging
between
0
and
1000.
Please
contact
the
plug-in
manufacturer
to
obtain
a
version
which
supports
this
feature.
Instrument
Assignment
Modes
Pressing
the
INSTRUMENT
button
switches
to
Instrument
Multi
Channel
view.
Please
note
that
when
in
Plug-in
Edit
view,
pressing
the
INSTRUMENT
button
will
switch
to
Instrument
Edit
view.
If
you
can’t
see
the
Audio
Instrument
Objects,
use
the
BANK
or
CHANNEL
buttons
in
the
FADER
BANKS
zone,
or
switch
to
Global
view
by
pressing
the
AUDIO
INSTRUMENT
button.
(This
assumes
that
you
have
created
at
least
one
or
more
Audio
Instrument
Objects
in
the
Environment.)
Multi
Channel
View
This
mode
shows
the
Instrument
slot
for
all
channels.
 The
mode
display
will
show
In
(Instrument)
 The
upper
LCD
row
shows
track
names.
 The
lower
LCD
row
shows
the
currently
selected
instrument.
Muted
instrument
names
are
preceded
by
an
asterisk
*.
 Turning
the
V-Pots
pre-selects
a
new
instrument.
The
pre-selected
instrument
name
flashes
until
activated.
 Turning
another
channel’s
V-Pot
will
cancel
any
previous
pre-selection
and
will
start
pre-selection
on
the
newly
selected
track.
 Pressing
a
V-Select:
 activates
the
pre-selected
instrument
plug-in
(assuming
that
you’ve
made
your
pre-selection
by
turning
the
V-Pot).
 opens
a
Plug-in
window,
if
none
are
opened.
If
a
Plug-in
window
is
open,
and
Link
mode
is
enabled,
the
selection
of
another
Instrument
plug-in
will
replace
the
existing
one.
 switches
to
Instrument
Edit
view.
 Pressing
a
V-Select
or
MUTE
button
while
the
SHIFT
button
is
held
down
mute/
unmutes
the
Instrument.
68 Chapter
2
Logic
Control
To
remove
an
instrument:
1 Pre-select
the
“--”
value
(by
turning
the
V-Pot
fully
counter-clockwise)
2 Press
the
V-Select
button.
Logic
Control
will
not
switch
to
Instrument
Edit
view,
and
no
Plug-in
window
will
be
launched.
If
one
was
previously
opened,
it
will
be
closed.
Instrument
Edit
View
 The
mode
display
will
show
In.
 Dependent
on
the
NAME/VALUE
button,
the
LCD
changes
in
the
following
ways:
 Name—The
upper
LCD
row
shows
the
track’s
name,
instrument
name,
current
parameter
page
and
total
number
of
parameter
pages.
The
lower
LCD
row
shows
the
name
of
the
parameter
that
can
be
edited
with
the
V-Pot
directly
below
it.
 Value—The
upper
LCD
row
shows
the
name
of
the
parameter
that
can
be
edited
with
the
V-Pot
below
it.
The
lower
LCD
row
shows
the
current
value
of
the
parameter
being
edited.
If
there
is
sufficient
space
on
the
LCD
row,
the
unit
type
is
shown
after
the
value.
Example:
Hz.
 Turning
a
V-Pot
changes
the
corresponding
parameter.
 Pressing
a
V-Select
sets
the
parameter
to
its
default
value,
except
where
the
parameter
only
has
two
values
(on/off,
for
example).
In
this
case,
pressing
the
VSelect
switches
between
these
values.
Compatibility
Logic
Control
can
edit
all
instruments
that
can
be
automated.
The
plug-in
type
(Logic
native,
TDM,
Audio
Units)
is
irrelevant.
Some
third-party
manufacturer
instruments
unfortunately
don’t
provide
parameter
names
and/or
values
as
text.
In
such
cases,
parameters
are
enumerated
as
“Control
#1,”
“Control
#2,”
and
so
on,
with
values
displayed
as
numbers
ranging
between
0
and
1000.
Please
contact
the
plug-in
manufacturer
to
obtain
a
version
which
supports
this
feature.
Chapter
2
Logic
Control 69
Fader
Bank
Zone
This
area
of
the
Logic
Control
surface
contains
six
buttons.
Bank
Left/Right
Moves
up
or
down
by
“banks”
of
channels/tracks.
To
quickly
explain,
a
single
Logic
Control
is
only
capable
of
viewing
eight
tracks
at
a
time,
in
either
the
Global
or
Mixer
view.
To
see,
and
edit
or
mix
more
tracks,
simply
press
the
Right/Left
BANK
buttons
to
switch
between
tracks
1–8,
9–16,
17–24,
and
so
on.
The
BANK
button
pair
shifts
the
view
section
by
the
number
of
channels
in
the
control
surface
group.
As
an
example;
if
you
have
a
Logic
Control
and
two
Logic
Control
XT
units,
the
view
shifts
by
24
channels.
When
shifting
by
bank,
the
display
is
“quantized”
to
integer
banks.
As
an
example:
 your
song
has
19
tracks.
 Logic
Control
shows
tracks
1
to
8.
 BANK
Right
shifts
to
tracks
9
through
16.
 BANK
Right
shifts
to
tracks
12
through
19.
 BANK
Left
shifts
back
to
tracks
9
through
16,
not
tracks
4
to
11.
This
way,
you
always
revert
to
the
bank
positions
you
expect,
and
are
used
to.
Channel
Left/Right
As
per
the
BANK
buttons,
but
moves
up
or
down
in
increments
of
a
single
channel.
Notes
on
Fader
Bank
Editing
When
holding
down
the
OPTION
button,
pressing
the
BANK
Left
or
CHANNEL
Left
button
jumps
to
the
first,
and
pressing
the
BANK
Right
or
CHANNEL
Right
button
jumps
to
the
last,
tracks
in
the
song.
As
an
example
in
a
64
track
song,
tracks
1
through
8
or
tracks
57
through
64.
70 Chapter
2
Logic
Control
The
fader
bank
offset
is
independently
memorized
for
Global
views
where
one
track
class
is
displayed
(MIDI,
Inputs,
Audio
Tracks,
Instruments,
Auxes,
Busses,
Outputs,
and
Master).
There
is
also
a
separate
fader
bank
offset
memory
location
for
combinations
of
multiple
track
types.
This
feature
allows
you
to
scroll
to
audio
tracks
2
through
9
in
Global
Audio
Track
view,
and
then
scroll
to
instruments
5
through
12
in
Global
Instruments
view.
You
can
switch
between
these
views
without
losing
the
fader
bank
offset.
Flip
The
FLIP
button
enables/disables
the
following
Flip,
Swap,
or
Zero
modes:
 If
the
LED
beside
the
FLIP
button
is
off,
Flip
mode
is
off.
The
faders
control
volume.
 Pressing
the
FLIP
button
enables
Flip
mode
(the
LED
is
lit):
in
this
mode,
the
current
assignments
of
the
eight
V-Pots
are
mirrored
by
the
eight
channel
faders.
Pressing
the
FLIP
button
a
second
time
disables
Flip
mode.
Turning
a
V-Pot
in
this
mode
will
also
move
the
corresponding
fader.
 Pressing
the
FLIP
button
while
the
SHIFT
button
is
held
enables
Swap
mode
(the
LED
will
flash):
in
this
mode,
the
encoder
assignments
are
swapped
with
the
fader
assignments.
Pressing
SHIFT
and
FLIP
again
disables
Swap
mode.
As
the
LCD’s
lower
row
shows
the
current
value
of
the
encoders,
it
will
display
volumes
when
in
this
mode.
 Pressing
FLIP
without
SHIFT
held
reverts
to
Flip
mode.
 Pressing
CONTROL
and
FLIP
switches
to
Zero
mode.
Pressing
CONTROL
and
FLIP
a
second
time
disables
Zero
mode.
In
this
mode,
the
faders
are
set
to
zero
and
don’t
move.
This
is
useful
for
acoustic/microphone
recordings
if
Logic
Control
is
located
in
the
recording
booth,
and
you
don’t
want
to
hear/capture
any
motor
noise.
Both
Flip
and
Swap
modes
work
in
all
view
modes.
Flip
mode
has
the
following
advantages:
 You
can
edit
any
type
of
parameter
with
a
fader,
rather
than
a
V-Pot,
which
allows
more
accurate
edits.
 You
can
edit
with
touch-sensitive
faders.
The
V-Pots
are
not
touch-sensitive,
and
thus
don’t
allow
existing
(controller
automation)
movements
to
be
overwritten
with
a
constant
value.
Global
View
This
button
is
discussed
in
“The
Global
View
Zone”
on
page
74.
Chapter
2
Logic
Control 71
Master
Fader
Controls
the
level
of
the
Master
fader
in
the
Logic
mixers.
This
reduces
the
level
of
all
tracks,
but
does
not
affect
their
relative
positions.
When
there
is
no
Master
Volume
Object
in
the
song,
Logic
Control’s
Master
fader
is
mapped
to
Output
1-2.
You
need
to
select
this
Object
(Master)
in
order
to
set
the
automation
mode
of
the
Master
output.
To
do
so,
press
the
OUTPUTS
button
and
select
the
master
output
with
the
corresponding
SELECT
button.
If
you
use
multiple
audio
systems
simultaneously,
the
MASTER
fader
only
controls
the
first
device’s
Master
Volume
(in
the
order
shown
in
the
Audio
Preferences
window).
Display
Zone
These
buttons
affect
what
you
see
in
the
LCD
and
Position/Time
Display.
Name/Value
To
switch
between
the
two
Display
formats—Name
or
Value—repeatedly
press
the
NAME/VALUE
button
in
the
Logic
Control
Display
section—just
below
the
SMPTE/
BEATS
LEDs.
For
more
information,
see
“Liquid
Crystal
Display
(LCD)”
on
page
49.
Pressing
the
NAME/VALUE
button
while
holding
the
SHIFT
button
cycles
through
three
level
meter
modes:
 Vertical—In
this
mode,
the
sixth
(last)
character
of
each
channel
in
both
LCD
rows
is
overlaid
by
a
vertical
level
meter
bar.
The
text
character
reappears
when
the
level
meter
is
not
visible.
The
last,
rather
than
the
first,
character
was
chosen
for
the
level
meter,
as
this
character
is
often
unused,
so
no
valuable
information
is
“blocked
out”
by
the
level
meter.
Note:
If
you
find
the
flickering
D
of
the
dB
unit
disturbing
when
levels
are
displayed,
you
should
switch
off
the
display
of
units.
See
“Control
Surface
Preferences”
on
page
25.
 Horizontal—with
Peak
Hold.
In
this
mode,
the
second
row
is
replaced
by
horizontal
level
meter
bars.
Peak
Hold
is
shown
as
a
hollow
box
which
disappears
after
three
seconds.
Overload
(clipping)
is
displayed
as
an
asterisk.
It
remains
on
the
LCD
until
cleared
(see
below).
 Off—In
this
mode,
no
level
meters
are
displayed
in
the
LCD.
72 Chapter
2
Logic
Control
In
all
three
modes,
the
SIGNAL
LEDs
function
as
per
usual,
indicating
the
presence
of
a
signal.
Note:
The
MIDI
bandwidth
required
for
the
display
of
level
meters
is
the
same
in
all
three
modes—and
is
very
low.
The
Position/Time
Display
updates
require
much
more
MIDI
bandwidth
than
the
level
meters.
Pressing
the
NAME/VALUE
button,
while
holding
the
CONTROL
button,
clears
overload
(clipping)
in
both
the
Logic
mixers,
and
the
horizontal
level
meters
on
the
Logic
Control.
Pressing
the
NAME/VALUE
button,
while
holding
the
x/ALT
button,
enters
Control
Surface
Group
Settings
mode.
This
mode
enables
you
to
edit
several
control
surface
group
settings,
some
of
which
are
not
accessible
with
a
single
button:
 V-Pot/V-Select
5
(label
“TrkNam”)—sets
track
name
display
format
“Name”—track
name
only
“#:Name”—track
number
and
name
This
parameter
can
also
be
switched
with
OPTION
and
NAME/VALUE.
 V-Pot/V-Select
6
(label
“Lock”)—switches
Channel
Strip
view
track
lock
“Off”—as
you
are
used
to:
selecting
a
track
also
switches
the
currently
edited
Channel
Strip
track.
“On”—the
currently
edited
Channel
Strip
Track
is
not
affected
by
selecting
a
track.
When
you
switch
from
On
to
Off,
this
also
updates
the
Channel
Strip
track.
To
edit
another
track
in
Locked
mode,
first
disable
Lock,
then
select
the
desired
track,
then
re-enable
Lock.
 V-Pot/V-Select
7
(label
“Disply”)—switches
the
LCD
display
format.
“Name”—upper
line
displays
global
info,
lower
line
displays
parameter
names.
“Value”—upper
line
displays
parameter
names,
lower
line
displays
parameter
values.
This
parameter
can
also
be
switched
with
NAME/VALUE.
 V-Pot/V-Select
8
(label
“Clock”)—switches
the
Clock
display
format.
“Beats”—clock
is
displayed
in
format
bars/measures/beats/ticks.
“SMPTE”—clock
is
displayed
in
SMPTE
format.
This
parameter
can
also
be
switched
with
SMPTE/BEATS.
Control
Surface
Group
Settings
mode
can
be
exited
by
pressing
NAME/VALUE,
or
by
entering
one
of
the
Marker
or
Nudge
modes.
SMPTE/Beats
To
switch
between
the
two
Time
formats,
repeatedly
press
the
SMPTE/BEATS
button
in
the
Display
section
at
the
top
of
the
Logic
Control—just
below
the
SMPTE/BEATS
LEDs.
For
more
information,
see
“Song
Position/SMPTE
Time
Display”
on
page
49.
Chapter
2
Logic
Control 73
The
Function
Key
Zone
The
eight
Function
keys—F1
to
F8—are
assigned
as
follows:
 F1
to
F7
recalls
Screensets
1
to
7.
 F8
closes
the
top-most
window,
with
“floating”
windows
closed
first.
With
the
SHIFT
key
held
down,
the
Function
keys
open/close
particular
windows:
 F1—Arrange
window
 F2—Track
Mixer
 F3—Event
Editor
 F4—Score
Editor
 F5—Hyper
Editor
 F6—Matrix
Editor
 F7—Transport
window
 F8—Audio
window
With
the
x/ALT
key
held
down,
the
Function
keys
trigger
common
key
commands:
 F1—Cut
 F2—Copy
 F3—Paste
 F4—Clear
 F5—Select
All
 F6—Select
All
Following
 F7—Select
Similar
Objects
 F8—Select
Inside
Locators
In
modal
dialogs,
the
Function
keys
are
equivalent
to
the
computer’s
number
keys:
 F1—1
 F2—2
 F3—3
 F4—4
 F5—5
 F6—6
 F7—7
 F8—8
74 Chapter
2
Logic
Control
The
following
buttons
directly
below
the
Function
keys
supplement
the
numeric
input
functions:
 MIDI
Tracks
button—9
 Inputs
button—0
In
some
other
“modes,”
the
Function
keys
perform
other
duties,
such
as
shortcuts
to
markers.
Please
see
“Marker”
on
page
79.
Also
see
the
tables
in
“Assignment
Overview”
on
page
89.
The
Global
View
Zone
The
Global
view
mode
is
activated
by
pressing
any
of
the
GLOBAL
VIEW
buttons.
When
any
is
activated,
the
green
LED
to
the
right
of
the
GLOBAL
VIEW
button
will
illuminate.
Pressing
multiple
GLOBAL
VIEW
buttons
simultaneously
will
display
the
channels
of
the
selected
classes.
To
do
so:
m Hold
down
any
GLOBAL
VIEW
button,
and
add
or
remove
other
Object
classes
by
pressing
the
other
desired
GLOBAL
VIEW
buttons.
The
display
order
matches
the
order
of
these
buttons
on
the
front
panel
of
the
Logic
Control.
You
can
select
multiple
classes
by
clicking
on
multiple
buttons
simultaneously.
The
OUTPUTS
button
activates
both
Output
and
Master
Objects.
As
an
example:
To
see
the
busses
and
the
outputs,
hold
down
BUSSES,
and
then
press
OUTPUTS.
Chapter
2
Logic
Control 75
Function
Button
Zone
There
are
three
areas
in
this
zone—Modifiers,
Automation,
and
Utilities.
Modifier
Buttons
The
four
buttons
in
this
area
are
similar
to
those
found
on
your
computer
keyboard
(but
are
independent
from
the
keyboard
modifiers).
Many
Logic
functions
behave
differently
when
one
or
more
“modifier”
key(s)
is
pressed,
in
conjunction
with
another
key
or
mouse
click.
This
also
applies
to
the
Logic
Control.
All
“modified”
Logic
Control
commands
are
covered
in
each
function’s
description.
A
generic
description
of
each
button
follows:
 SHIFT—an
alternate
function/meaning
for
a
button.
 OPTION—the
function
applies
to
all
objects.
For
relative
value
changes:
the
value
is
set
to
the
minimum,
default,
or
maximum
value,
depending
on
whether
you
increase/decrease
it.
 CONTROL—while
held
down,
the
Group
Clutch
is
engaged—Track
Groups
are
temporarily
disabled.
 x/ALT—fine
tuning/variation
of
the
function.
Automation
Buttons
The
five
buttons
in
this
area
activate/deactivate
the
various
automation
modes
of
Logic.
These
work
in
conjunction
with
the
channel
SELECT
buttons.
Simply
choose
the
channel
you
wish
to
automate,
select
the
Automation
mode
via
one
of
these
six
buttons,
and
move
the
corresponding
fader.
The
modes
are
outlined
below:
 READ/OFF—Pressing
this
button
repeatedly
switches
between
the
Read
and
Off
automation
modes.
76 Chapter
2
Logic
Control
 Off—Automation
is
off.
The
fader
will
neither
send
nor
receive
automation
data.
Existing
automation
data
remains
untouched.
It
will
still
behave
as
a
fader,
however,
and
will
adjust
the
volume
or
pan
position
and
so
on
as
usual.
 Read—The
fader
will
read
(follow)
any
existing
automation
data,
but
will
not
write
data,
regardless
of
any
movements
you
make
with
the
mouse
or
external
control
device.
 TOUCH—Writes
new
parameter
changes
when
the
fader
is
“touched”
or
V-Pot
turned
during
playback.
Any
existing
track
automation
data
(of
the
current
fader
type)
will
be
replaced
by
new
movements
as
long
as
the
control
is
active—while
the
fader
is
being
touched
or
V-Pot
is
being
turned.
 LATCH—Similar
to
Touch
mode,
but
the
control
remains
activated,
even
when
the
fader
is
no
longer
being
“touched”
or
V-Pot
being
turned.
In
other
words,
following
the
release
of
the
fader,
the
current
fader
value
will
replace
the
existing
automation
data
for
as
long
as
the
sequencer
is
in
playback
mode.
Press
STOP
to
finish.
 WRITE—Overwrites
all
existing
automation
data,
or
creates
new
automation
data.
Only
use
it
if
you
wish
to
destroy
all
existing
automation
data.
 TRIM—Not
currently
enabled.
Pressing
one
of
the
AUTOMATION
buttons
while
holding
the
OPTION
key
assigns
the
selected
automation
mode
for
all
tracks.
When
an
automation
mode
has
been
selected
for
all
tracks,
the
button’s
LED
will
illuminate
whenever
the
OPTION
key
is
held.
Important:
This
behavior
is
slightly
different
for
the
“Off”
automation
mode,
when
holding
down
the
OPTION
button.
While
doing
so,
all
automation
“writing”
buttons
will
be
turned
off,
but
this
does
not
necessarily
mean
that
all
tracks
are
actually
in
Off
mode—they
could
also
be
in
different
modes.
To
ensure
that
you
have
set
all
tracks
to
Off
mode,
press
READ/OFF
twice
(its
LED
goes
on,
then
off ),
while
holding
down
the
OPTION
key.
Group
Pressing
the
GROUP
button
enters
Group
Edit
mode:
 GROUP
button’s
LED
is
on.
 The
Assignment
display
shows
the
currently
displayed
group—“G1”,
for
example.
Chapter
2
Logic
Control 77
 The
Time
display
shows
the
group
name
(ten
last
characters
if
name
is
longer
than
ten
characters).
 The
upper
LCD
line
displays
track
names.
 The
lower
LCD
line
displays
group
parameters.
 Group
parameters
can
be
switched
with
V-Selects.
 Cursor
Up/Down
selects
previous/next
group.
 Cursor
Left/Right
shifts
group
parameter
display.
 SELECT
buttons
display
if
a
track
is
a
member
of
the
group.
Pressing
a
SELECT
button
enables/disables
track
membership
of
the
group.
With
Group
Edit
mode
off,
holding
down
GROUP
and
pressing
one
or
more
SELECT
buttons
allows
you
to
create
a
new
group.
Pressing
the
GROUP
button,
while
the
SHIFT
button
is
held
down,
creates
a
new
group,
opens
the
Group
window
and
enters
Group
Edit
mode.
Pressing
the
GROUP
button,
while
the
TRACK
button
is
held,
switches
to
Track
Multi
Channel
view,
with
the
Track
Group
parameter
shown.
It
displays
the
group
that
the
instrument
belongs
to.
Multiple
group
membership
is
displayed
as
in
the
Track
Mixer
window.
Turning
a
V-Pot
changes
group
membership.
Note
that
you
can
only
select
one
group
(or
“Off”)
with
this
function.
Utilities
Buttons
The
four
buttons
in
this
area
trigger
functions
that
are
often
used
when
working
with
Logic.
Save
Saves
the
current
song
file.
When
pressed,
a
file
save
dialog
will
open
on
your
computer
screen,
awaiting
input
of
a
filename.
The
Logic
Control
LCD
will
display
There is a file select dialog on the screen
and
the
Position/Time
Display
will
show
ALERT.
All
LEDs
are
unlit.
Once
the
file
save
has
been
confirmed—in
Logic—the
Logic
Control
will
return
all
controls
to
their
status
prior
to
use
of
the
Save
command.
Once
the
song
has
been
saved
and
given
a
name,
you
may
freely
use
the
SAVE
button
to
save
any
subsequent
changes.
This
will
occur
without
the
alert
messages
and
file
save
dialog
appearing
onscreen.
As
a
general
working
tip,
you
should
always
save
your
Autoload/Template
song
under
a
different
name
as
the
first
step
in
any
project.
If
this
practice
is
adhered
to,
you
will
be
able
to
simply
press
the
SAVE
button
on
the
Logic
Control
to
incrementally
save
your
work.
78 Chapter
2
Logic
Control
The
SAVE
LED
illuminates
as
soon
as
any
save-able
change
has
been
made
in
Logic.
Holding
down
the
OPTION
button
while
pressing
SAVE
opens
the
“Save
As”
file
selector
box.
Undo
Pressing
the
UNDO
button
undoes
the
last
undo-able
editing
step.
As
Logic
supports
near-unlimited
multiple
undo/redo,
the
green
UNDO
LED
does
not
illuminate
to
indicate
an
undo-able
step,
but
rather
to
indicate
that
Redo
is
available.
This
serves
as
a
warning
that
performing
a
reversible
editing
step
would
render
all
Redo
steps
unavailable.
Holding
down
the
SHIFT
button
while
pressing
UNDO
performs
a
“Redo.”
Holding
down
the
OPTION
button
while
pressing
UNDO
opens
the
Undo
History
window.
Cancel
If
an
alert
is
open
on-screen,
it
triggers
the
Cancel
(or
Abort)
button.
More
information
on
alerts
is
found
in
“About
Modal
Dialogs”
on
page
45.
Pressing
the
CANCEL
button
when
no
alert
is
opened
will
launch
the
Toolbox
at
the
current
on-screen
position
of
the
mouse
cursor.
Alternately,
it
will
perform
any
function
currently
assigned
to
the
computer
keyboard’s
Esc
key.
If
no
alert
is
open,
and
Logic
Control
is
currently
showing
the
contents
of
a
folder
track,
use
of
the
CANCEL
button
exits
the
folder.
CANCEL
also
enables
you
to
invalidate
a
(blinking)
parameter
value
pre-selection.
Enter
If
an
alert
is
open,
the
ENTER
button
triggers
the
default
button.
See
“About
Modal
Dialogs”
on
page
45
for
more
information.
If
no
alert
is
open,
and
the
selected
track
is
a
folder
track,
the
ENTER
button
opens
the
folder.
Chapter
2
Logic
Control 79
The
Transport
Zone
This
section
of
the
Logic
Control
features
twelve
buttons.
All
are
equipped
with
a
dedicated
LED
to
indicate
their
current
status.
It
should
be
noted
that
these
buttons
can
be
used
independently,
or
in
conjunction
with
one
another,
to
navigate
and
edit
your
songs.
The
functionality
of
these
buttons
is
as
follows:
Marker
The
MARKER
button
enables
you
to
jump
to,
create,
and
delete
markers.
Marker
and
Nudge
mode
are
mutually
exclusive;
activating
one
deactivates
the
other.
Small
Marker
Mode
When
active,
the
MARKER
button
reassigns
the
behavior
of
the
FAST
FWD
and
REWIND
buttons.
These
allow
you
to
jump
to
the
next
or
previous
marker.
Deactivation
of
the
MARKER
button
reverts
to
the
default
behavior
of
the
FAST
FWD
and
REWIND
buttons
(see
“Rewind”
on
page
85
and
“Fast
Fwd”
on
page
85).
Small
Marker
mode
is
useful
if
you
want
to
jump
to
markers,
but
wish
to
continue
using
the
V-Pots
for
other
purposes.
Large
Marker
Mode
Pressing
the
MARKER
button
while
holding
down
SHIFT
shows
three
“create”
options
on
the
LCD,
assigned
to
the
last
three
V-Selects.
Once
markers
have
been
created:
80 Chapter
2
Logic
Control
 V-Select
1
to
5—displays
the
first
five
markers
by
name.
Pressing
a
V-Select
moves
the
SPL
to
this
Marker.
When
the
current
song
position
(indicated
by
the
SPL)
is
inside
a
marker,
the
lower
line
displays
INSIDE,
and
the
V-Pot
LED
ring
is
lit.
 V-Select
6—Cr
w/o—Creates
a
marker
without
rounding
to
the
nearest
bar.
 V-Select
7—Create—Creates
a
marker
rounded
to
the
nearest
bar.
 V-Select
8—Delete—Deletes
the
marker
above
the
current
SPL
location.
To
create
or
delete
a
marker
at
the
current
song
position,
simply
press
the
appropriate
V-Select
switch.
The
creation
or
deletion
of
markers
is
best
used
in
conjunction
with
the
Jog/Scrub
Wheel.
Simply
move
to
the
desired
song
position
by
dialing
with
the
wheel,
and
then
press
the
appropriate
V-Pot.
 For
coarse
placement,
simply
use
the
wheel
to
move
the
SPL.
 For
fine
placement,
press
the
SCRUB
button,
then
use
the
wheel
to
precisely
position
the
SPL.
(Only
appropriate
if
creating
or
deleting
an
un-rounded
marker).
For
more
information
on
the
Jog/Scrub
Wheel,
please
refer
to
“The
Jog/Scrub
Wheel
Zone”
on
page
88.
Large
Marker
mode
is
terminated
by
pressing
MARKER.
Temporary
Marker
Mode
If
you
want
to
enter
Marker
mode
temporarily
(to
quickly
perform
a
few
marker
functions),
hold
down
the
Marker
button
and
press
one
(or
more)
of
the
V-Selects:
this
will
execute
the
marker
function
and
leave
marker
mode
as
soon
as
you
release
the
MARKER
button.
 When
in
this
mode—with
the
MARKER
button
held—pressing
the
Function
keys
F1—F8
“jumps”
to
the
first
eight
markers
(if
created).
As
an
example,
to
navigate
to
marker
3,
press-hold
MARKER
and
press
F3.
 To
jump
between
markers,
with
(or
without)
the
MARKER
button
held,
simply
press
the
FAST
FWD
or
REWIND
buttons.
Chapter
2
Logic
Control 81
Nudge
The
NUDGE
button
enables
you
to
move
(nudge)
selected
Audio
or
MIDI
Regions,
or
events.
Marker
and
Nudge
mode
are
mutually
exclusive;
activating
one
deactivates
the
other.
Small
Nudge
Mode
Use
of
the
NUDGE
button
reassigns
the
behavior
of
the
FAST
FWD
and
REWIND
buttons.
They
nudge
the
selected
Regions
or
events
by
the
value
defined
in
Large
Nudge
mode
(see
below).
Pressing
the
NUDGE
button
again
reverts
to
the
default
behavior
of
the
FAST
FWD
and
REWIND
buttons
(see
“Rewind”
on
page
85
and
“Fast
Fwd”
on
page
85).
Small
Nudge
mode
is
useful
if
you
want
to
nudge
Regions
or
events,
but
still
use
the
VPots
for
other
purposes.
Large
Nudge
Mode
Pressing
the
Nudge
button
while
holding
down
Shift
updates
the
LCD
to
display
eight
options,
assigned
to
the
V-Pots
and
V-Selects.
All
functions
allow
you
to
move
the
selected
Region
or
events.
As
an
indicator,
the
position
of
the
first
selected
Region
or
event
is
displayed
above
VPots
3
and
4.
If
nothing
is
displayed,
either;
a
window
that
does
not
allow
selection
of
Regions
or
events
is
open,
or
no
Regions
or
events
are
selected.
The
functions
are
as
follows:
 V-Pot
1—Nudge—selects
the
nudge
value
used
by
the
REWIND
and
F.FWD
buttons.
These
buttons
move
the
selected
object(s)
backwards/forwards
by
the
defined
value.
 V-Select
2—Pickup—moves
to
the
current
SPL
location.
 V-Pot
3—Bar—
moves
by
one
bar.
 V-Pot
4—Beat—moves
by
the
current
song
denominator
value
(beats).
 V-Pot
5—Format—moves
by
the
current
song
format
value
(sub-divisions—1/16th
and
so
on).
 V-Pot
6—Ticks—moves
by
single
ticks.
 V-Pot
7—Frames—moves
by
one
SMPTE
frame.
 V-Pot
8—Fram/2—moves
by
half
a
SMPTE
frame.
82 Chapter
2
Logic
Control
 The
cursor
buttons
emulate
the
computer
keyboard’s
cursor
keys,
allowing
easy
selection
of
a
Region
or
event.
Large
Nudge
mode
is
terminated
by
pressing
NUDGE.
Temporary
Nudge
Mode
If
you
want
to
use
Nudge
temporarily
(for
one
or
two
small
moves),
hold
down
the
NUDGE
key,
and
use
one
or
more
of
the
V-Pots:
this
will
execute
the
selected
function
and
exit
Temporary
Nudge
mode
as
soon
as
you
release
the
NUDGE
button.
In
Temporary
Nudge
mode,
the
cursor
buttons
emulate
the
computer
keyboard’s
cursor
keys,
allowing
easy
selection
of
a
Region
or
event.
The
Nudge
value
for
the
REWIND
and
F.FWD
buttons
can
also
be
defined
with
the
function
buttons:
 F1—sets
Ticks.
 F2—sets
Format.
 F3—sets
Beat.
 F4—sets
Bar.
 F5—sets
Frames.
 F6—sets
Frames/2.
Cycle
Activates/deactivates
Cycle
mode.
By
default,
the
cycle
area
will
fall
between
the
first
two
markers.
Subsequent
markers
can
act
as
left/right
boundaries
for
further
cycle
areas.
To
“jump”
between
Cycle
areas—defined
by
the
markers:
1 Press
the
MARKER
button.
2 Press
the
CYCLE
button,
and
when
active,
press
the
REWIND
or
FAST
FWD
buttons.
To
set
the
left
or
right
locator
to
the
current
song
position:
m Hold
down
CYCLE
and
press
REWIND
or
FAST
FWD.
This
also
enables
Cycle.
The
fastest
way
to
define
a
new
cycle
area
is
to:
1 Navigate
to
the
left
locator
with
the
Jog/Scrub
Wheel.
2 Press
CYCLE
and
REWIND.
3 Navigate
to
the
right
locator
with
the
Jog/Scrub
Wheel.
4 Press
CYCLE
and
FAST
FWD.
Chapter
2
Logic
Control 83
Cycle
View
Pressing
the
SHIFT
and
CYCLE
buttons
activates
Cycle
view
mode:
 The
mode
display
displays
Cy
 V-Pot/V-Select
1—shows
and
edits
the
current
Cycle
status
(off
or
on);
you
can
also
use
the
CYCLE
button.
 V-Select
2—BySel—
sets
the
current
Cycle
area
by
the
selection
made
in
the
Arrange
window
(selected
Audio
or
MIDI
Region).
 V-Pot
3—Move—
moves
the
current
Cycle
by
a
bar
with
each
“click”
when
turning
the
V-Pot
 The
display
shows
the
left
and
right
locators
above
V-Pots
5
and
7.
 Pressing
V-Select
5
picks
up
the
current
song
position
for
the
left
locator.
 Turning
V-Pot
5
changes
the
left
locator
in
bars.
 Turning
V-Pot
6
changes
the
left
locator
in
beats
(denominator
steps).
 Pressing
V-Select
7
picks
up
the
current
song
position
for
the
right
locator.
 Turning
V-Pot
7
changes
the
right
locator
in
bars.
 Turning
V-Pot
8
changes
the
right
locator
in
beats
(denominator
steps).
To
return
to
a
regular
Assignment
mode,
press
one
of
the
Assignment
buttons.
Drop
Activates/deactivates
Drop-In
mode.
To
navigate
between
drop-in
areas:
1 Press
the
MARKER
button.
2 Press
the
DROP
button,
and
when
active,
press
the
FAST
FWD
or
REWIND
buttons.
To
set
the
Drop
In
or
Drop
Out
locator
to
the
current
song
position:
m Hold
down
DROP
and
press
FAST
FWD
or
REWIND.
This
also
enables
Drop.
The
fastest
way
to
define
a
new
Drop
In
area
is
to:
1 Navigate
to
the
Drop
In
locator
with
the
Jog/Scrub
Wheel.
2 Press
DROP
and
REWIND.
3 Navigate
to
the
Drop
Out
locator
with
the
Jog/Scrub
Wheel.
4 Press
DROP
and
FAST
FWD.
Drop
View
Pressing
the
SHIFT
and
DROP
buttons
activates
Drop
view:
84 Chapter
2
Logic
Control
 The
mode
display
shows
dr
 V-Pot/V-Select
1
shows
and
edits
the
current
Drop
status
(off
or
on);
you
can
also
use
the
DROP
button.
 V-Pot
3—Move—
moves
the
current
Drop
region
by
a
bar
with
each
“click”
when
turning
the
V-Pot.
 The
display
shows
the
Drop
In
and
Drop
Out
locators
above
V-Pots
5
and
7.
 Pressing
V-Select
5
picks
up
the
current
song
position
for
the
Drop
In
locator.
 Turning
V-Pot
5
changes
the
Drop
In
locator
in
bars.
 Turning
V-Pot
6
changes
the
left
locator
in
beats
(denominator
steps).
 Pressing
V-Select
7
picks
up
the
current
song
position
for
the
Drop
Out
locator.
 Turning
V-Pot
7
changes
the
Drop
Out
locator
in
bars.
 Turning
V-Pot
8
changes
the
right
locator
in
beats
(denominator
steps).
Changing
a
drop
locator
with
the
Logic
Control
enables
Drop
mode.
To
return
to
a
regular
Assignment
mode,
press
one
of
the
Assignment
buttons.
Replace
Activates/deactivates
Replace
mode.
Click
Enables/Disables
MIDI
(or
Klopfgeist)
metronome
click.
There
are
independent
click
settings
for
play
and
record.
The
click
settings
are
enabled
or
disabled,
dependent
on
the
current
Record
state
(see
the
“MIDI/Monitor
Metronome
Click”
key
command).
Pressing
SHIFT
and
CLICK
buttons
activates/deactivates
both
External
Sync
mode
and
Transmit
MMC.
Solo
The
SOLO
button
behaves
as
per
the
Solo
key
command.
Individual
channels
can
be
soloed
via
the
channel
SOLO
buttons
on
each
channel
strip.
MIDI
or
Audio
Regions
can
be
selected
and
soloed
along
with
the
selected
channels.
Each
channel
features
an
independent
SOLO
LED
which
is
lit
when
a
track
is
soloed.
The
RUDE
SOLO
LED—just
to
the
right
of
the
Position/Time
Display—is
lit
whenever
any
track
is
soloed.
Pressing
the
SHIFT
and
SOLO
buttons
enables
Solo
Lock
mode.
Chapter
2
Logic
Control 85
Rewind
Rewinds/shuttles
through
the
song.
If
pressed
repeatedly
while
rewinding,
the
rewind
speed
is
accelerated.
If
the
FAST
FWD
button
is
pressed
while
REWIND
is
engaged,
the
fast
rewind
will
be
slowed.
Repeated
presses
of
the
FAST
FWD
button
will
slow
down,
stop,
and
eventually
reverse
the
shuttle
direction.
Pressing
the
STOP
button
will
halt
the
rewind.
Using
the
Jog/Scrub
Wheel
will
also
exit
shuttle
mode.
When
one
of
the
Marker
modes
is
activated,
repeated
presses
of
the
REWIND
button
will
move
the
Song
Position
Line
(SPL)
to
the
previous
marker.
When
one
of
the
Nudge
modes
is
activated,
the
REWIND
button
will
move
the
selected
Region(s)
or
event(s)
backward
by
the
value
defined
in
Large
Nudge
mode.
Fast
Fwd
Fast
forwards/shuttles
through
the
song.
If
pressed
repeatedly
while
fast
forwarding,
the
shuttle
speed
is
accelerated.
If
the
REWIND
button
is
pressed
while
FAST
FWD
is
engaged,
the
fast
forward
will
be
slowed.
Repeated
presses
of
the
REWIND
button
will
slow
down,
stop,
and
eventually
reverse
the
shuttle
direction.
Pressing
the
STOP
button
will
halt
the
fast
forward.
Using
the
Jog/Scrub
Wheel
will
also
exit
shuttle
mode.
When
one
of
the
Marker
modes
is
activated,
repeated
presses
of
the
FAST
FWD
button
will
move
the
Song
Position
Line
to
the
next
marker.
When
one
of
the
Nudge
modes
is
activated,
the
FAST
FWD
button
will
move
the
selected
Region(s)
or
event(s)
forward
by
the
value
defined
in
Large
Nudge
mode.
As
a
tip,
you
can
combine
markers
with
Cycle
areas
by
pressing
the
respective
buttons
on
the
Logic
Control.
This,
in
conjunction
with
navigation
between
markers
(using
the
REWIND
and
FAST
FWD
buttons),
will
move
the
SPL
and
automatically
set
a
cycle
area
between
adjacent
markers.
Try
this,
and
other
options,
with
various
button
combinations.
86 Chapter
2
Logic
Control
Stop
Stops
all
other
Transport
functions.
Pressing
the
STOP
button
a
second
time
will
return
to
the
song
start
point,
or
the
beginning
of
the
nearest
cycle
area,
if
Cycle
is
active.
Repeated
presses
will
switch
between
the
two.
Play
Plays
from
the
current
song
position.
If
pressed
repeatedly,
it
will
jump
to
the
beginning
of
the
nearest
cycle
area,
if
Cycle
is
active.
SHIFT
and
PLAY
works
as
a
Pause
command.
Record
Activates
recording
on
the
selected
MIDI,
audio,
or
Audio
Instrument
track.
A
special
note
for
audio
tracks
if
you
have
not
“Saved
as
Project”:
When
the
first
audio
track
is
armed
by
pressing
the
REC/RDY
button
on
the
desired
channel,
a
file
save
dialog
will
open
on
your
computer
screen,
awaiting
entry
of
a
filename.
The
Logic
Control
LCD
display
shows
There is a file select dialog on the screen
and
the
Position/Time
Display
will
show
ALERT.
All
LEDs
will
go
off.
Once
the
file
name
has
been
entered—in
Logic—the
Logic
Control
will
return
all
controls
to
their
prior
status.
Once
the
“default”
audio
file
name
has
been
entered,
you
may
freely
select
and
arm
any
Audio
track,
and
then
press
the
RECORD
button.
This
will
happen
without
the
alert
messages
and
file
save
dialog
appearing
onscreen.
As
a
general
working
tip,
you
should
save
your
Autoload/Template
song
as
a
project
immediately.
This
will
avoid
the
need
to
define
filenames,
and
makes
handling
faster
and
easier—particularly
when
“driving”
Logic
with
the
Logic
Control.
Chapter
2
Logic
Control 87
The
Cursor/Zoom
Key
Zone
This
collection
of
five
buttons
serves
a
number
of
purposes.
Normal
Operation
When
the
ZOOM
button’s
LED
is
off,
these
buttons
select
the
current
parameter,
shift
the
current
parameter
page
or
Send/EQ/Insert
slot,
depending
on
the
current
V-Pot
assignment.
When
holding
down
the
OPTION
button,
the
Cursor
Left/Right
buttons
scroll
to
the
first/last
page,
and
the
Cursor
Up/Down
buttons
scroll
to
the
first/last
slot.
When
holding
down
the
x/Alt
button,
the
Cursor
Left/Right
buttons
shift
the
parameter
display
by
one
parameter,
rather
than
one
page.
In
view
modes
which
don’t
require
page
or
slot
shifts,
they
emulate
the
computer
keyboard’s
cursor
keys.
Example:
Track
Multi
Channel
view.
In
Large
and
Temporary
Nudge
mode,
the
Cursor
Left/Right
buttons
emulate
the
computer
keyboard’s
cursor
keys,
allowing
easy
Region
or
event
selection.
Zoom
Mode
Pressing
the
ZOOM
button
enables
Zoom
mode.
The
cursor
buttons
are
then
used
to
change
the
vertical
or
horizontal
zoom
factor
of
the
active
window.
In
the
Arrange
window:
 OPTION
and
Cursor
Up/Down
changes
the
zoom
factor
of
the
selected
track.
 OPTION
and
Cursor
Left
resets
the
zoom
factor
of
the
selected
track.
 OPTION
and
Cursor
Right
resets
the
zoom
factor
of
all
tracks
of
the
same
class
(audio,
MIDI,
and
so
on)
as
the
selected
track.
88 Chapter
2
Logic
Control
Computer
Cursor
Key
Emulation
To
use
the
cursor
buttons
as
a
replacement
for
the
computer
keyboard
cursor
keys,
hold
down
the
SHIFT
key.
By
pressing
SHIFT
and
ZOOM,
the
cursor
buttons
go
to
Permanent
Cursor
Key
mode—
they
mimic
the
computer
cursor
keys
without
the
need
to
hold
down
SHIFT.
The
ZOOM
button
LED
flashes
when
in
this
mode.
You
can
deactivate
this
mode
by
pressing
the
ZOOM
button.
The
Jog/Scrub
Wheel
Zone
The
Jog/Scrub
Wheel
and
SCRUB
button
can
be
used
to
navigate
through
the
song,
which
is
useful
for
a
number
of
Transport
tasks.
Simply
turn
the
dial
to
use
it.
The
following
Scrub
modes
change
the
behavior
of
the
Jog/Scrub
Wheel.
 Scrub
mode
off:
the
Jog/Scrub
Wheel
moves
the
SPL.
 Scrub
mode
on:
the
Jog/Scrub
Wheel
performs
“scrubbing,”
which
allows
you
to
hear
the
data
of
the
selected
track
while
scrolling/moving
through
the
song.
Audio
tracks
are
normally
played
back
at
their
original
speed.
If
you
would
prefer
to
hear
them
at
double
speed,
choose
Preferences
>
Audio
>
Drivers,
and
set
Maximum
Scrub
Speed
to
Double
in
the
pull-down
menu.
Note:
You
can
also
use
the
SCRUB
button
for
Pause
functionality.
 SHUTTLE
mode
(Scrub
button
LED
flashing):
the
Jog/Scrub
Wheel
shuttles
the
SPL—
turning
it
increases
or
decreases
the
speed
of
SPL
movement.
Chapter
2
Logic
Control 89
Assignment
Overview
The
following
assignment
tables
are
broken
down
into
“zones”
of
the
Logic
Control.
Channel
Strip
(x8)
Logic
Control Modifier Function/Comments
V-Pot — Modify
parameter
displayed
in
LCD.
OPTION Set
parameter
to
minimum,
default,
or
maximum
value.
x/ALT Modify
parameter
at
high
resolution.
V-Select — Set
parameter
displayed
on
LCD
to
default
value,
or:
Switch
between
two
possible
values.
Flashing
pre-selection:
— Enter
the
pre-selected
value.
Menu
options:
— Enter
whatever
option
is
visible
in
display.
If
track
is
folder:
— Enter
folder.
REC/RDY — Activate/Deactivate
Record
Enable
button
of
track.
OPTION Disable
Record
Enable
button
for
all
tracks.
SOLO — Activate/Deactivate
Solo
button
of
track’s
Audio
Object.
OPTION Disable
Solo
button
for
all
Audio
Objects.
In
Send
Destination/Level
Multi
Channel
view:
— Switch
pre/post
status
of
selected
send.
In
Send
Destination/Level
Channel
Strip
view:
— Switch
between
pre/post
of
send
on
selected
track.
90 Chapter
2
Logic
Control
MUTE — Activate/Deactivate
Mute
button
of
track’s
Audio
Object.
OPTION Disable
Mute
button
for
all
Audio
Objects.
In
Track
Multi
Channel
view:
SHIFT Activate/Deactivate
mute/bypass
of
the
shown
parameter.
In
EQ
Multi
Channel
view:
SHIFT Activate/Deactivate
bypass
of
the
current
EQ
band.
In
EQ
Frequency/Gain
view:
— Activate/Deactivate
bypass
of
selected
EQ
band.
In
Send
Multi
Channel
view:
SHIFT Activate/Deactivate
bypass
of
selected
send.
In
Send
Destination/Level
Multi
Channel
view:
— Activate/Deactivate
bypass
of
selected
send.
In
Send
Destination/Level
Channel
Strip
view:
— Activate/Deactivate
mute
of
send
on
selected
track.
In
Plug-in
Multi
Channel
view:
SHIFT Activate/Deactivate
bypass
of
plug-in.
In
Instrument
Multi
Channel
view:
SHIFT Activate/Deactivate
bypass
of
instrument.
SELECT — Select
track.
SHIFT Set
track
volume
to
unity
level
(0
dB).
OPTION Creates
a
new
track
with
the
same
instrument
as
the
selected
track
and
switches
to
Arrange
view.
SHIFT+
OPTION
Create
a
new
track
with
the
next
instrument
(following
the
selected
track)
and
switches
to
Arrange
view.
Logic
Control Modifier Function/Comments
Chapter
2
Logic
Control 91
ASSIGNMENT
Section
Hold
down
to
show
soft-button
menu;
release
to
switch
V-Pots
to
Multi
Channel
or
Channel
Strip
views
for:
FADER — Adjust
volume.
In
Flip
mode
“Duplicate”:
— Same
function
as
V-Pot
of
same
channel.
In
Flip
mode
“Swap”:
— Swap
function
with
V-Pot
of
same
channel.
In
Surround
Angle/Diversity
view:
— Adjust
surround
diversity.
In
EQ
Frequency/Gain
view:
— Adjust
gain
of
selected
EQ
band.
In
Send
Destination/Level
Multi
Channel
view:
— Adjust
send
level
of
selected
send.
In
Send
Destination/Level
Channel
Strip
view:
— Adjust
send
level
of
send
on
selected
track.
Logic
Control Modifier Function/Comments
Logic
Control Modifier Function/Comments
TRACK — Track
parameters
PAN/SURROUND — Pan/Surround
parameters
EQ — EQ
parameters
SEND — Send
parameters
PLUG-IN — Plug-in
selection
or
Plug-in
Edit
mode
INSTRUMENT — Instrument
selection
or
Instrument
Edit
mode
BANK
<> — Shift
fader
bank
left/right
by
number
of
channel
strips.
OPTION Shift
fader
bank
to
beginning
or
end.
CHANNEL<>
— Shift
fader
bank
left/right
by
one
channel.
OPTION Shift
fader
bank
to
beginning
or
end.
FLIP — Switch
Flip
mode
between
Off
and
Duplicate.
SHIFT Switch
Flip
mode
between
Off
and
Swap.
CONTROL Switch
Flip
mode
between
Off
and
Zero
(turns
fader
motors
off ).
GLOBAL
VIEW — Switch
between
Mixer
view
and
Global
view.
SHIFT Switch
between
Mixer
view
and
Arrange
view.
92 Chapter
2
Logic
Control
DISPLAY
Parameters
Function
Buttons
Logic
Control Modifier Function/Comments
NAME/VALUE — Switch
between
parameter
name
and
parameter
value
display.
SHIFT Cycle
through
level
meter
displays:
vertical,
horizontal,
and
off.
OPTION Switch
between
track
name
and
track
number:name
display.
CONTROL Clear
clip/overload
flags.
x/ALT Enter
control
surface
group
settings
mode.
SMPTE/BEATS — Switch
between
SMPTE
and
beat
format
in
clock
display.
Logic
Control Modifier Function/Comments
F1 — Recall
Screenset
1.
SHIFT Open/Close
Arrange
window.
x/ALT Cut
TRACK Switch
to
Multi
Channel
view—Volume.
PAN/
SURROUND
Switch
to
Multi
Channel
view—Pan/surround
angle.
EQ Switch
to
Multi
Channel
view—Bypass.
SEND Switch
to
Multi
Channel
view—Destination.
MARKER Create
marker
without
rounding.
NUDGE Nudge
value:
Tick
In
modal
dialog: F1
key
is
equivalent
to
computer
keyboard
1
key.
F2 — Recall
Screenset
2.
SHIFT Open/Close
Track
Mixer
window.
x/ALT Copy
TRACK Switch
to
Multi
Channel
view—Pan.
PAN/
SURROUND
Switch
to
Multi
Channel
view—Pan/surround
radius.
EQ Switch
to
Multi
Channel
view—EQ
Type.
SEND Switch
to
Multi
Channel
view—Level.
MARKER Create
marker
with
rounding.
NUDGE Nudge
value:
Format
In
modal
dialog: F2
key
is
equivalent
to
computer
keyboard
2
key.
Chapter
2
Logic
Control 93
F3 — Recall
Screenset
3.
SHIFT Open/Close
Event
Editor.
x/ALT Paste
TRACK Switch
to
Multi
Channel
view—Track
mode.
PAN/
SURROUND
Switch
to
Multi
Channel
view—Pan/surround
LFE.
EQ Switch
to
Multi
Channel
view—Frequency.
SEND Switch
to
Multi
Channel
view—Position.
MARKER Delete
marker.
NUDGE Nudge
value:
Beat
In
modal
dialog: F3
key
is
equivalent
to
computer
keyboard
3
key.
F4 — Recall
Screenset
4.
SHIFT Open/Close
Score
Editor.
x/ALT Clear
TRACK Switch
to
Multi
Channel
view—Input.
PAN/
SURROUND
Switch
to
Multi
Channel
view—Pan/surround
mode.
EQ Switch
to
Multi
Channel
view—Gain.
SEND Switch
to
Multi
Channel
view—Mute.
NUDGE Nudge
value:
Bar
In
modal
dialog: F4
key
is
equivalent
to
computer
keyboard
4
key.
F5 — Recall
Screenset
5.
SHIFT Open/Close
Hyper
Editor.
x/ALT Select
All.
TRACK Switch
to
Multi
Channel
view—Output.
PAN/
SURROUND
Switch
to
Channel
Strip
view.
EQ Switch
to
Multi
Channel
view—Q
Factor.
SEND Switch
to
Channel
Strip
view.
NUDGE Nudge
value:
Frame
In
modal
dialog: F5
key
is
equivalent
to
computer
keyboard
5
key.
Logic
Control Modifier Function/Comments
94 Chapter
2
Logic
Control
F6 — Recall
Screenset
6.
SHIFT Open/Close
Matrix
Editor.
x/ALT Select
All
Following
TRACK Switch
to
Multi
Channel
view—Automation.
PAN/
SURROUND
Switch
to
Angle/Diversity
view.
EQ Switch
to
Channel
Strip
view.
SEND Switch
to
Channel
Strip
2
view.
NUDGE Nudge
value:
1/2
Frame
In
modal
dialog: F6
key
is
equivalent
to
computer
keyboard
6
key.
F7 — Recall
Screenset
7.
SHIFT Open/Close
Transport
window.
x/ALT Select
Similar
Regions/events.
TRACK Switch
to
Multi
Channel
view—Displayed
Parameter
PAN/
SURROUND
Switch
to
Surround
X/Y
view.
EQ Switch
to
Frequency/Gain
Multi
Channel
view.
SEND Switch
to
Destination/Level
Multi
Channel
view.
In
modal
dialog: F7
key
is
equivalent
to
computer
keyboard
7
key.
F8 — Close
top-most
floating
window.
SHIFT Open/Close
Audio
window.
x/ALT Select
Inside
Locators.
TRACK Switch
to
Track
Setup
view.
EQ Switch
to
Frequency/Gain
Channel
Strip
view.
SEND Switch
to
Destination/Level
Channel
Strip
view.
In
modal
dialog: F8
key
is
equivalent
to
computer
keyboard
8
key.
Logic
Control Modifier Function/Comments
Chapter
2
Logic
Control 95
GLOBAL
VIEW
Buttons
MODIFIERS—While
Held
Down:
Logic
Control Modifier Function/Comments
MIDI
TRACKS — Switch
to
Global
view
and
show
MIDI
tracks.
SHIFT Set
to
fader
bank
no.
1
(tracks
1
to
8,
for
example).
In
modal
dialog: MIDI
TRACKS
button
is
equivalent
to
computer
keyboard
9
key.
INPUTS — Switch
to
Global
view
and
show
Audio
Input
Objects.
SHIFT Set
to
fader
bank
no.
2
(tracks
9
to
16,
for
example).
In
modal
dialog: INPUTS
button
is
equivalent
to
computer
keyboard
0
key.
AUDIO
TRACKS — Switch
to
Global
view
and
show
Audio
Track
Objects.
SHIFT Set
to
fader
bank
no.
3
(tracks
17
to
24,
for
example).
In
modal
dialog: AUDIO
TRACKS
button
is
equivalent
to
computer
keyboard’s
period
key.
AUDIO
INSTRUMENTS
— Switch
to
Global
view
and
show
Audio
Instrument
Objects.
SHIFT Set
to
fader
bank
no.
4
(tracks
25
to
32,
for
example).
In
modal
dialog: AUDIO
INSTRUMENTS
button
is
equivalent
to
computer
keyboard
/
key.
AUX — Switch
to
Global
view
and
show
Aux
Objects.
SHIFT Set
to
fader
bank
no.
5
(tracks
33
to
40,
for
example).
In
modal
dialog: AUX
button
is
equivalent
to
computer
keyboard
*
key.
BUSSES — Switch
to
Global
view
and
show
Bus
Objects.
SHIFT Set
to
fader
bank
no.
6
(tracks
41
to
48,
for
example).
In
modal
dialog: BUSSES
button
is
equivalent
to
computer
keyboard
–
key.
OUTPUTS — Switch
to
Global
view
and
show
Outputs
and
Master
Objects.
SHIFT Set
to
fader
bank
no.
7
(tracks
49
to
56,
for
example).
In
modal
dialog: OUTPUTS
button
is
equivalent
to
computer
keyboard
+
key.
USER — Currently
unassigned.
SHIFT Set
to
fader
bank
no.
8
(tracks
57
to
64,
for
example).
Logic
Control Function/Comments
SHIFT
Switch
to
second
function.
OPTION Apply
function
to
all
tracks
or
set
parameter
to
minimum,
default,
or
maximum
value.
CONTROL Disable
Group
functions
while
held
down.
x/ALT Enable
fine
mode;
shift
parameter
page
by
one
parameter
instead
of
page.
96 Chapter
2
Logic
Control
AUTOMATION
Buttons
UTILITIES
Buttons
Logic
Control Modifier Function/Comments
READ/OFF — Set
selected
track’s
automation
to
Read
or
Off.
OPTION Set
all
tracks’
automation
to
Read
or
Off.
TOUCH — Set
selected
track’s
automation
to
Touch.
OPTION Set
all
tracks’
automation
to
Touch.
LATCH — Set
selected
track’s
automation
to
Latch.
OPTION Set
all
tracks’
automation
to
Latch.
WRITE — Set
selected
track’s
automation
to
Write.
OPTION Set
all
tracks’
automation
to
Write.
TRIM Currently
unassigned.
GROUP — Enter
Group
Edit
mode.
SHIFT Create
a
new
group,
open
the
Group
window
and
enter
Group
Edit
mode.
TRACK Switch
to
Track
Multi
Channel
view,
displaying
Track
Group
parameter.
Logic
Control Modifier Function/Comments
SAVE — Save
Song.
OPTION Save
Song
as.
UNDO — Undo
SHIFT Redo
OPTION Open
Undo
History.
CANCEL — Leave
folder.
Flashing
pre-selection:
— Cancel
pre-selection.
In
alerts:
— Execute
Cancel
button.
ENTER — Enter
folder
of
selected
track.
In
alerts:
— Execute
default
button.
Chapter
2
Logic
Control 97
TRANSPORT
Buttons
Logic
Control Modifier Function/Comments
MARKER — Switch
Small
Marker
mode
on/off.
SHIFT Switch
Large
Marker
mode
on/off.
NUDGE — Switch
Small
Nudge
mode
on/off.
SHIFT Switch
Large
Nudge
mode
on/off.
MARKER Create
a
marker.
This
allows
you
to
create
a
marker
with
one
hand
without
entering
Large
Marker
mode.
CYCLE — Activate/Deactivate
Cycle.
SHIFT Switch
to
Cycle
view.
DROP — Activate/Deactivate
Drop.
SHIFT Switch
to
Drop
view.
REPLACE — Activate/Deactivate
Replace.
CLICK — Activate/Deactivate
metronome
click
(separately
for
playback
and
record).
SHIFT Activate/Deactivate
internal/external
sync
and
MMC.
SOLO — Activate/Deactivate
Solo
Lock
function.
SHIFT Enable
Solo
Lock
function.
REWIND
<< — Shuttle
rewind.
MARKER Go
to
previous
marker.
NUDGE Nudge
left
by
chosen
value.
CYCLE Engage
Cycle
function
and
set
left
locator
to
SPL.
DROP Engage
Drop
and
set
Drop
In
to
SPL.
In
Marker
mode:
— Go
to
previous
marker.
In
Nudge
mode:
— Nudge
left
by
chosen
value.
F.FWD
>> — Shuttle
forward.
MARKER Go
to
next
marker.
NUDGE Nudge
right
by
chosen
value.
CYCLE Engage
Cycle
function
and
set
right
locator
to
SPL.
DROP Engage
Drop
and
set
Drop
Out
to
SPL.
In
Marker
mode:
— Go
to
previous
marker.
In
Nudge
mode:
— Nudge
right
by
chosen
value.
STOP
— Stop.
98 Chapter
2
Logic
Control
Cursor
Keys
and
Scrub
Wheel
PLAY
— Play
SHIFT Pause
RECORD
— Record
Logic
Control Modifier Function/Comments
Logic
Control Modifier Function/Comments
Cursor
Left/Right If
in
Multi
Channel
view:
— Select
previous/next
parameter
of
current
view.
ZOOM Scroll
window
horizontally
by
page.
If
in
Channel
Strip
EQ,
Send
view
or
Plug-in/Instrument
Edit
view:
— Shift
current
editor
page
by
one
page.
x/ALT Shift
current
editor
page
by
one
parameter.
ZOOM Scroll
window
horizontally
by
page.
Otherwise
(always
in
Nudge
mode):
— Mimic
computer
keyboard
Left/Right
Arrow
keys.
ZOOM Scroll
window
horizontally
by
page.
In
Zoom
mode:
— Change
horizontal
zoom
level.
SHIFT Reset
individual
track
zoom
of
current
track
(Cursor
Left)
or
all
tracks
of
same
class
(Cursor
Right).
Cursor
Up/Down In
Channel
Strip
EQ,
Send
view
or
Plug-In/Instrument
Editor
view:
— Select
previous/next
EQ
band,
Send,
or
Insert
slot.
ZOOM Scroll
window
vertically
by
page.
Otherwise
(always
in
Nudge
mode):
— Mimic
computer
keyboard
Up/Down
Arrow
keys.
ZOOM Scroll
window
vertically
by
page.
In
Zoom
mode:
— Change
vertical
zoom
level.
SHIFT Change
individual
track
zoom
of
current
track.
ZOOM — Switch
between
default
cursor
button
behavior
(see
above)
and
Zoom
mode.
SHIFT Switch
between
default
cursor
button
behavior
and
permanently
mimicking
computer
keyboard
arrow
keys.
SCRUB — Activate/Deactivate
Scrub
mode.
SHIFT Enable
Shuttle
mode
on
the
Jog
Wheel
(SCRUB
button
LED
flashes)
Chapter
2
Logic
Control 99
External
Inputs
Jog
Wheel
— Move
song
position
line.
CYCLE Set
the
Left
locator
to
the
current
SPL,
advance
the
SPL
as
normally,
then
set
the
Right
locator
to
the
SPL.
Further
Jog
Wheel
turns
while
still
holding
down
CYCLE
advances
the
SPL
and
sets
the
Right
locator
again.
Tip:
Rotating
the
Jog
Wheel
counterclockwise
while
holding
down
CYCLE
defines
a
skip-cycle
range.
DROP Set
the
Drop
In
locator
to
the
current
SPL,
advance
the
SPL
as
normally,
then
set
the
Drop
Out
locator
to
the
SPL.
Further
Jog
Wheel
turns
while
still
holding
down
DROP
advances
the
SPL
and
sets
the
Drop
out
locator
again.
In
Scrub
mode
(SCRUB
button
LED
on):
— Scrub
In
Shuttle
mode
(SCRUB
button
LED
flashing):
— Shuttle
Logic
Control Modifier Function/Comments
Logic
Control Modifier Function
USER
SWITCH
A — Play/Stop
USER
SWITCH
B — Drop
In/Out
EXTERNAL
CONTROL
— Master
Volume
3
101
3 M-Audio
iControl
This
chapter
will
introduce
you
to
using
Logic
Pro
with
the
MAudio
iControl.
The
iControl
support
in
Logic
Pro
has
been
designed
to
ensure
full
GarageBand
compatibility.
When
a
GarageBand
song
is
imported
into
Logic,
the
iControl
can
be
used
to
edit
the
song
in
exactly
the
same
fashion
as
it
would
in
GarageBand.
Logic,
however,
offers
many
more
functions
than
GarageBand,
leading
to
some
iControl
buttons
not
being
assigned
as
you
might
expect
in
Logic.
But
don’t
worry:
you
can
easily
reassign
these
buttons
using
the
sophisticated
Control
Surfaces
Assignments
Editor
of
Logic
(see
the
Control
Surface
chapter
for
more
information).
To
use
Logic
with
an
iControl
unit,
you
need:
 an
iControl
unit
 Logic
Pro
7.
2,
or
later
 a
free
USB
port
Setting
Up
the
iControl
Setting
up
your
iControl
for
use
with
Logic
is
a
simple
process:
Connect
the
iControl
to
any
of
your
computer’s
USB
ports.
Logic
automatically
detects
a
connected
iControl.
You
can
use
the
iControl
in
an
independent
control
surface
group
(with
other
control
surface
icons
placed
above/
below
the
iControl
icon),
or
combined
into
one
control
surface
group
with
one
or
more
control
surfaces.
If
Cycle
mode
is
enabled
in
your
song
or
any
tracks
are
muted,
the
corresponding
LEDs
will
be
illuminated,
reflecting
each
track’s
current
status.
The
following
sections
will
provide
you
with
information
on
accessing
parameters
and
functions
that
may
not
be
apparent
at
first
glance.
You
are
strongly
encouraged
to
experiment
with
these
parameters
and
functions—this
will
help
to
familiarize
you
with
iControl
support
in
Logic.
102 Chapter
3
M-Audio
iControl
Compatibility
The
iControl
can
edit
all
plug-ins
that
offer
parameters
which
can
be
automated.
Many
Logic
plug-ins—effects
and
Audio
Instruments—plus
those
of
third-party
manufacturers,
feature
dozens
of
parameters.
Every
one
of
these
parameters
can
be
accessed
by
the
iControl.
To
give
you
an
example
of
how
this
works,
imagine
a
plug-in
that
contains,
say,
16
parameters.
Once
you’ve
switched
to
the
appropriate
Channel
Strip
View
of
the
plug-in
you
wish
to
adjust,
you
can
directly
affect
parameters
1
to
8
with
encoders
1
to
8.
You
can
then
switch
by
a
“page”
to
access
parameters
9
to
16.
Simply
press
the
Arrow
Up
or
Arrow
Down
button
to
step
up/down
to
the
next
“page”
of
parameters.
Should
you
find
that
your
third-party
plug-in
does
not
support
remote
editing
or
other
features
mentioned
in
this
document,
please
contact
the
plug-in
manufacturer
to
obtain
an
updated
version
that
supports
these
facilities.
Channel
Views
The
channels
section
(the
eight
channel
strips
on
the
right
side
of
your
iControl;
each
channel
strip
comprises
of
a
Select,
Record
Enable,
Mute,
and
Solo
button
plus
a
rotary
encoder)
operates
in
two
view
“modes”—Multi
Channel
and
Channel
Strip
View.
Switching
between
these
modes
only
affects
the
rotary
encoders,
with
the
other
channel
controls
always
remaining
in
Multi
Channel
View.
 Multi
Channel
View—accesses
one
parameter
for
eight
tracks,
such
as
pan
or
volume
(normally
a
section
of
the
Track
Mixer
window).
 Channel
Strip
View—accesses
eight
parameters
of
the
selected
track.
Switching
to
a
Multi
Channel
or
Channel
Strip
view
is
achieved
by
pressing
one
of
the
Assignment
buttons
(see
the
following
section).
The
Assignment
Buttons
The
two
button
areas
labelled
“All
Tracks”
and
“Selected
Track”
are
used
to
define
the
behavior
of
the
channel
strip
buttons.
Volume
Pressing
the
Volume
button
enters
Volume
Multi
Channel
View;
you
can
use
the
rotary
encoders
to
control
the
Volume
fader
of
the
eight
active
tracks
in
this
mode.
Chapter
3
M-Audio
iControl 103
The
other
channel
strip
buttons
maintain
the
default
Multi
Channel
View
function:
 Sel
buttons:
Selects
the
track
for
editing.
 Record
Enable
buttons:
Enables/disables
the
track
for
recording.
 Mute
button:
Activates/deactivates
the
Mute
button
of
the
Audio
Object
that
corresponds
with
the
track.
 Solo
button:
Activate/deactivates
the
Solo
button
of
the
Audio
Object
that
corresponds
with
the
track.
Pan
Pressing
the
Pan
button
enters
Pan
Multi
Channel
View;
you
can
use
the
rotary
encoders
to
control
the
Pan
knob
of
the
eight
active
tracks
in
this
mode.
The
other
channel
strip
buttons
maintain
the
default
Multi
Channel
view
function:
 Sel
buttons:
Selects
the
track
for
editing.
 Record
Enable
buttons:
Enables/disables
the
track
for
recording.
 Mute
button:
Activates/deactivates
the
Mute
button
of
the
Audio
Object
that
corresponds
with
the
track.
 Solo
button:
Activate/deactivates
the
Solo
button
of
the
Audio
Object
that
corresponds
with
the
track.
Track
Info
Pressing
the
Track
Info
button
enters
Track
Channel
Strip
View.
In
this
mode,
you
can
use
the
Sel
buttons
and
rotary
encoders
of
the
eight
channel
strips
to
edit
global
parameters
of
the
selected
track.
The
Record
Enable,
Mute,
and
Solo
buttons
maintain
their
default
Multi
Channel
view
functions.
 Sel
button
1
to
5:
Switches
the
bypass
status
of
the
first
five
Insert
slots.
 Sel
button
6
and
7:
Switches
the
bypass
status
of
the
first
and
second
Send
slots.
Note:
A
Select
button
is
illuminated
if
the
Insert
or
Send
slot
is
enabled,
and
unlit
if
the
effect
is
bypassed.
 Sel
button
8:
Not
assigned.
 Encoder
1:
In
GarageBand,
every
Real
Instrument
track
(Real
Instrument
tracks
are
audio
tracks
in
Logic)
contains
a
Noise
Gate
plug-in.
Given
this
default
plug-in
assignment,
encoder
1
is
assigned
to
controlling
the
Threshold
parameter
of
the
Noise
Gate
in
Track
Channel
Strip
mode
(if
inserted
in
the
selected
channel
strip).
 Encoder
2:
In
GarageBand
songs,
every
Real
Instrument
track
contains
a
Compressor
plug-in.
Again,
in
Track
Channel
Strip
mode,
encoder
2
is
assigned
to
controlling
the
Compressor’s
Ratio
(if
inserted
in
the
selected
channel
strip).
 Encoders
3
and
4
are
not
assigned.
 Encoder
5
controls
the
Pan
knob
of
the
channel.
 Encoder
6
controls
the
Send
level
of
the
first
Send.
104 Chapter
3
M-Audio
iControl
 Encoder
7
controls
the
Send
level
of
the
second
Send.
 Encoder
8
controls
the
Volume
fader
of
the
channel.
Generator
Pressing
the
Generator
button
allows
you
to
edit
all
sound
generation
parameters
of
the
software
instrument
for
the
selected
track.
The
Arrow
Up
and
Arrow
Down
buttons
switch
to
the
previous
or
next
eight
parameters.
Note:
This
mode
can
only
be
accessed
if
the
selected
channel
strip
contains
an
audio
instrument.
Effect
1
and
Effect
2
Pressing
Effect
1
or
Effect
2
allows
you
to
edit
the
parameters
of
the
third
or
fourth
Insert
slot
of
the
selected
track
(where
applicable).
 Turning
the
encoders
changes
the
parameter
value.
 The
Arrow
Up
and
Arrow
Down
buttons
switch
to
the
previous
or
next
parameter
page.
Note:
When
shifting
by
a
“page,”
this
always
“quantizes”
to
integer
pages.
As
an
example:
The
plug-in
has
19
parameters
and
the
iControl
displays
parameters
1
to
8.
 Pressing
the
Arrow
Down
button
shifts
to
parameters
9
to
16.
 Pressing
the
Arrow
Down
button
again
shifts
to
parameters
12
to
19
 Pressing
the
Arrow
Up
button
shifts
back
to
parameters
9
to
16,
not
4
to
11.
This
way,
you
always
revert
to
the
page
positions
you
expect
to
find,
and
are
comfortable
with.
Pressing
the
Effect
1
or
Effect
2
button
while
pressing
the
Option
button
switches
the
bypass
status
of
Insert
slots
3
and
4,
respectively.
EQ
Pressing
the
EQ
button
allows
you
to
edit
all
EQ
parameters—in
all
bands—for
the
selected
track.
Pressing
the
EQ
button
opens
or
closes
the
Channel
EQ
plug-in
window
of
the
track.
If
no
Channel
or
Linear
Phase
EQ
is
present
on
the
selected
track,
a
Channel
EQ
will
be
inserted
automatically
when
the
EQ
Channel
Strip
View
is
entered.
Note:
You
can
use
the
Arrow
Down
and
Up
buttons
to
switch
to
the
next
or
previous
parameter
page.
Chapter
3
M-Audio
iControl 105
Arrow
Up
and
Arrow
Down
Buttons
The
Arrow
Up
and
Arrow
Down
buttons
move
up
or
down
by
“banks”
of
tracks
(or
between
“pages”
of
parameters,
as
discussed
earlier).
To
quickly
explain,
a
single
iControl
device
is
only
capable
of
viewing
eight
tracks
at
a
time.
To
see,
and
edit
or
mix
more
tracks,
simply
press
the
Arrow
Up
or
Arrow
Down
button
to
switch
between
tracks
1
to
8,
9
to
16,
17
to
24
and
so
on.
Note
that
when
shifting
by
bank,
this
always
“quantizes”
to
integer
banks.
As
an
example:
Your
song
has
19
tracks,
and
the
iControl
is
displaying
tracks
1
to
8.
 Pressing
the
Arrow
Down
button
shifts
to
tracks
9
to
16
 Pressing
the
Arrow
Down
button
again
shifts
to
tracks
12
to
19
 Pressing
the
Arrow
Up
button
shifts
back
to
tracks
9
to
16,
not
4
to
11
This
way,
you
always
revert
to
the
bank
positions
you
expect,
and
are
used
to.
Note:
Pressing
the
Arrow
Up
button
while
holding
down
the
Option
button
jumps
to
the
first
tracks,
and
pressing
the
Arrow
Down
button
jumps
to
the
last
tracks
in
the
song—as
an
example
(in
a
64
track
song),
tracks
1
to
8
or
tracks
57
to
64.
If
the
Generator,
EQ,
Effect
1,
or
Effect
2
button
is
illuminated,
the
Arrow
Up
and
Arrow
Down
buttons
have
different
functionality.
See
the
sections
above
for
details.
The
Channel
Strip(s)
As
each
channel
strip
is
identical,
the
information
discussed
in
this
section
applies
equally
to
all
eight
of
the
iControl
channel
strips.
Select
Button
This
button
is
used
to
select
a
channel
for
channel-based
editing
or
assignment
commands.
Each
channel
features
an
independent
Select
LED
which
is
lit
when
a
track
is
selected.
Note:
If
the
Track
Info
button
is
illuminated,
the
Select
buttons
behave
differently.
See
“Track
Info”
on
page
103
for
details.
Record
Enable
Button
This
button
arms
or
disables
the
channel
for
recording.
Each
channel
features
an
independent
Record
Button
LED
which
illuminates
when
a
track
is
“armed”
for
recording.
Note:
Holding
down
the
Option
button,
while
pressing
any
Record
Enable
button
will
disarm
all
tracks.
106 Chapter
3
M-Audio
iControl
Mute
Button
Used
to
mute
the
track’s
signal.
Each
channel
features
an
independent
Mute
LED
which
illuminates
when
a
track
is
muted.
Note:
Holding
down
the
Option
button,
while
pressing
any
Mute
button
will
unmute
all
tracks.
Solo
Button
Used
to
solo
channel
signals.
Each
channel
features
an
independent
Solo
LED
which
illuminates
when
a
track
is
soloed.
Note:
Holding
down
the
Option
button,
while
pressing
any
Solo
button
will
disable
solo
for
all
tracks.
Encoder
The
eight
encoders
are
used
for
a
number
of
operations,
depending
on
the
current
status
of
the
Assignment
buttons
to
the
left.
See
“The
Assignment
Buttons”
on
page
102.
Note:
Pressing
the
Option
button
while
turning
an
encoder
sets
the
Relative
Controller
mode
to
Full:
The
encoder
switches
between
the
parameter’s
minimum,
default,
or
maximum
value.
The
Jog
Wheel
The
Jog
Wheel
can
be
used
to
navigate
through
the
song,
which
is
useful
for
a
number
of
transport
tasks.
Simply
turn
the
dial
to
move
to
a
song
position.
The
Transport
Zone
This
section
of
the
iControl
features
six
buttons.
It
should
be
noted
that
these
buttons
can
be
used
independently,
or
in
conjunction
with
one
another,
to
navigate
and
edit
your
songs.
Record
Button
Activates
recording
on
the
selected
track.
Return
to
Zero
Button
(RTZ)
Moves
the
SPL
to
the
beginning
of
the
song.
Chapter
3
M-Audio
iControl 107
Rewind
Button
Holding
the
Rewind
button
moves
the
song
position
line
backwards.
Quickly
pressing
the
Rewind
button
once,
moves
the
SPL
one
bar
backwards.
Pressing
the
Rewind
and
Cycle
buttons
simultaneously
enables
Cycle
mode,
and
sets
the
left
border
of
the
Cycle
area
(left
locator)
to
the
current
song
position.
Play
Plays
from
the
current
song
position.
If
pressed
during
playback,
it
will
stop
playback.
Fast
Forward
Button
Holding
the
Fast
Forward
button
moves
the
song
position
line
forwards.
Quickly
pressing
the
Fast
Forward
button
once,
moves
the
SPL
one
bar
forward.
Pressing
the
Fast
Forward
and
Cycle
buttons
simultaneously
enables
Cycle
mode,
and
sets
the
right
border
of
the
Cycle
area
(right
locator)
to
the
current
song
position.
Cycle
Activates/deactivates
Cycle
mode.
By
default,
the
Cycle
area
will
fall
between
the
first
two
markers.
You
can
use
the
iControl
to
set
the
left
or
right
locator
to
the
current
song
position
and
enable
Cycle
mode.
To
define
a
new
Cycle
area,
using
the
Cycle
button:
1 Navigate
to
the
desired
left
locator
position
with
the
Jog
Wheel.
2 Do
one
of
the
following:
 Press
the
Cycle
and
Rewind
buttons
simultaneously,
navigate
to
the
desired
right
locator
position
with
the
Jog
Wheel,
then
press
the
Cycle
and
Fast
Forward
buttons
simultaneously.
 Hold
down
the
Cycle
button,
navigate
to
the
desired
right
locator
position
with
the
Jog
Wheel,
then
release
the
Cycle
button.
Master
Fader
Controls
the
level
of
the
Master
fader
in
the
Mixer
windows
of
Logic.
This
reduces
the
level
of
all
tracks,
but
does
not
affect
their
relative
positions.
108 Chapter
3
M-Audio
iControl
Assignment
Overview
The
following
assignment
tables
are
broken
down
into
“zones”
of
the
iControl.
Assignment
Section
The
Assignments
button
in
the
All
Tracks
and
Selected
Tracks
area
defines
the
behavior
of
the
channel
strip
buttons.
Channel
Strip
(x8)
iControl
button Modifier Function/Comments
Volume — Encoders
control
track’s
Volume
parameter.
Pan — Encoders
control
track’s
Pan
parameter.
Generator — Encoders
control
software
instrument
parameters.
Track
Info — Encoders
control
track
parameters.
EQ — Encoders
control
EQ
parameters.
Effect
1 — Encoders
control
Insert
3
parameters.
Effect
2 — Encoders
control
Insert
4
parameter.
Option
— Modifier
for
other
controls;
while
held
down,
the
modified
control
either
applies
the
function
to
all
tracks
or
sets
the
parameter
to
its
minimum,
default,
or
maximum
value.
Arrow
Up/Down
— Shift
fader
bank
left/right
by
number
of
channel
strips.
Option Shift
fader
bank
to
beginning
or
end.
iControl
Modifier Function/Comments
Encoder — Modify
currently
selected
parameter.
Option Set
parameter
to
minimum,
default,
or
maximum
value.
Record
Enable — Activates/Deactivates
Record
Enable
button
of
track.
Option Disable
Record
Enable
button
for
all
tracks.
Solo — Activates/Deactivates
Solo
button
of
track.
Option Disable
Solo
button
for
all
tracks.
Mute — Activates/Deactivates
Mute
button
of
track.
Option Disable
Mute
button
for
all
tracks.
Sel — Select
track,
except
in
Channel
Strip
mode.
Chapter
3
M-Audio
iControl 109
Jog
Wheel
Transport
Buttons
iControl
Modifier Function/Comments
Jog
Wheel — Move
Song
Position
Line.
Cycle Set
the
Left
locator
to
the
current
SPL,
advance
the
SPL
as
per
usual,
then
set
the
Right
locator
to
the
new
SPL
position.
Further
Jog
Wheel
turns
(to
the
right)
while
holding
down
the
Cycle
button
advances
the
SPL
and
resets
the
Right
locator
position.
Tip:
rotating
the
Jog
Wheel
counter-clockwise
(to
the
left)
while
holding
down
Cycle
defines
a
skip-cycle
range.
iControl Modifier Function/Comments
Record — Record
Return
To
Zero — Go
to
beginning
of
song
Rewind — Move
the
SPL
one
bar
backward.
If
held,
continue
to
scroll
backwards.
Cycle Engage
Cycle
function
and
set
left
locator
to
SPL.
Play — Play
or
Stop
Fast
Forward — Move
the
SPL
one
bar
forward.
If
held,
continue
to
scroll
forwards.
Cycle Engage
Cycle
function
and
set
right
locator
to
SPL.
Cycle — Switch
Cycle
mode
on
or
off.
4
111
4 EuCon
Support
of
Euphonix
MC
and
System
5-MC
Logic
Pro
7.2.1
supports
the
EuCon
protocol
developed
by
Euphonix,
enabling
enhanced
communication
between
the
MC
or
System
5-MC
and
Logic.
The
following
chapter
describes
how
the
MC
and
System
5-MC
control
Logic
in
EuCon
mode.
Please
note
that
this
is
an
addendum
to
the
MC
operation
manual
and
is
limited
to
descriptions
of
Logic
specific
features.
Please
refer
to
the
device
operating
manuals
for
more
information
about
your
control
surface(s).
Setting
Up
the
MC
or
System
5-MC
With
Logic
Please
follow
the
steps
outlined
in
the
section
below
to
use
your
MC
or
System
5-MC
with
Logic.
To
set
up
the
MC
or
System
5-MC
with
Logic:
1 Set
up
your
MC
and/or
CM408T
units
as
described
in
the
MC
operation
manual.
2 Install
the
EuConWS
software
(version
1.1.2
or
later)
on
your
Macintosh.
3 Ensure
that
your
Macintosh
computer
is
set
up
as
a
workstation
on
the
MC
(see
MC
operation
manual).
4 Assuming
that
the
MC
software
is
running
on
the
MC:
Select
the
Euphonix
Menu
icon
on
the
MC
Touchscreen
and
choose
the
Prefs
menu
item,
then
go
to
the
About
tab.
Ensure
that
EuCon
version
is
1.1.2
or
later.
If
it
isn‘t,
you‘ll
need
to
update
the
EuCon
software.
Go
to
the
Euphonix
website
for
more
information.
Note:
If
you
have
been
using
an
earlier
EuCon
version,
you
should
delete
or
rename
the
Logic
Pro.xml
file
before
installing
newer
EuCon
versions.
This
file
is
used
when
controlling
Logic
with
the
Euphonix
device(s)
HUI
emulation,
which
causes
conflicts
when
controlling
Logic
in
EuCon
mode.
Exit
the
MC
and
return
to
the
operating
system
by
choosing
Euphonix
>
Shutdown
>
Exit
to
Operating
System,
then
open
the
C:\Program
Files\Euphonix\EuCon\UserSets\MCUser\MC_USER_SET__Root
folder
and
rename
or
delete
the
Logic
Pro.xml
file.
112 Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC
5 If
you
have
a
CM408T
and
the
correct
MC
software
is
running:
Choose
Euphonix
>
Prefs
>
Modules,
select
the
CM408T
in
the
“All
Online”
list,
then
touch
“Add.”
6 Launch
Logic
Pro
7.2.1.
The
startup
screen
advises
that
Logic
is
starting
EuCon.
7 On
the
MC,
press
the
workstation
button
associated
with
your
Macintosh
computer.
The
MC
display
will
show
an
“Attaching
to
Logic
Pro”
progress
bar.
Note:
The
EuCon
support
of
Logic
is
not
achieved
through
special
control
surface
plugins.
As
a
consequence,
you
can
not
use
the
Control
Surface
Assignments
Editor
to
change
assignments.
You
can
only
use
the
facilities
provided
by
the
MC
or
System
5-
MC.
More
information
about
this
can
be
found
in
the
operation
manuals
provided
with
your
EuCon
device(s).
EuCon
devices
do
not
appear
in
the
Control
Surfaces
Setup
window.
Setting
Up
Soft
Key
Assignments
The
“Logic
Pro.xml”
Application
Set
file—installed
with
EuCon
version
1.1.2—features
a
number
of
useful
Soft
Key
assignments.
The
MC
Touchscreen
can
be
used
to
edit
them.
To
change
a
Soft
Key
assignment:
1 Select
the
respective
Soft
Key.
2 Touch
the
Euphonix
Menu
icon,
then
choose
Setup
in
the
ensuing
pop-up
menu.
3 Choose
the
desired
EuCon
command
in
the
menu.
Logic
supports
the
following
EuCon
commands:
 Key
Commands:
All
Logic
key
commands
(except
the
transport
commands)
are
found
here.
The
Touchscreen
uses
the
same
hierarchy
as
the
Key
Commands
window.
Many
of
these
key
commands
switch
between
states
(on/off,
for
example)
or
set
a
value.
Most
also
provide
feedback
on
the
Soft
Key
(as
an
example:
a
Soft
Key
assigned
to
the
Open/Close
Score
Editor
command
is
illuminated
when
a
Score
Editor
window
is
open).
 Left
Wheel/Right
Wheel:
The
commands
found
here
allow
you
to
configure
the
left
or
right
wheel
to
perform
a
certain
action
when
turned.
This
includes
horizontal
or
vertical
zoom,
waveform
zoom,
individual
track
zoom,
move
locators,
adjust
left
locator,
adjust
right
locator,
move
drop
locators,
adjust
drop
in
(punch
in),
adjust
drop
out
(punch
out),
move
marker,
adjust
marker
length,
nudge
selected
Regions
or
events,
left/right
pan
(surround
X),
and
front/back
pan
(surround
Y).
Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC 113
 Project
>
Markers:
All
markers
defined
in
the
open
song
are
shown
as
a
list.
Assigning
a
Soft
Key
to
a
marker
command
will
display
the
marker
title
on
the
Soft
Key
LCD
display.
Pressing
the
Soft
Key
will
move
the
SPL
to
the
marker
start
point.
The
Soft
Key
is
illuminated
while
the
SPL
falls
within
the
marker
boundaries.
Renaming
a
marker
in
Logic
also
changes
the
associated
Soft
Key
title.
Moving
a
marker,
however,
disconnects
the
Soft
Key
from
the
marker.
 Transport:
All
transport
related
key
commands
are
found
here.
Note:
Marker
Soft
Keys
are
a
part
of
the
Application
Set,
not
the
song
data.
Don’t
forget
to
save
the
User
Set
after
defining
a
Marker
Soft
Key.
Main-Tracks
Touchscreen
The
MC
Main-Tracks
Touchscreen
always
displays
a
song‘s
tracks
(channels)
in
the
Track
Mixer‘s
(adaptive)
Track
view:
 The
channels
are
laid
out
in
the
same
order
as
in
the
Arrange
window.
 Redundant
tracks
are
suppressed
(not
accessible),
where
multiple
tracks
represent
the
same
output.
Note:
Filtered
selections
(different
view
modes)
are
not
reflected
on
the
MC
Main-
Tracks
Touchscreen
track
list.
The
transport
information
is
displayed
as
follows:
 SMPTE
clock
 Bars/beats
time
 Left
locator
 Right
locator
Main-Layouts
Layouts
are
automatically
saved
with
the
Logic
song.
When
re-loading
a
song,
all
defined
layouts
are
available.
Faders
The
following
section
outlines
the
functionality
of
the
MC
fader
elements
in
Logic.
Solo
Keys
This
key
activates
the
Solo
button
for
each
Audio
Object.
114 Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC
On
Keys
The
MC
On
keys
provide
the
same
functionality
as
the
Mute
buttons
in
Logic,
but
work
in
reverse:
An
MC
On
key
must
be
lit
to
hear
the
channel.
If
a
channel
strip
has
been
muted
in
Logic,
the
corresponding
MC
channel
On
key
is
not
illuminated.
A
track
that
is
not
muted
features
a
lit
On
key.
L
LED
When
the
Logic
track
controlled
by
the
fader
belongs
to
an
automation
group,
the
L
LED
on
the
channel
strip
is
lit.
Touching
Fader
Selects
Track
Preference
Please
note
that
the
“Touching
fader
selects
track”
preference
of
Logic
(Logic
>
Preferences
>
Control
Surfaces
>
Preferences)
does
not
apply
to
the
MC
and
System
5-
MC
when
they
are
used
with
the
EuCon
protocol.
This
function
is
offered
by
the
MC
itself,
with
the
“Select
channel
by
touching
fader/joystick“
preference.
Choosing
Automation
Modes
The
MC
and
System
5-MC
only
support
Read
and
Write
automation
modes.
Logic,
however,
also
features
Touch
and
Latch
automation
modes.
When
you
use
these
devices
with
Logic,
activating
the
“Read
and
Write“
mode
in
the
Touchscreen
activates
Touch
mode
in
Logic.
Latch
mode
can
not
be
activated
with
the
MC
or
System
5-MC.
When
you
choose
Latch
mode
with
the
mouse
in
Logic,
the
green
R
and
red
W
LEDs
are
lit
(as
per
Read
and
Write
mode).
To
choose
an
automation
mode:
1 Press
the
Wave
and
Select
keys
simultaneously.
2 Select
the
desired
automation
mode
in
the
pop-up
menu
displayed
on
the
Touchscreen.
You
can
choose
between:
 Isolate:
Automation
mode
is
off.
 Read:
Activates
Read
mode
in
Logic.
 Write:
Activates
Write
mode
in
Logic.
 Read/Write:
Activates
Touch
mode
in
Logic.
Note:
If
a
write
automation
mode
(Touch,
Latch,
Write)
is
active
(and
an
automation
parameter
enabled
in
the
Logic
>
Preferences
>
Automation
>
Touch/Latch/Write
Erase
settings
is
chosen),
the
red
W
LED
is
lit.
The
green
LED
is
lit
when
a
read
automation
mode
is
active.
Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC 115
Knobsets
When
using
the
Euphonix
MC
with
Logic,
a
knobset
contains
pages,
each
comprised
of
eight
parameters.
The
top
level
knobset
leads
to
the
following
knobsets:
 Inserts:
Pressing
the
Inserts
Soft
Key
switches
to
a
list
of
currently
instantiated
plugins
(see
the
following
section
for
details).
The
On
key
is
lit
if
a
plug-in
is
enabled
(not
bypassed)
and
does
not
belong
to
the
dynamic,
EQ,
or
filter
plug-in
groups.
(Please
note
that
this
also
applies
to
Audio
Unit
plug-ins.)
Pressing
the
On
key
switches
the
bypass
state
of
all
plug-ins
that
do
not
fall
into
the
dynamic,
EQ,
or
filter
groups.
 Input:
Pressing
the
Input
Soft
Key
switches
to
input
parameters
(see
“Input
Knobset”
on
page
116).
 Dyn:
The
Dyn
Soft
Key
is
not
currently
used
to
display
a
list,
or
allow
editing,
of
dynamic
plug-ins.
The
On
key
is
lit
when
any
Dynamic
plug-ins
are
enabled
(not
bypassed).
Please
note
that
this
only
applies
to
Logic
plug-ins,
not
Audio
Unit
plugins.
Pressing
the
On
key
switches
the
bypass
state
of
all
Dynamic
plug-ins.
 EQ:
Pressing
the
EQ
Soft
Key
switches
to
EQ
editing
(see
“EQ
Knobset”
on
page
118).
The
On
key
is
lit
when
EQ
plug-ins
are
enabled
(not
bypassed).
Please
note
that
this
only
applies
to
Logic
plug-ins,
not
Audio
Unit
plug-ins.
Pressing
the
On
key
switches
the
bypass
state
of
all
EQ
plug-ins.
 Sends:
Pressing
the
Sends
Soft
Key
switches
to
Send
editing
mode
(see
“Sends
Knobset”
on
page
118).
 Pan:
Pressing
the
Pan
Soft
Key
switches
to
Pan/Surround
editing
mode
(see
“Pan/
Surround
Editing
Knobset”
on
page
119).
 Groups:
Pressing
the
Groups
Soft
Key
switches
to
Group
editing
mode
(see
“Groups
Knobset”
on
page
119).
 Output:
Pressing
the
Output
Soft
Key
switches
to
Output
parameter
editing
mode
(see
“Output
Knobset”
on
page
119).
Inserts
(Configuration)
Knobset
In
this
mode,
the
Soft
Keys
display
the
effect
plug-ins
inserted
on
the
selected
track.
If
more
than
eight
effect
plug-ins
are
instantiated,
you
can
use
the
right
Page
key
of
the
left
Page
key
set
to
display
ensuing
plug-ins.
To
edit
an
effect
plug-in:
1 Press
the
Soft
Key
(or
respective
knob
top)
that
features
the
name
of
the
effect
plug-in
that
you
wish
to
edit.
This
switches
to
Effect
Plug-in
Editing
mode.
The
parameters
of
the
plug-in
are
displayed
in
the
order
shown
in
the
Controls
view
of
the
effect.
2 Turn
the
respective
knob(s)
to
change
the
desired
value(s).
116 Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC
Pressing
a
knob
top
sets
the
controlled
parameter
to
its
default
value.
For
parameters
with
only
two
values,
the
On
key
is
lit
when
the
value
is
1
(or
on)
and
unlit
when
the
value
is
0
(or
off ).
Pressing
the
On
key
switches
between
the
two
value.
If
the
plug-in
features
more
than
eight
parameters,
use
the
left
Page
key
set
to
navigate
between
pages
of
parameters.
Pressing
the
Back
key
returns
to
the
Inserts
(Configuration)
knobset.
To
insert
effect
plug-ins:
1 In
the
Inserts
(Configuration)
Knobset
mode,
press
both
Page
keys
simultaneously.
This
switches
to
Effect
Insert
mode.
The
Soft
Keys
display
the
first
eight
Insert
slots
of
a
channel.
2 Select
the
desired
Insert
slot
by
pressing
the
respective
knob
top.
You
can
use
the
left
Page
key
to
display
Insert
slots
9
to
15.
When
you
press
the
respective
knob
top,
the
Soft
Keys
display
the
Logic
plug-in
menu
that
appears
when
you
click-hold
on
an
Insert
slot
with
the
mouse.
Π Tip:
If
the
selected
Insert
slot
already
contains
an
effect
plug-in,
the
MC
reflects
the
bold
menu
entries
(indicating
the
selected
plug-in
name/type)
with
a
lit
On
key.
3 Choose
the
desired
effect
plug-in:
 Pressing
the
Soft
Key
or
knob
top
enters
a
submenu
or
inserts
a
selected
effect
plugin.
 Pressing
the
Back
key
navigates
up
one
level
in
the
menu
hierarchy.
Input
Knobset
If
the
Input
knobset
is
active,
the
Soft
Keys
display
all
possible
input
values
for
audio
tracks:
 The
first
value
is
“--”,
meaning
no
input.
 The
currently
active
input
value
is
indicated
by
a
lit
On
key.
 Pressing
the
respective
On
key,
Soft
Key
or
knob
top
chooses
the
respective
input
value.
 If
there
are
more
than
eight
values
(inputs),
the
left
Page
key
set
switches
to
the
previous/next
values.
 Pressing
the
two
Page
keys
simultaneously
switches
to
Input
Configuration
mode:
the
Soft
Keys
display
mode
values
(Mono,
Stereo,
Left,
Right)
for
the
track.
Again,
the
active
value
is
indicated
by
a
lit
On
key.
Pressing
the
respective
On
key,
Soft
Key
or
knob
top
chooses
the
respective
value.
 Pressing
the
Back
key
returns
to
the
top-level
knobset.
On
Audio
Instrument
tracks,
the
Input
knobset
displays
the
inserted
instrument.
Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC 117
To
edit
an
instrument:
m Press
the
respective
knob
top
or
Soft
Key.
Instrument
parameters
are
displayed
in
the
order
shown
in
the
Controls
view
of
the
plug-in.
Turning
a
knob
changes
the
parameter
value.
Pressing
a
knob
top
sets
the
controlled
parameter
to
its
default
value.
For
parameters
with
only
two
values,
the
On
key
is
lit
when
the
value
is
1
(or
on)
and
unlit
when
the
value
is
0
(or
off ).
To
change
or
insert
an
instrument:
1 Press
both
Page
keys
simultaneously.
This
switches
to
Insert
Instrument
mode.
The
Soft
Key
display
indicates
the
Instrument
slot
of
the
channel.
When
you
press
the
knob
top
or
Soft
Key,
the
Soft
Keys
display
the
Instrument
plug-in
menu
that
appears
when
you
click-hold
on
an
Instrument
slot
with
the
mouse.
2 Choose
the
desired
Instrument
plug-in:
 Pressing
the
Soft
Key
or
knob
top
enters
a
submenu
or
inserts
a
selected
instrument
plug-in.
 Pressing
the
Back
key
navigates
up
one
level
in
the
menu
hierarchy
(or
switches
back
to
the
Input
Knobset
if
you
are
in
the
top
level
of
the
menu).
Opening
and
Closing
Plug-in
windows
Logic
supports
the
MC
“Open
plugins
on
workstation
when
editing”
and
“Close
plugins
on
workstation
when
exiting”
preferences.
This
behavior
is
dependent
on
the
Link
button
being
enabled
in
plug-in
windows.
If
a
Link-enabled
plug-in
window
is
open:
 “Open
plugins
on
workstation
when
editing”
does
not
open
a
new
window
when
a
new
plug-in
is
selected,
but
will
replace
the
open
window’s
contents.
 “Close
plugins
on
workstation
when
exiting”
does
nothing.
Otherwise,
“Open
plug-ins
on
workstation
when
editing”
opens
a
new
plug-in
window,
with
the
Link
button
disabled.
“Close
plugins
on
workstation
when
exiting“
closes
the
Plug-in
window.
Dyn(amic)
Knobset
This
knobset
is
not
currently
implemented.
118 Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC
EQ
Knobset
This
knobset
allows
you
to
edit
the
first
EQ
plug-in
(Channel
EQ
or
Linear
Phase
EQ).
There
are
two
pages,
with
each
band
featuring
two
knobs.
Page
1
shows
the
parameters
of
the
first,
second,
7th,
and
8th
EQ
bands.
Page
2
shows
the
parameters
of
EQ
bands
3
to
6.
When
no
Linear
Phase
or
Channel
EQ
is
present
on
the
selected
track,
pressing
the
last
Soft
Key
in
the
second
row
(labeled
AddChEQ)
inserts
a
Channel
EQ.
For
each
band:
 The
upper
knob
controls
either
Frequency
or
Q.
You
can
switch
between
Frequency
or
Q
with
the
Select
key
for
the
Knobset.
Pressing
the
knob
top
sets
the
controlled
parameter
to
its
default
value.
 The
lower
knob
controls
Gain
(or
Slope).
Again,
pressing
the
knob
top
sets
the
controlled
parameter
to
its
default
value.
 The
lower
knob‘s
On
key
switches
the
bypass
state
of
the
band.
When
the
band
is
bypassed,
the
On
key
is
unlit.
When
the
band
is
active,
the
On
key
is
illuminated.
To
return
to
the
top-level
knobset:
m Press
the
Back
key.
Sends
Knobset
The
Sends
knobset
displays
the
current
track
send
options.
 The
Soft
Key
shows
the
send
destination.
 The
knob
controls
send
level.
 The
Select
key
switches
between
pre
fader
(off—unlit)
and
post
fader
(on—lit)
modes.
 The
On
key
switches
the
bypass
state
of
the
send.
 Pressing
both
Page
keys
simultaneously
enters
Send
Configuration
mode
(see
the
following
section).
 Pressing
the
Back
key
returns
to
the
top-level
knobset
Send
Configuration
Knobset
In
Send
Configuration
mode,
a
list
of
the
first
eight
Send
slots
is
displayed.
When
you
touch
the
knob,
the
Soft
Key
shows
the
send
level
(provided
the
send
slot
is
already
assigned
to
a
bus).
To
change
a
send
destination:
1 Select
the
desired
Send
slot
by
pressing
the
respective
Soft
Key
or
knob
top.
The
first
eight
Send
destinations
are
displayed.
You
can
use
the
right
Page
key
of
the
left
Page
key
set
to
display
ensuing
Send
destinations.
2 Choose
the
desired
destination
by
pressing
the
respective
Soft
Key
or
knob
top.
Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC 119
To
return
to
send
editing
mode:
m Press
the
Back
key.
Pan/Surround
Editing
Knobset
This
knobset
displays
the
Pan
parameter
unless
Surround
mode
is
active
on
the
track(s).
On
tracks
where
Surround
Mode
is
active,
this
knobset
displays:
 Surround
Angle
 Surround
Diversity
 LFE
 Surround
X
(left/right)
 Surround
Y
(front/back)
 Center
Level
Press
the
Back
key
to
return
to
the
top-level
knobset.
Pressing
a
knob
top
sets
the
controlled
parameter
to
its
default
value.
Groups
Knobset
This
knobset
displays
all
currently
used
automation
groups.
 The
Soft
Keys
show
group
names.
Press
to
choose
the
respective
group(s).
 The
On
key
displays
and
switches
between
active/inactive
group
membership
for
the
track.
 Pressing
the
Back
key
returns
to
the
top-level
knobset.
Output
Knobset
If
the
Output
knobset
is
active,
the
Soft
Keys
display
all
possible
output
values
for
the
track:
 The
first
value
is
“Surround,”
the
second
is
“--”,
meaning
no
output.
 The
currently
active
output
is
indicated
by
a
lit
On
key.
 Pressing
the
On
key,
Soft
Key,
or
knob
top
chooses
the
respective
output
value.
 If
there
are
more
than
eight
outputs,
you
can
use
the
right
Page
key
of
the
left
Page
keys
to
display
ensuing
outputs.
 If
the
selected
track
is
a
surround
track,
pressing
the
two
Page
keys
simultaneously
will
switch
to
Surround
Output
Configuration
mode:
the
Soft
Keys
display
the
surround
format
parameters
(Stereo,
LCR,
Center
Only,
Quadro,
and
so
on)
of
a
track.
Again,
the
active
value
is
indicated
by
a
lit
On
key
and
pressing
the
On
key,
Soft
Key
or
knob
top
chooses
the
respective
value.
 Pressing
the
Back
key
returns
to
the
top-level
knobset.
120 Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC
Assignable
Knob
The
Assignable
Knob
can
be
used
for
control
of
any
parameter
that
can
be
automated.
You
must
click
on
the
target
parameter
with
the
mouse.
Pointing
with
the
mouse
is
not
sufficient
to
assign
a
parameter.
Pressing
the
knob
top
locks/unlocks
the
Assignable
Knob.
When
locked,
clicking
a
parameter
with
the
mouse
will
not
reassign
the
Assignable
Knob.
Both
the
On
and
the
Smart
key
switch
the
currently
assigned
parameter
between
values
of
0
and
1
(useful
for
on/off
parameters).
Monitors
and
Control
Room
Logic
Pro
does
not
support
EuCon
monitoring
control.
Please
use
the
Studio
Monitor
Pro
application.
Clear
Keys
The
“Clear
Mute”
and
“Clear
Solo”
keys
turn
off
Mute
or
Solo
on
all
tracks.
The
Clear
Mute/Clear
Solo
key
is
lit
when
any
track
is
muted/soloed.
The
button
without
a
label
above
the
Clear
Mute
key
provides
a
special
feature
on
the
CM408T:
when
it
is
active
(lit),
pressing
a
CM408T
key/knob
activates
the
respective
view
(knobsets,
sub-menus,
and
so
on)
for
all
channels.
Track
Control
Bar
The
Track
Control
Bar
of
the
Logic
Arrange
window
offers
a
special
feature
on
the
Euphonix
MC
and
System
5-MC
devices:
it
shows
“attentioned”
tracks
in
light
blue.
All
currently
“accessed”
tracks
are
shown
in
dark
blue.
Note:
The
color
of
the
track
control
bar
can
not
be
changed
in
the
Control
Surface
Setup
window.
System
5-MC
Specific
Features
This
section
describes
how
the
System
5-MC‘s
CM408T
fader
module
controls
Logic
in
EuCon
mode.
TFT
Display
 Level
meters:
Display
the
level
of
the
respective
track.
Two
discrete
stereo
level
meters
are
shown
for
stereo
tracks.
 Track
Info
section:
Displays
the
track
name,
number,
stereo/surround
mode,
input
and
output
assignments.
Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC 121
 Graphs:
In
all
knobsets
(except
EQ),
the
graph
section
displays
the
current
pan
or
surround
position.
If
the
EQ
knobset
is
selected,
the
graph
section
displays
the
current
frequency
response.
If
the
EQ
plug-in
is
bypassed,
the
curve
is
displayed
in
gray,
rather
than
green.
 Knobset
assignment:
The
eight
lines
normally
display
the
assignment
of
a
knob.
The
current
value
of
a
knob
is
displayed
when
it
is
touched.
In
the
Output
and
Group
knobset,
a
green
frame
is
shown
around
the
text
of
knob
cells
with
a
lit
On
key.
 Color
bar:
The
color
corresponds
to
the
color
assigned
to
the
audio
channel
(or
Logic
instrument)
of
the
track.
Two
Keys
Above
Knobsets
Pressing
the
two
keys
above
a
knobset
is
equivalent
to
pressing
the
MC
Back
key:
You
move
up
one
level
in
the
hierarchy,
if
applicable.
Knob
Cells
The
CM408T
knob
cells
are
almost
identical
to
the
MC
knob
cells.
There
is
just
one
difference:
They
feature
a
four-character
LED,
but
no
Soft
Key.
Top
Level
Knobset
Keys
These
keys
allow
you
to
access
knobsets
directly:
 “*”
(asterisk)
key:
Same
as
Inserts
Soft
Key
(see
“Inserts
(Configuration)
Knobset”
on
page
115).
 Input:
Accesses
Input
knobset
(see
“Input
Knobset”
on
page
116)
 Dyn:
Selects
the
Dynamic
knobset
(see
“Dyn(amic)
Knobset”
on
page
117).
 EQ:
Selects
the
EQ/Filter
knobset
(see
“EQ
Knobset”
on
page
118).
 Aux:
Selects
the
Sends
knobset
(see
“Sends
Knobset”
on
page
118).
 Pan:
Selects
the
Pan
knobset
(see
“Pan/Surround
Editing
Knobset”
on
page
119).
 Grp:
Selects
the
Group
knobset
(see
“Groups
Knobset”
on
page
119).
 Mix:
Selects
the
Output
knobset
(see
“Output
Knobset”
on
page
119).
In
Keys
These
keys
allow
you
to
switch
the
bypass
status
of
particular
plug-in
types.
Â
Ins
In
key:
Switches
the
bypass
status
of
all
plug-ins
that
do
not
belong
to
the
dynamic,
EQ,
or
filter
categories
(please
note
that
this
also
applies
to
Audio
Unit
plug-ins).
 Dyn
In:
Switches
the
bypass
status
of
all
dynamic
plug-ins
(please
note
that
this
only
applies
to
Logic,
not
Audio
Unit
plug-ins).
 EQ
In:
Switches
the
bypass
status
of
all
EQ
plug-ins
(please
note
that
this
only
applies
to
Logic,
not
Audio
Unit
plug-ins).
 Filt
In:
Switches
the
bypass
status
of
all
filter
plug-ins
(please
note
that
this
only
applies
to
Logic,
not
Audio
Unit
plug-ins).
122 Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC
Identical
Keys
The
following
CM408T
keys
work
in
the
same
fashion
as
their
MC
counterparts:
 Page/Configure
key
 Channel
Select
key
 Rec
key
 Solo
key
 On
key
5
123
5 CM
Labs
Motormix
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 Ensure
that
your
Motormix
unit(s)
are
connected
bi-directionally
with
the
MIDI
interface.
 Choose
Logic
Pro
>
Preferences
>
Control
Surfaces
>
Setup.
 Choose
the
New
>
Install
menu
item
from
the
Setup
window’s
local
menu.
 Select
“Motormix”
in
the
Install
window,
choose
“Add,”
then
set
the
appropriate
MIDI
In
and
Out
ports
in
the
Setup
window—for
each
Motormix
unit.
Assignment
Overview
A
right-aligned
modifier
button
(SHIFT,
for
example)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
Select
Buttons
The
Select
buttons
(buttons
just
below
the
LCD)
have
multiple
uses,
depending
on
the
current
mode.
Mode Assignment
normal Selects
track
displayed
in
upper
LCD
line.
Tracks
can
be
shifted
to
the
left
and
right
with
the
View
left
and
right
buttons.
bank
button
LED
flashing
Track View Select mode: selects type of tracks to be displayed:
 1:
Track
View
 2:
Arrange
View
 3:
Global
View,
MIDI
tracks
 4:
Global
View,
Input
channels
 5:
Global
View,
Audio
tracks
 6:
Global
View,
Audio
Instruments
 7:
Global
View,
Bus,
and
Aux
channels
 8:
Global
View,
Outputs,
and
Master
124 Chapter
5
CM
Labs
Motormix
WINDOW/
tool
button
LED
on
Opens,
activates,
or
closes
a
window
of
a
certain
class.
LED
off:
If
the
window
is
not
open,
the
button
opens
it.
LED
on:
If
the
window
is
open,
but
not
active,
the
button
activates
it.
LED flashes: If the window is active, the button closes it.
 1:
Arrange
Window
 2:
Track
Mixer
 3:
Event
List
 4:
Score
Editor.
 5:
Hyper
Editor
 6:
Matrix
Editor.
 7:
Transport
window
 8:
Audio
window.
WINDOW/
tool
button
flashes
Chooses a tool.
 1:
Pointer
 2:
Pencil
 3:
Eraser
 4:
Text
tool
 5:
Scissors
 6:
Glue
 7:
Solo
tool
 8:
Mute
tool
PLAY/
transport
button
flashes
Transport section
 1:
Record
 2:
Pause
 3:
Stop
 4:
Play
 5:
Rewind
 6:
Fast
Forward
 Upper
LCD
row
displays
current
clock
position.
STOP/locate
button
flashes
Locating functions
 1:
Goes
to
left
locator.
 2:
Goes
to
right
locator.
 3:
Enables/Disables
Cycle.
 4:
Enables/Disables
Drop.
 5:
Enters
Marker
mode
(see
below).
 6:
Opens
floating
Marker
List.
 Upper
LCD
row
displays
current
clock
position.
Marker
mode
 1
to
6:
Selects
markers
1
to
6.
Marker
names
are
displayed
in
the
upper
LCD
row.
 7:
Creates
a
new
marker.
 8:
Deletes
current
marker.
Group
Edit
mode
Switches
between
group
parameters.
Parameter
view
can
be
shifted
by
the
View
left
and
right
buttons
when
the
SHIFT
button
is
held
down.
Plug-in
Assign
Enters
Plug-in
Edit
mode
for
selected
track.
Plug-in
Edit Enables/Disables
parameter
or
resets
it
to
default
value.
Mode Assignment
Chapter
5
CM
Labs
Motormix 125
Note:
In
modal
dialogs,
the
Select
buttons
generate
the
computer
keyboard
character
shown
on
the
button
face.
Rotary
Pots
Instrument
Assign
Enters
Instrument
Edit
mode
for
selected
track.
Instrument
Edit
Enables/Disables
parameter
or
resets
it
to
default
value.
Mode Assignment
Control Assignment
Rotary
pots
1
to
8
Control
parameter
chosen
with
the
Rotary
Selector,
as
displayed
in
the
7
segment
display
(see
below).
7
segment
display
Shows
current
selection
for
Rotary
pots:
Send editing (S-MUTE or PRE/PST LED is on):
 S1
to
S8
=
Send
1
to
8
level
 F1
to
F8
=
EQ
band
1
to
8
frequency
 G1
to
G8
=
EQ
band
1
to
8
gain
 q1
to
q8
=
EQ
band
1
to
8
Q
factor
Pan/Surround editing (select LED is on):
 Pn
=
Pan
 An
=
Surround
Angle
 dv
=
Surround
Diversity
 FE
=
Surround
LFO
 Md
=
Assign
Surround
Mode
 X
=
Surround
X
 Y
=
Surround
Y
Track parameter editing (eff-4 LED is on):
 VL
=
Volume
 Pn
or
An
=
Pan/Surround
Angle
 Md
=
Channel
Mode
 In
=
Channel
input
 Ou
=
Channel
output
 Au
=
Automation
mode
 Gr
=
Group
membership
Assignment:
Â
d1
to
d8
=
Assign
Send
1
to
8
destination
Plug-in
editing
(DSP/compare
LED
is
on):
 P1
to
15
=
Assign
Insert
slot
1
to
15
to
plug-in
 P1.
to
15.
=
Plug-in
parameter
editing
Instrument editing (DSP/compare LED is on):
 IA
=
Assign
instrument
 IE.
=
Instrument
parameter
editing.
Group property editing (group LED is on):
 G1
to
32
=
group
number
126 Chapter
5
CM
Labs
Motormix
Multi
Buttons
These
buttons
(labelled
A
to
H)
have
multiple
uses,
depending
on
the
current
mode,
as
indicated
by
the
green
and
yellow
LEDs
to
the
right.
Note:
In
modal
dialogs,
the
Multi
buttons
generate
the
computer
keyboard
character
shown
on
the
button
face.
Rotary
Selector
Selects a slot or parameter for rotary encoders, depending on the parameter type(s)
being edited with the rotary encoders:
 Send
slot
when
editing
send
level
or
assigning
send
destination.
 EQ
band
when
editing
an
EQ
parameter.
 Effect/Instrument
slot
when
assigning
an
effect/instrument.
 Pan/Surround
parameter
when
editing
a
Pan/Surround
parameter.
 Track
parameter
when
editing
a
Track
parameter.
 Effect/instrument
parameter
page
when
editing
a
plug-in
or
instrument.
Rotary
Selector
push
button
Switches
Flip
mode
between
Off
and
Duplicate
(faders
duplicate
rotary
encoder
assignments).
SHIFT Switches Display mode for channel strip displays: switches between:
Â
Page
info
in
upper
line,
parameter
name
in
lower
line.
 Parameter
name
in
upper
line,
parameter
value
in
lower
line.
Control Assignment
Mode Assignment
fx
bypass Enables/Disables
bypass
of
currently
selected
insert
effect.
SHIFT
(eff-1) Enables/Disables
bypass
of
currently
selected
EQ
band
and
switches
rotary
encoders
to
EQ
frequency
editing.
s-mute Enables/Disables
bypass
of
currently
edited
Send
and
switches
rotary
encoders
to
send
level
editing.
SHIFT
(eff-2) Enables/Disables
bypass
of
currently
selected
EQ
band
and
switches
rotary
encoders
to
EQ
Gain
editing.
pre/post Switches
between
pre
and
post
of
currently
edited
send
and
switches
rotary
encoders
to
send
level
editing.
Post
mode
is
indicated
by
a
lit
LED.
SHIFT
(eff-3) Enables/Disables
bypass
of
currently
selected
EQ
band
and
switches
rotary
encoders
to
(EQ)
Q
factor
editing.
select Switches
rotary
encoders
to
Pan/Surround
editing.
The
edited
parameter
is
selected
with
the
Rotary
Selector.
SHIFT
(eff-4) Switches
rotary
encoders
to
track
parameter
editing.
Chapter
5
CM
Labs
Motormix 127
Burn
Buttons
These
buttons
(labelled
I
to
P)
have
multiple
uses,
depending
on
the
current
mode,
as
indicated
by
the
red
LEDs
to
the
left.
Note:
In
modal
dialogs,
the
Burn
buttons
generate
the
computer
keyboard
character
shown
on
the
button
face.
SOLO
Buttons
These
buttons
switch
the
Solo
status
of
the
displayed
track.
Note:
In
modal
dialogs
the
Solo
buttons
generate
the
computer
keyboard
character
shown
on
the
button
face.
MUTE
Buttons
These
buttons
switch
the
Mute
status
of
the
displayed
track.
Note:
In
modal
dialogs,
the
Solo
buttons
generate
the
computer
keyboard
character
shown
on
the
button
face.
Mode Assignment
record Enables/Disables
Record
Enable
status
of
track.
SHIFT
(fnctA) Switches
automation
mode
to
Latch.
ALL
+
SHIFT
(fnctA) Switches
automation
mode
of
all
tracks
to
Latch.
write Switches
automation
mode
to
Write.
ALL Switches
automation
mode
of
all
tracks
to
Write.
SHIFT
(fnctB) Switches
automation
mode
to
Read.
ALL
+
SHIFT
(fnctA) Switches
automation
mode
of
all
tracks
to
Read.
burn Switches
automation
mode
to
Touch.
ALL Switches
automation
mode
of
all
tracks
to
Touch.
SHIFT
(fnctC) Switches
automation
mode
to
Off.
ALL
+
SHIFT
(fnctA) Switches
automation
mode
of
all
tracks
to
Off.
128 Chapter
5
CM
Labs
Motormix
VIEW
Section
Left
Function
Buttons
Control Assignment
Left/right
buttons
In
Plug-in
and
Instrument
Edit
mode:
shifts
the
parameter
bank
by
one
bank.
In other modes:
 If
BANK
LED
is
off:
shifts
the
fader
bank
by
one
channel.
 If
BANK
LED
is
on:
shifts
the
fader
bank
by
one
bank.
SHIFT In
Plug-in
and
Instrument
Edit
mode:
shifts
the
parameter
bank
by
one
parameter.
In
Group
Edit
mode,
the
group
parameter
bank
is
shifted.
bank Switches
mode
of
left/right
buttons
(see
above).
SHIFT Sets
Select
buttons
to
Track
View
Select
mode
(see
below).
group Sets
Select
buttons,
rotary
encoders
and
Multi
buttons
to
Group
Edit
mode.
SHIFT Displays
tracks’
group
assignments
in
the
LCD.
The
rotary
encoders
allow
you
to
change
assignments.
Control Assignment
AUTO
ENBL/mode Currently
unassigned.
SHIFT Switches
rotary
encoders
to
automation
enable
mode.
SUSPEND/create While
held
down,
the
groups
are
temporarily
disabled.
SHIFT Creates
a
new
group
and
enters
Group
Edit
mode.
PLUG-IN/compare Switches
rotary
encoders
and
Multi
buttons
to
Plug-in
Assign
mode.
The
Rotary
Select
knob
is
used
to
select
the
Insert
slot
you
want
to
use/edit.
In
Plug-in
Assign
or
Instrument
Assign
mode,
it
switches
to
Pan
mode.
In
Plug-in
Edit
mode,
it
switches
to
Plug-in
Assign
mode.
In
Instrument
Edit
mode,
it
switches
to
Instrument
Assign
mode.
SHIFT Switches
rotary
encoders
and
Multi
buttons
to
Instrument
Assign
mode.
WINDOW/tools Switches
Select
buttons
to
Window
Select
mode.
SHIFT Switches
Select
buttons
to
Select
Tool
mode.
ALL/alt/fine While
ALL/alt/fine
is
held
down,
rotary
encoders
are
in
full
mode:
rotating
counter-clockwise
sets
minimum,
rotating
clockwise
sets
maximum
value.
SHIFT while
SHIFT
and
ALL/alt/fine
are
held
down,
rotary
encoders
are
in
fine
mode.
DEFAULT/bypass Currently
unassigned.
SHIFT In
Instrument
Edit
mode:
switches
bypass
state
of
the
instrument.
In
Plug-in
Edit
mode:
switches
bypass
state
of
the
currently
edited
plug-in.
UNDO/save Performs
an
Undo
step.
The
LED
is
lit
if
there
is
a
Redo
step
available.
SHIFT Saves
the
song.
The
LED
is
lit
if
the
song
contains
unsaved
changes.
SHIFT Switches
to
Shift
mode—where
the
functions
indicated
by
the
lower
case
(inverted)
labels
below
the
buttons
apply.
Chapter
5
CM
Labs
Motormix 129
Faders
The
faders
normally
control
volume,
except
when
in
Flip
mode,
where
they
duplicate
the
rotary
encoder
assignments.
Right
Function
Buttons
Control Assignment
PLAY/
transport Play
key
command.
SHIFT Switches
Select
buttons
to
Transport
Section
mode.
STOP/locate Stop
key
command.
SHIFT Switches
Select
buttons
to
Locate
mode.
FFWD/monitor Shuttle
Forward
key
command.
SHIFT Opens
System
Performance
window.
REWIND/status Shuttle
Rewind
key
command.
SHIFT Opens
Synchronization
window.
NEXT/configure Navigates
to
next
marker.
LAST/assign When
rotary
encoders
are
displaying
send
destinations,
use
of
LAST/assign
switches
them
back
to
displaying
send
levels.
Otherwise:
goes
to
previous
marker.
SHIFT When
rotary
encoders
are
displaying
send
levels,
use
of
LAST/assign
switches
them
to
displaying
send
destinations.
When
rotary
encoders
are
in
Plug-in
Edit
mode,
use
of
LAST/assign
switches
them
to
Plug-in
Assign
mode.
When
rotary
encoders
are
in
Instrument
Edit
mode,
use
of
LAST/assign
switches
them
to
Instrument
Assign
Mode.
ENTER/utility Identical
to
Enter
key
on
computer
keyboard.
SHIFT Opens
Automation
Settings
window.
ESCAPE When
LED
is
lit,
escapes
from
“special”
mode
(denoted
by
flashing
LED).
At
all
other
times:
identical
to
Esc
key
on
computer
keyboard.
6
131
6 Frontier
Design
TranzPort
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 Ensure
that
the
software
shipped
with
the
TranzPort
is
installed.
 Make
sure
that
the
“Tranz
Bridge”
(the
wireless
transmitter)
is
connected
to
the
computer
via
USB.
 When
Logic
Pro
7
is
launched,
it
installs
the
TranzPort
automatically,
and
sets
it
to
“native
mode.”
LCD
The
LCD
displays
the
following
information:
 Top
line
left:
name
of
currently
displayed
track.
 Top
line
middle:
volume
of
currently
displayed
track.
 Top
line
right:
panning
of
currently
displayed
track.
 Bottom
line
left:
level
meter
of
currently
displayed
track
(stereo).
 Bottom
line
right:
current
clock
position.
132 Chapter
6
Frontier
Design
TranzPort
Assignment
Overview
A
right-aligned
SHIFT
(or
other)
button
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
Channel
Strip
Master
Section
Control Assignment
Shift
the
currently
displayed
track
right
by
one
track.
SHIFT Shift
the
currently
displayed
track
right
by
eight
tracks.
REC Activate/Deactivate
Record
Enable
button
for
the
currently
displayed
track.
SHIFT Disable
Record
Enable
button
for
all
tracks.
SOLO Enables/Disables
Solo
for
the
currently
displayed
track.
SHIFT Disable
Solo
for
all
tracks.
MUTE Enables/Disables
Mute
for
the
currently
displayed
track.
SHIFT Disable
Mute
for
all
tracks.
ANY
SOLO Lit
if
any
tracks
or
Regions
are
soloed.
UNDO Undo
SHIFT Redo
Control Assignment
SHIFT Modifier
for
function
of
other
controls.
IN Go
to
left
Cycle
locator.
PUNCH Engage
Drop
and
set
Drop
In
locator
to
SPL.
LOOP Engage
Cycle
and
sets
left
Cycle
locator
to
SPL.
OUT Go
to
right
Cycle
locator.
PUNCH Engage
Drop
and
set
Drop
Out
locator
to
SPL.
LOOP Engage
Cycle
and
set
right
Cycle
locator
to
SPL.
PUNCH Enables/Disables
Drop
mode.
LOOP Enables/Disables
Cycle
mode.
PREV Go
to
previous
marker.
SHIFT Set
locators
by
previous
marker.
ADD Create
marker
at
SPL.
SHIFT Delete
marker
at
SPL.
NEXT Go
to
next
marker.
SHIFT Set
locators
by
next
marker.
Chapter
6
Frontier
Design
TranzPort 133
External
Input
Jog
Wheel Depending
on
current
Jog
Wheel
mode:
•
Move
SPL
by
bars.
•
Audio
scrubbing
or
•
Shuttle.
SHIFT Adjust
volume
of
the
currently
displayed
track.
LOOP Set
the
Left
locator
to
the
current
SPL,
advance
the
SPL
as
per
usual,
then
set
the
Right
locator
to
the
SPL.
Further
Jog
Wheel
use
while
holding
down
LOOP
advances
the
SPL
and
sets
the
Right
locator.
Tip:
Rotating
the
Jog
Wheel
counter-clockwise
while
holding
down
LOOP
defines
a
skip-cycle
range.
DROP Set
the
Drop
In
locator
to
the
current
SPL,
advance
the
SPL
as
per
usual,
then
set
the
Drop
Out
locator
to
the
SPL.
Further
jog
wheel
use
while
holding
down
DROP
advances
the
SPL
and
sets
the
Drop
Out
locator.
REW Shuttle
backward.
SHIFT Go
to
last
play
position.
PUNCH Engage
Drop
mode
and
set
Drop
In
locator
to
SPL.
LOOP Engage
Cycle
mode
and
set
left
locator
to
SPL.
F
FWD Shuttle
forward.
PUNCH Engage
Drop
mode
and
set
Drop
Out
locator
to
SPL.
LOOP Engage
Cycle
moce
and
set
right
locator
to
SPL.
STOP Stop
SHIFT Switch
Jog
Wheel
modes
between
Move
SPL
by
Bars,
Audio
Scrubbing
and
Shuttle.
PLAY Play
SHIFT Pause
RECORD Record
SHIFT Save
Control Assignment
Control Assignment
Foot
Switch Drop
In/Out
7
135
7 JLCooper
CS-32
MiniDesk
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 Install
the
software
that
ships
with
the
CS-32.
 Ensure
that
the
CS-32
is
in
Host
mode:
 Make
sure
that
your
CS-32
unit(s)
are
connected
to
the
computer
via
USB
or
MIDI.
USB
units
are
installed
automatically.
You
must
manually
scan
for
MIDI
units:
 Choose
Logic
>
Preferences
>
Control
Surfaces
>
Setup.
 Choose
New
>
Install
in
the
Setup
window’s
local
menu.
 Select
the
CS-32
from
the
list
in
the
Install
window.
 Click
the
Scan
button.
Assignment
Overview
A
right-aligned
modifier
button
(such
as
SHIFT)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
Display
The
2-digit
7-segment
display
shows
information
on
the
current
mode
and
currently
edited
parameter:
Display
text Meaning
-- A
“switching”
parameter
(Solo,
Mute,
Rec/Rdy)
has
been
disabled.
AE Mute
buttons
1–6
display/set
Automation
Enable.
AS Pots
are
in
Pan/Send
Assignment
mode.
b1–b9 Pots
are
in
Plug-in
or
Instrument
bank
select
mode.
In Pots
are
in
Instrument
Edit
mode.
Lt Mute
buttons
display/set
“Latch”
automation
mode.
MI Mute
buttons
display/set
“MIDI”
automation
mode.
Mu Mute
has
been
enabled.
P1–P9 Pots
are
in
Plug-in
Edit
mode.
136 Chapter
7
JLCooper
CS-32
MiniDesk
Pots
As
the
pots
are
not
motorized,
Pickup
mode
is
used,
if
enabled
in
the
Control
Surfaces
preferences.
This
means
that
the
pots
will
not
“take
over”
until
NULLed.
NULL
status
is
displayed
by
the
NULL
arrow
LEDs.
The
Upper
arrow
is
lit
if
the
pot’s
value
is
above
the
NULL
point,
the
Lower
arrow
is
lit
if
the
pot’s
value
is
below
the
NULL
point,
and
both
arrow
LEDs
are
lit
if
NULLed.
The
pots
can
operate
in
one
of
three
modes,
with
one
sub-mode
each.
Pan/Send
Mode
In
Pan/Send
mode
(enabled
with
F7;
display
shows
“PA”),
the
pots
control
global
track
parameters:
While
SHIFT
is
held
down
(display
shows
“AS”),
the
pots
perform
the
following
assignments:
PA Pots
are
in
Pan/Send
mode.
rd Mute
buttons
display/set
“Read”
automation
mode.
Re Rec/Rdy
has
been
enabled.
So Solo
has
been
enabled.
Tc Mute
buttons
display/set
“Touch”
automation
mode.
Wr Mute
buttons
display/set
“Write”
automation
mode.
Other
text When
a
track
is
selected,
the
first
two
characters
of
its
name
are
shown
briefly.
Numbers While
editing
a
numerical
value
with
a
fader
or
pot,
the
current
value
is
displayed.
If
there
are
more
than
two
digits,
only
the
last
digits
of
the
mantissa
are
displayed.
Signs
(+/–)
are
only
shown
if
only
one
digit
is
displayed.
Display
text Meaning
Control Assignment
SEND
A/P1 Controls
Send
1
Level
of
selected
track.
SEND
B/P2 Controls
Send
2
Level
of
selected
track.
PAN/P3 Controls
Pan
of
selected
track.
SEND
C/P4 Controls
Send
3
Level
of
selected
track.
SEND
D/P5 Controls
Send
4
Level
of
selected
track.
SEND
E/P6 Controls
Send
5
Level
of
selected
track.
Control Assignment
SEND
A/P1 Assigns
Send
1
Destination
of
selected
track.
SEND
B/P2 Assigns
Send
2
Destination
of
selected
track.
PAN/P3 Assigns
Track
mode
of
selected
track.
SEND
C/P4 Assigns
Send
3
Destination
of
selected
track.
Chapter
7
JLCooper
CS-32
MiniDesk 137
Instrument
Edit
Mode
In
Instrument
Edit
mode
(enabled
with
F8;
display
shows
“In”),
the
pots
control
instrument
parameters.
With
SHIFT
held
down
(display
shows
“b1”–“b9”),
you
can
choose
the
parameter
bank
(see
“Cursor
Section”
on
page
139).
Plug-in
Edit
Mode
In
Plug-in
Edit
mode
(enabled
with
F9,
display
shows
“P1”–”P9”),
the
pots
control
plugin
parameters
of
the
currently
selected
insert.
With
SHIFT
held
down
(display
shows
“b1”–”b9”),
you
can
choose
the
current
insert
and
parameter
bank
(see
“Cursor
Section”
on
page
139).
Channel
Strips
SEND
D/P5 Assigns
Send
4
Destination
of
selected
track.
SEND
E/P6 Assigns
Send
5
Destination
of
selected
track.
Control Assignment
Control Assignment
PAN
SELECT/TRACK
SELECT
Selects
track.
SOLO Enables/Disables
Solo.
LOCATE Navigates
to
markers
1–32.
SHIFT LOCATE
17:
Creates
new
marker.
LOCATE
18:
Creates
new
marker
without
rounding.
LOCATE
19:
Deletes
marker
at
SPL.
LOCATE
25:
Opens
Marker
List.
LOCATE
26:
Opens
Marker
Text
window.
LOCATE
28:
Sets
locators
by
previous
marker.
LOCATE
29:
Sets
locators
by
current
marker.
LOCATE
30:
Sets
locators
by
next
marker.
LOCATE
31:
Navigates
to
previous
marker.
LOCATE
32:
Navigates
to
next
marker.
MUTE Enables/Disables
Mute.
F1 Automation
Enable
setup
(display
shows
“AE”).
MUTE
1:
Enables/Disables
volume
automation.
MUTE
2:
Enables/Disables
pan
automation.
MUTE
3:
Enables/Disables
mute
automation.
MUTE
4:
Enables/Disables
automation
of
solo.
MUTE
5:
Enables/Disables
send
automation.
MUTE
6:
Enables/Disables
automation
of
plug-in
parameters.
F2 Displays/sets
automation
mode
to
“Read”
(display
shows
“Td”).
F3 Displays/sets
automation
mode
to
“Touch”
(display
shows
“Tc”).
F4 Displays/sets
automation
mode
to
“Latch”
(display
shows
“Lt”).
138 Chapter
7
JLCooper
CS-32
MiniDesk
Bank
Button
F
Key
Section
F5 Displays/sets
automation
mode
to
“Write”
(display
shows
“Wr”).
F6 Displays/sets
automation
mode
to
“MIDI”
(display
shows
“MI”).
ARM Activates/Deactivates
Record
Enable
button.
Faders Control
volume.
As
the
faders
don’t
offer
feedback,
Pickup
mode
is
used,
if
enabled
in
the
Control
Surfaces
preferences.
This
means
that
they
will
not
“take
over”
until
NULLed.
NULL
status
is
displayed
by
the
NULL
arrow
LEDs.
Upper
arrow
is
lit
if
the
pot’s
value
is
above
the
NULL
point,
the
lower
arrow
is
lit
if
the
pot’s
value
is
below
the
NULL
point,
and
both
are
lit
if
NULLed.
Control Assignment
Control Assignment
(Small
red
button
with
green
LED)
LED
off:
black
labels
of
channel
strip
buttons
apply
(TRK/LOC/ARM).
LED
on:
white
labels
of
channel
strip
buttons
apply
(PAN/SOLO/MUTE).
Control Assignment
SHIFT Modifier
for
function
of
other
controls.
See
right-aligned
“SHIFT”
in
left
column.
F1 While
held
down,
MUTE
buttons
1–6
enables/disables
automation
of
certain
parameters
(see
MUTE).
SHIFT Enables/Disables
Cycle
mode.
F2 While
held
down,
MUTE
buttons
set
automation
mode
to
Read.
SHIFT Enables/Disables
Drop
mode.
F3 While
held
down,
MUTE
buttons
set
automation
mode
to
Touch.
SHIFT Sets
left
locator
by
current
SPL.
F4 While
held
down,
MUTE
buttons
set
automation
mode
to
Latch.
SHIFT Sets
right
locator
by
current
SPL.
F5 While
held
down,
MUTE
buttons
set
automation
mode
to
Write.
SHIFT Sets
Drop
In
locator
by
current
SPL.
F6 While
held
down,
MUTE
buttons
set
automation
mode
to
MIDI.
SHIFT Sets
Drop
Out
locator
by
current
SPL.
F7 Sets
pots
to
Pan/Send
mode
(display
shows
“PA”).
SHIFT Enables/Disables
metronome
click.
F8 Sets
pots
to
Instrument
Edit
mode
(display
shows
“In”).
F9 Sets
pots
to
Plug-in
Edit
mode
(display
shows
“P1”–”P9”).
Chapter
7
JLCooper
CS-32
MiniDesk 139
Cursor
Section
Transport
Section
Jog
Wheel
Section
Control Assignment
Up Zooms
out
vertically.
SHIFT In
Plug-in
edit
mode:
decrements
current
Insert
slot.
Down Zooms
in
vertically.
SHIFT In
Plug-in
Edit
mode:
increments
current
Insert
slot.
Left Zooms
out
horizontally.
SHIFT In
Instrument
and
Plug-in
Edit
modes:
decrements
current
parameter
bank.
Right Zooms
in
horizontally.
SHIFT In
Instrument
and
Plug-in
Edit
modes:
increments
current
parameter
bank.
Control Assignment
RECORD Record
STOP Stop
REW Moves
SPL
backward
by
one
bar.
PLAY Play
F
FWD Moves
SPL
forward
by
one
bar.
Control Assignment
Jog
Wheel SCRUB
off:
moves
SPL
in
bars.
SCRUB
on:
Audio
Scrubbing.
SHUTTLE
on:
Shuttle
mode.
SCRUB Switches
Jog
Wheel
between
Move
SPL
by
Bars
and
Audio
Scrubbing
mode.
SHUTTLE Switches
Jog
Wheel
between
Move
SPL
by
Bars
and
Shuttle
mode.
8
141
8 JLCooper
FaderMaster
4/100
Requirements
You
need
one
or
more
FaderMaster
4/100
(MIDI
or
USB
version)
units
with
firmware
version
1.03
or
higher.
Important:
If
you
have
older
firmware
(see
the
sticker
on
the
back
of
the
unit),
please
contact
JLCooper.
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 USB
model
only:
install
the
software
that
ships
with
the
FaderMaster
4/100.
 Ensure
that
your
FaderMaster
4/100
unit(s)
are
connected
to
the
computer
via
USB
or
MIDI.
USB
units
are
installed
automatically.
You
must
manually
scan
for
MIDI
units:
1 Choose
Logic
>
Preferences
>
Control
Surfaces
>
Setup.
2 Choose
New
>
Install
in
the
Setup
window’s
local
menu.
3 Select
the
FaderMaster
4/100
from
the
list
in
the
Install
window.
4 Click
the
Scan
button.
Note:
You
can
combine
several
FaderMaster
4/100
units
to
form
one
large
virtual
control
surface.
The
meaning/functionality
of
the
Track
buttons,
however,
are
individually
switched
for
each
unit.
142 Chapter
8
JLCooper
FaderMaster
4/100
Assignment
Overview
The
following
assigment
tables
are
broken
down
into
“zones”
of
the
FaderMaster
4/100.
Global
buttons
Channel
Strip
Control Assignment
Select Switches
Track
buttons
to
track
selection.
Aux Switches
Track
buttons
to
Record
Ready.
Solo Switches
Track
buttons
to
Solo.
Mute Switches
Track
Buttons
to
Mute.
Inc Increases
fader
bank
display
to
show
next
four
tracks.
Dec Decreases
fader
bank
display
to
show
previous
four
tracks.
Control Assignment
Track
button Performs
currently
selected
function
(Select,
Record
Ready,
Solo,
Mute).
Fader Controls
volume
(touch
sensitive
and
motorized).
9
143
9 Korg
microKONTROL
and
KONTROL49
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro.
 Ensure
that
your
unit(s)
is/are
connected
to
the
computer
via
USB.
 Boot
Logic,
and
the
unit(s)
will
be
scanned
for,
and
installed
automatically.
 When
Logic
launches,
the
microKONTROL/KONTROL49
is
automatically
set
to
“Native
mode”—internal
Scene
settings
are
ignored.
Note:
If
installation
and
identification
fails,
it
may
be
possible
that
the
microKONTROL/
KONTROL49
reaction
time
is
too
slow,
due
to
USB
bus-power
issues.
In
this
situation,
connect
the
supplied
power
adapter,
and
set
the
power
switch
to
the
“DC”
position.
When
Logic
quits
(or
the
icon
is
removed
from
the
Control
Surface
Setup
window),
the
microKONTROL/KONTROL49
is
reset
to
normal
operation.
Assignment
Overview
A
right-aligned
modifier
button
(shown
below
a
button
description)
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
Pads
The
Pads
can
operate
in
one
of
eight
modes
and
three
overlays.
While
pressing
SCENE,
the
Pads
allow
you
to
select
modes
for
the
Pads
and
channel
strips.
Releasing
SCENE
without
pressing
a
Pad
does
not
affect
the
currently
selected
Pad
or
Channel
Strip
modes.
Pad Assignment
1 Switches
Pads
to
Transport
mode.
2 Switches
Pads
to
Solo/Mute
mode.
3 Switches
Pads
to
Rec/Select
mode.
4–8 Switches
Pads
to
User
4–8
mode.
These
modes
have
unassigned
Pads.
You
can
add
assignments
to
key
commands
with
the
Learn
function.
9 Switches
channel
strips
to
Pan
mode.
144 Chapter
9
Korg
microKONTROL
and
KONTROL49
Transport
Mode
This
mode
is
enabled
by
pressing
SCENE
and
Pad
1.
Solo/Mute
Mode
This
mode
is
enabled
by
pressing
SCENE
and
Pad
2.
Rec/Select
Mode
This
mode
is
enabled
by
pressing
SCENE
and
Pad
3.
10 Switches
channel
strips
to
Send
mode.
11 Switches
channel
strips
to
Automation
mode.
12 Switches
channel
strips
to
Instrument
Edit
mode.
13 Switches
channel
strips
to
Plug-in
Edit
mode.
14–16 Switches
channel
strips
to
User
6–8
mode.
These
modes
have
unassigned
encoders.
You
can
add
assignments
with
the
Logic
Learn
function.
Pad Assignment
Pad Assignment
1 Sets
main
encoder
to
Transport
mode.
2 Sets
main
encoder
to
Scrub
mode.
3 Sets
main
encoder
to
Shuttle
mode.
7 Switches
sync
between
internal
and
external.
8 Enables/Disables
metronome
click
(separately
for
Playback
and
Record).
9 Enables/Disables
Cycle
function.
10 Enables/Disables
Drop
function.
11 Enables/Disables
Replace
function.
12 Enables/Disables
Solo
function.
13 Record
14 Pause
15 Play
16 Stop
Pad Assignment
1–8 Enables/Disables
Solo
for
the
eight
tracks
being
controlled
with
the
eight
channel
strips.
9–16 Enables/Disables
Mute
for
the
eight
tracks
being
controlled
with
the
eight
channel
strips.
Pad Assignment
1–8 Activates/Deactivates
Record
Enable
button
for
the
eight
tracks
being
controlled
with
the
eight
channel
strips.
9–16 Selects
one
of
the
eight
tracks
being
controlled
with
the
eight
channel
strips.
Chapter
9
Korg
microKONTROL
and
KONTROL49 145
User
4–8
Modes
These
modes
are
enabled
by
pressing
SCENE
and
Pad
4
to
8.
In
these
modes,
the
Pads
are
unassigned.
Use
the
Learn
function
(Logic
>
Preferences
>
Control
Surfaces
>
Learn
Assignment
for
xxx)
to
assign
them
to
key
commands,
for
example.
Send
Mode
This
mode
is
enabled
by
pressing
SCENE
and
Pad
10.
Send
overlay
Pressing
SETTING
while
the
encoders
are
in
Send
mode,
changes
the
operation
of
the
Pads
in
Send
mode.
Plug-in
Edit
Mode
This
mode
is
enabled
by
pressing
SCENE
and
Pad
13.
Plug-in
Edit
overlay
Pressing
SETTING
while
the
encoders
are
in
Plug-in
Edit
mode
changes
the
operation
of
the
Pads
in
Plug-in
Edit
mode.
Main
Section
The
main
LCD
shows
information
on
the
current
mode
of
the
encoders.
Pad Assignment
1–8 Switches
send
bypass
state
of
the
currently
selected
send
for
the
eight
channel
strips.
9–16 Switches
send
position
(Pre/Post)
of
the
currently
selected
send
for
the
eight
channel
strips.
Pad Assignment
1–8 Switches
plug-in
bypass
state
of
the
currently
selected
Insert
slot
for
the
eight
channel
strips.
Display
text Meaning
Encoders
edit
Instrument
parameters.
Encoders
edit
Plug-in
parameters
(xx
is
for
the
currently
selected
insert).
Automatn Encoders
control
Automation
mode.
Ins.
x (SETTING
held
down)
Main
encoder
chooses
Plug-in
insert.
ModePad? Displayed
while
SCENE
button
is
held
down.
Pan Encoders
control
pan.
Send
x Encoders
control
send
level
of
send
x.
User
6 Channel
Strip
User
Mode
6.
Encoders
are
initially
unassigned.
User
7 Channel
Strip
User
Mode
7.
Encoders
are
initially
unassigned.
User
8 Channel
Strip
User
Mode
8.
Encoders
are
initially
unassigned.
146 Chapter
9
Korg
microKONTROL
and
KONTROL49
The
LCD
backlight
is
red
while
recording,
and
green
at
other
times.
The
controls
in
the
main
section
have
the
following
meaning:
Channel
Strips
There
are
several
modes
for
the
encoders,
enabled
with
SCENE
and
Pad
9–16.
External
Input
Control Assignment
Main
encoder Controls
SPL
in
one
of
three
modes
(see
Pads
1–3
in
“Transport
Mode”
on
page
144).
SETTING Held down in Send mode:
 Main
encoder
chooses
current
send.
 Pads
have
special
meaning—see
“Send
Mode”
on
page
145.
 LCDs
display
send
destinations.
 Encoders
choose
send
destinations.
Holding down in Plug-in Edit mode:
 Main
encoder
chooses
current
plug-in
insert.
 Pads
have
special
meaning—see
“Plug-in
Edit
overlay”
on
page
145.
 LCDs
display
plug-in
name
of
the
eight
tracks.
MESSAGE Enables/Disables
Flip
mode.
When
enabled,
the
encoders
control
volume
and
the
faders
control
the
parameter
displayed
in
the
LCDs.
SCENE While
held
down,
pads
switch
Pad
and
Channel
Strip
modes.
See
“Pads”
on
page
143.
EXIT —
HEX
LOCK Shifts
fader
bank
to
the
previous
eight
tracks
(LED
is
on
if
previous
tracks
exist).
ENTER Shifts
fader
bank
to
the
next
eight
tracks
(LED
is
on
if
subsequent
tracks
exist).
< Octave
Shift
Down
> Octave
Shift
Up
Control Assignment
LCD Shows the parameter controlled by the encoder. The currently chosen value is
displayed for a few seconds while operating an encoder or fader.
When the encoders are in a multi-channel view (Pan, Send, Send Setup), the
background color indicates the track’s automation mode:
 green—off
or
Read
 yellow—Touch
or
Latch
 red—Write
or
MIDI
Encoder Controls
the
parameter
shown
directly
above
the
encoder
in
the
LCD.
Fader Controls
volume.
As
the
faders
don’t
offer
feedback,
“Pickup
mode”
is
used
if
enabled
in
the
Logic
Preferences.
This
means
that
they
will
not
“take
over”
until
NULLed.
Control Assignment
Foot
Switch Starts
and
stops
playback.
Pedal Controls
master
volume.
10
147
10 Mackie
Baby
HUI
Set
Up
Please
make
sure
that
your
Baby
HUI
unit(s)
is/are
connected
bi-directionally
with
the
computer.
You
must
manually
scan
for
Mackie
Baby
HUI
units:
1 Choose
Logic
>
Preferences
>
Control
Surfaces
>
Setup.
2 Choose
New
>
Install
in
the
Setup
window’s
local
menu.
3 Select
Baby
HUI
in
the
Install
window.
4 Click
the
Scan
button.
Assignment
Overview
A
right-aligned
SHIFT
below
a
button
description
indicates
that
the
control
has
an
alternate
meaning/use
while
holding
down
this
modifier.
Channel
Strips
Control Assignment
Rotary
encoder Adjusts
parameter
selected
in
the
Encoder
Assignment
section.
Rotary
encoder
push
button
Selects
track.
SHIFT Enables/Disables
Record
Ready.
Signal
indicator Illuminates
when
a
signal
is
present
in
the
channel.
It
also
indicates
channel
selection.
SOLO Enables/Disables
Solo.
MUTE Enables/Disables
Mute.
Fader Adjusts
volume.
148 Chapter
10
Mackie
Baby
HUI
Encoder
Assignment
Section
Automation
Section
Display
Section
Utility
Section
Control Assignment
PAN Assigns
Pan
to
rotary
encoders.
SEND
1 Assigns
Send
1
Level
to
rotary
encoders.
SEND
2 Assigns
Send
2
Level
to
rotary
encoders.
SEND
3 Assigns
Send
3
Level
to
rotary
encoders.
SEND
4 Assigns
Send
4
Level
to
rotary
encoders.
Control Assignment
BYPASS/OFF Sets
selected
track
to
automation
mode
Off.
SHIFT Enables/Disables
automation
playback
and
recording
of
volume.
READ Sets
selected
track
to
automation
mode
Read.
SHIFT Enables/Disables
automation
playback
and
recording
of
mute.
WRITE Sets
selected
track
to
automation
mode
Write.
SHIFT Enables/Disables
automation
playback
and
recording
of
pan.
TOUCH Sets
selected
track
to
automation
mode
Touch.
SHIFT Enables/Disables
automation
playback
and
recording
of
Send
Level.
Control Assignment
TRANSPORT Opens/Closes
the
Transport
window.
MEM–LOC Opens/Closes
the
Marker
List.
MIXER Opens/Closes
the
Track
Mixer.
EDIT Opens/Closes
the
Arrange
window.
Control Assignment
UNDO Performs
Undo.
SHIFT Shifts
to
alternate
use
of
some
buttons
(see
below).
Chapter
10
Mackie
Baby
HUI 149
Navigation
Section
Transport
Section
Control Assignment
RTZ Navigates
to
the
left
locator.
SHIFT Sets
Drop
In
locator.
END Navigates
to
the
right
locator.
SHIFT Sets
Drop
Out
locator.
BANK
SELECT
Left Shifts
channel
strips
by
one
bank
to
the
left.
SHIFT Shifts
channel
strips
by
one
channel
to
the
left.
BANK
SELECT
Right Shifts
channel
strips
by
one
bank
to
the
right.
SHIFT Shifts
channel
strips
by
one
channel
to
the
right.
Control Assignment
REWIND Shuttles
backward.
FAST
FWD Shuttles
forward.
STOP Stop
PLAY Play
RECORD Record
11
151
11 Mackie
C4
Set
Up
A
powered
Mackie
C4
unit
will
automatically
be
detected
when
Logic
Pro
is
launched.
You
can
use
the
C4
in
an
independent
control
surface
group
(with
other
control
surface
icons
placed
above/below
the
C4
icon),
or
combined
into
one
control
surface
group
with
one
or
more
control
surfaces
(such
as
the
Logic
Control—place
the
icon
to
the
right
or
left
of
the
existing
icon(s).
Although
the
C4
can
be
used
independently,
it
is
most
useful
when
combined
with
other
control
surfaces,
particularly
the
Logic/Mackie
Control.
In
the
latter
case,
the
C4
adds
eight
channels
in
Multi
Channel
view.
Using
the
C4
in
its
own
control
surface
group
allows
you
to
edit
instruments
and
plug-ins
independently,
while
performing
mixing
and
other
tasks
on
the
Logic/Mackie
Control
or
other
control
surface.
V-Pots,
V-Selects
Functionality
depends
on
current
view
mode,
and
optional
overlay
(see
below).
 The
top
row
(row
1)
consists
of
V-Pot/V-Select
1
to
8.
 Row
2
consists
of
V-Pot/V-Select
9
to
16.
 Row
3
consists
of
V-Pot/V-Select
17
to
24.
 The
bottom
row
(row
4)
consists
of
V-Pot/V-Select
25
to
32.
V-Pot/V-Select
1
to
8
While
no
overlay
is
active,
V-Pot/V-Selects
1
to
8
(the
top
row)
normally
perform
in
the
same
way
as
their
counterparts
on
a
Logic
Control
or
Logic
Control
XT.
See
“The
Assignment
Zone”
on
page
54.
V-Pot/V-Select
9
to
32
These
V-Pots
have
additional
functionality
in
many
views.
In
Multi
Channel
views,
the
V-Pot/V-Selects
of
rows
2,
3
and
4
usually
edit
the
parameter
that
“follows”
the
parameter
edited
on
row
1.
152 Chapter
11
Mackie
C4
Example:
In
Pan
Multi
Channel
view
(see
“Multi
Channel
View”
on
page
57);
where
row
1
edits
the
Pan/Surround
Angle,
row
2
edits
Surround
Diversity,
row
3
edits
LFE
and
row
4
edits
Surround
mode.
In
Channel
Strip
view,
all
four
rows
build
a
group
of
32
editable
parameters.
In
Plug-in
and
Instrument
Edit
views,
it
can
be
split
into
two
groups
(8/24,
16/16
or
24/8
parameters),
see
“SPLIT”
on
page
157.
Pan/Surround
Multi
Channel
View
In
Pan/Surround
Multi
Channel
view:
 Row
1
edits
Pan/Surround
parameter
1.
 Row
2
edits
Pan/Surround
parameter
2.
 Row
3
edits
Pan/Surround
parameter
3.
 Row
4
edits
Pan/Surround
parameter
4
(in
this
order;
Pan/Angle,
Diversity,
LFE,
Surround
Mode,
X,
Y).
SINGLE
Left/Right
changes
the
parameter
edited
in
row
1,
thus
affecting
the
parameters
shown
and
edited
in
rows
2
to
4.
To
access
Pan/Surround
Multi
Channel
view:
1 Hold
the
CHAN
STRIP
button.
The
Channel
Strip
overlay
labels
appear
on
the
C4
displays.
2 Press
V-Select
18
(labeled
Surrnd
MultiC).
Pan/Surround
Channel
Strip
View
In
Pan/Surround
Channel
Strip
view,
row
1
edits
all
eight
surround
parameters
of
a
surround
channel.
If
a
stereo
or
mono
channel
is
selected,
V-Pot
1
edits
the
Pan
(or
Balance)
parameter.
To
access
Pan/Surround
Channel
Strip
view:
1 Hold
the
CHAN
STRIP
button.
The
Channel
Strip
overlay
labels
appear
on
the
C4
displays.
2 Press
V-Select
26
(labeled
Surrnd).
Track
Multi
Channel
View
In
Track
Multi
Channel
View,
the
lowest
V-Pot
row
(row
4)
edits
the
currently
chosen
track
parameter.
Row
3
edits
track
parameter
2,
Row
2
track
parameter
3,
and
row
1
track
parameter
4.
The
row
order
is
reversed,
so
that
the
lowest
row
(editing
parameter
1)
is
closest
to
the
buttons.
Chapter
11
Mackie
C4 153
The
V-Pots
edit
the
following
track
parameters
in
this
order:
Volume,
Pan/Angle,
Track
Mode,
Input,
Output,
Automation
Mode,
Group,
Displayed
Automation
Parameter).
BANK
Left/Right
and
SINGLE
Left/Right
change
the
parameter
edited
in
row
4,
thus
affecting
the
parameters
shown/edited
in
rows
1
to
3.
To
access
Track
Multi
Channel
view:
1 Hold
the
CHAN
STRIP
button.
The
Channel
Strip
overlay
labels
appear
on
the
C4
displays.
2 Press
V-Select
17
(labeled
Track
MultiC).
EQ
Multi
Channel
View
In
EQ
Multi
Channel
view:
 Row
1
edits
EQ
band
bypass.
 Row
2
edits
EQ
band
frequency.
 Row
3
edits
EQ
band
gain/slope.
 Row
4
edits
EQ
band
Q
factor.
 The
SLOT
UP/DOWN
buttons
select
the
EQ
band.
This
only
works
if
a
Channel
or
Linear
Phase
EQ
is
inserted
in
the
selected
channel
strip.
To
access
EQ
Multi
Channel
view:
1 Hold
the
CHAN
STRIP
button.
The
Channel
Strip
overlay
labels
appear
on
the
C4
displays.
2 Press
V-Select
19
(labeled
EQ
MultiC).
EQ
Channel
Strip
View
In
EQ
Channel
Strip
view:
 Row
1
edits
EQ
Frequency
of
all
eight
bands.
 Row
2
edits
EQ
Gain/Slope
of
all
eight
bands.
 Row
3
edits
EQ
band
Q
factor
of
all
eight
bands.
 Row
4
edits
EQ
bypass
of
all
eight
bands.
If
no
Channel
or
Linear
Phase
EQ
is
present
on
the
selected
track,
a
Channel
EQ
will
be
inserted
automatically
when
the
EQ
Channel
Strip
view
is
entered.
The
TRACK
L
and
TRACK
R
buttons
switch
to
the
previous
or
next
track.
If
you
switch
to
a
track
with
no
Channel
or
Linear
Phase
EQ
inserted,
the
C4
displays
show
“–”
and
the
V-Pots
do
nothing.
To
access
EQ
Channel
Strip
view:
1 Hold
the
CHAN
STRIP
button.
The
Channel
Strip
overlay
labels
appear
on
the
C4
displays.
154 Chapter
11
Mackie
C4
2 Press
V-Select
27
(labeled
EQs).
Send
Multi
Channel
View
In
Send
Multi
Channel
view:
 Row
1
edits
send
destination.
 Row
2
edits
send
level.
 Row
3
edits
send
position.
 Row
4
edits
send
mute.
 The
SLOT
UP/DOWN
button
selects
the
edited
Send
slot.
 The
TRACK
L
and
TRACK
R
buttons
shift
the
fader
bank
left
or
right
by
the
number
of
channel
strips
in
the
control
surface
group.
To
access
Send
Multi
Channel
view:
1 Hold
the
CHAN
STRIP
button.
The
Channel
Strip
overlay
labels
appear
on
the
C4
displays.
2 Press
V-Select
20
(labeled
Sends
MultiC).
Send
Channel
Strip
View
In
Send
Channel
Strip
view:
 Row
1
edits
the
eight
send
destinations
of
the
channel
strip.
 Row
2
edits
the
send
level
of
sends
1
to
8
 Row
3
edits
send
positions
1
to
8.
 Row
4
edits
send
mutes
1
to
8.
 TRACK
L
and
TRACK
R
switch
to
the
previous
or
next
track.
To
access
Send
Channel
Strip
view:
1 Hold
the
CHAN
STRIP
button.
The
Channel
Strip
overlay
labels
are
shown
on
the
C4
displays.
2 Press
V-Select
28
(labeled
Sends).
Plug-in
Select
Multi
Channel
View
In
Plug-in
Select
Multi
Channel
view,
the
C4
displays
the
first
four
Insert
slots
of
the
eight
selected
channels.
 Turn
a
V-Pot
to
switch
between
plug-ins.
 Press
the
respective
V-Select
to
insert
the
selected
effect.
This
enters
Plug-in
Edit
view,
where
you
can
directly
edit
plug-in
parameters.
See
the
section
below
for
more
information.
 The
SLOT
UP/DOWN
buttons
switch
between
Insert
slots.
 TRACK
L
and
TRACK
R
shift
the
fader
bank
left
or
right
by
the
number
of
channel
strips
in
the
control
surface
group.
Chapter
11
Mackie
C4 155
 Holding
SHIFT
and
pressing
a
V-Select
switches
the
bypass
state
of
the
respective
Insert
slot.
Bypassed
plug-ins
are
denoted
by
an
asterisk
which
precedes
the
plug-in
name(s).
To
access
Plug-in
Select
Multi
Channel
view:
1 Hold
the
CHAN
STRIP
button.
The
Channel
Strip
overlay
labels
are
shown
on
the
C4
displays.
2 Press
V-Select
21
(labeled
PlugIn
MultiC).
Plug-in
Edit
View
In
Plug-in
Edit
view:
 V-Pot/V-Select
1
to
32
builds
a
group
of
32
parameters.
Splitting
is
possible.
 SLOT
UP/DOWN
button
selects
the
desired
plug-in
insert
slot.
 BANK
Left/Right
shifts
the
edited
parameters
by
one
page.
In
Split
mode,
this
applies
to
Split
Upper.
When
holding
down
SHIFT,
this
applies
to
Split
Lower.
 SINGLE
Left/Right
shifts
the
edited
parameters
by
1.
In
Split
mode,
this
applies
to
Split
Upper.
When
holding
down
SHIFT,
this
applies
to
Split
Lower.
To
access
Plug-in
Edit
view:
m Access
Plug-in
Select
Multi
Channel
view,
then
insert
or
select
a
plug-in
(see
section
above
for
details).
This
automatically
switches
to
Plug-in
Edit
view.
Instrument
Select
Multi
Channel
View
In
Instrument
Select
Multi
Channel
view,
the
C4
displays
the
Instrument
slots
of
the
selected
instrument
channels.
 Turn
a
V-Pot
to
select
an
instrument.
 Press
the
respective
V-Select
to
insert
the
selected
instrument.
This
enters
Instrument
Edit
view,
where
you
can
edit
instrument
parameters.
See
the
section
below
for
more
information.
 TRACK
L
and
TRACK
R
shift
the
fader
bank
left
or
right
by
the
number
of
channel
strips
in
the
control
surface
group.
 Holding
SHIFT
and
pressing
a
V-Select
switches
the
bypass
state
of
the
respective
Instrument
slot.
An
asterisk
symbol
precedes
the
name
of
bypassed
instruments.
To
access
Instrument
Select
Multi
Channel
view:
1 Hold
the
CHAN
STRIP
button.
The
Channel
Strip
overlay
labels
are
shown
on
the
C4
displays.
2 Press
V-Select
22
(labeled
Instru
MultiC).
156 Chapter
11
Mackie
C4
Instrument
Edit
View
In
Instrument
Edit
View:
 V-Pot/V-Select
1
to
32
builds
a
group
of
32
parameters.
Splitting
is
possible.
 BANK
Left/Right
shifts
the
edited
parameters
by
one
page.
In
Split
mode,
this
applies
to
Split
Upper.
When
holding
down
SHIFT,
this
applies
to
Split
Lower.
 SINGLE
Left/Right
shifts
the
edited
parameters
by
1.
In
Split
mode,
this
applies
to
Split
Upper.
when
holding
down
SHIFT,
this
applies
to
Split
Lower.
To
access
Instrument
Edit
view:
m Access
Instrument
Select
Multi
Channel
view,
then
insert
or
select
an
instrument
(see
section
above
for
details).
This
automatically
switches
to
Instrument
Edit
view.
Cycle
View
Holding
the
CHAN
STRIP
button
and
pressing
V-Select
31
activates
Cycle
view.
In
this
mode,
the
V-Pots/V-Selects
behave
as
follows:
 V-Pot/V-Select
1
(labeled
Cycle):
shows
and
edits
the
current
Cycle
status
(off
or
on).
 V-Select
2
(labeled
BySet):
matches
the
Cycle
area
to
selections
made
in
the
Arrange
window
(selected
Audio
or
MIDI
Region).
 V-Pot
3
(labeled
Move):
moves
the
current
Cycle
area
by
a
bar
with
each
“click”
of
the
V-Pot,
when
turned.
 V-Pot
4:
moves
the
current
Cycle
area
by
a
beat
with
each
“click”
of
the
V-Pot,
when
turned.
 The
display
shows
the
left
and
right
locators
above
V-Pots
5
and
7.
 Pressing
V-Select
5
picks
up
(uses)
the
current
song
position
for
the
left
locator.
 Turning
V-Pot
5
changes
the
left
locator
position
by
bars.
 Turning
V-Pot
6
changes
the
left
locator
position
by
beats
(denominator
steps).
 Pressing
V-Select
7
picks
up
(uses)
the
current
song
position
for
the
right
locator.
 Turning
V-Pot
7
changes
the
right
locator
position
by
bars.
 Turning
V-Pot
8
changes
the
right
locator
position
by
beats
(denominator
steps).
Drop
View
Holding
the
CHAN
STRIP
button
and
pressing
V-Select
32
activates
Drop
(also
called
“punch”)
view.
In
this
mode,
the
V-Pots/V-Selects
behave
as
follows:
 V-Pot/V-Select
1
shows
and
edits
the
current
Drop
status
(off
or
on).
 V-Pot
3
(labeled
Move):
moves
the
current
Drop-in
area
by
a
bar
with
each
“click”
of
the
V-Pot,
when
turned.
 V-Pot
4:
moves
the
current
Drop-in
area
by
a
beat
with
each
“click”
of
the
V-Pot,
when
turned.
 The
display
shows
the
Drop
In
and
Drop
Out
locators
above
V-Pots
5
and
7.
Chapter
11
Mackie
C4 157
 Pressing
V-Select
5
picks
up
(uses)
the
current
song
position
for
the
Drop
In
locator.
 Turning
V-Pot
5
changes
the
Drop
In
locator
position
by
bars.
 Turning
V-Pot
6
changes
the
left
locator
position
by
beats
(denominator
steps).
 Pressing
V-Select
7
picks
up
(uses)
the
current
song
position
for
the
Drop
Out
locator.
 Turning
V-Pot
7
changes
the
Drop
Out
locator
position
by
bars.
 Turning
V-Pot
8
changes
the
right
locator
position
by
beats
(denominator
steps).
Note:
Changing
a
drop
locator
position
with
the
C4
automatically
enables
Drop
mode.
Buttons
at
Bottom
The
following
section
outlines
the
functionality
of
the
buttons
found
at
the
bottom
of
the
C4
control
surface.
SPLIT
Switches
edit
split
between
4/0,
1/3,
2/2
and
3/1
rows.
Split
Edit
allows
you
to
simultaneously
edit
two
separate
sections
of
a
plug-in/instrument,
or
even
two
different
plug-ins.
Split
Edit
is
also
possible
across
multiple
C4
units.
As
an
example
with
two
units,
pressing
the
SPLIT
button
offers
the
following
split
modes:
 1/7
(Split
Upper
is
top
line
of
first
unit,
Split
Lower
is
bottom
3
lines
of
first
unit
and
all
lines
of
second
unit.
LED
1/3
is
lit.)
 2/6
(Split
Upper
is
top
two
lines
of
first
unit,
Split
Lower
is
bottom
two
lines
of
first
unit
and
all
lines
of
second
unit.
LED
2/1
is
on.)
 3/5
(LED
3/1
is
on.)
 4/4
(all
three
LEDs
are
on.)
 5/3
(all
three
LEDs
are
on.)
 6/2
(all
three
LEDs
are
on.)
 7/1
(all
three
LEDs
are
on.)
LOCK
Activates/deactivates
Track
Lock.
When
enabled,
selecting
a
track
does
not
switch
the
current
track
selection.
SPOT
ERASE
Currently
unassigned.
MARKER
Switches
between
Marker
overlay
(see
“Marker
Overlay”
on
page
160)
and
normal
view.
158 Chapter
11
Mackie
C4
TRACK
Switches
between
Track
overlay
(see
“Track
Overlay”
on
page
160)
and
normal
view.
Alternate
mode
options
Holding
down
the
TRACK
button
accesses
a
further
submenu
in
the
lower
LCD,
enabling
you
to
enter
Global
view
with
a
certain
Object
type:
 V-Select
25
switches
to
MIDI
tracks.
 V-Select
26
switches
to
Input
Objects.
 V-Select
27
switches
to
Audio
tracks.
 V-Select
28
switches
to
Audio
Instrument
tracks.
 V-Select
29
switches
to
Auxiliary
Objects.
 V-Select
30
switches
to
Bus
Objects.
 V-Select
31
switches
to
Outputs.
 V-Select
32
switches
to
Master
Output.
Releasing
the
TRACK
button
without
pressing
a
V-Select
returns
to
Mixer
view.
CHAN
STRIP
Switches
between
Channel
Strip
overlay
(see
“Channel
Strip
Overlay”
on
page
160)
and
normal
view.
Alternate
mode
options
Holding
down
the
CHAN
STRIP
button
accesses
a
further
submenu
in
the
lower
LCD:
 V-Select
9
to
16
switches
to
one
of
eight
user
modes,
where
you
can
freely
assign
parameters
to
V-Pots
or
V-Selects.
 V-Select
17
switches
to
Track
Multi
Channel
view
(see
“Track
Multi
Channel
View”
on
page
152).
 V-Select
18
switches
to
Pan/Surround
Multi
Channel
view
(see
“Pan/Surround
Multi
Channel
View”
on
page
152).
 V-Select
19
switches
to
EQ
Multi
Channel
view
(see
“EQ
Multi
Channel
View”
on
page
153).
 V-Select
20
switches
to
Sends
Multi
Channel
view
(see
“Send
Multi
Channel
View”
on
page
154).
 V-Select
21
switches
to
Plug-in
Select
Multi
Channel
view
(see
“Plug-in
Select
Multi
Channel
View”
on
page
154).
 V-Select
22
switches
to
Instrument
Select
Multi
Channel
view
(see
“Instrument
Select
Multi
Channel
View”
on
page
155).
 V-Select
26
switches
to
Pan/Surround
Channel
Strip
view
(see
“Pan/Surround
Channel
Strip
View”
on
page
152).
 V-Select
27
switches
to
EQ
Channel
Strip
view
(see
“EQ
Channel
Strip
View”
on
page
153).
Chapter
11
Mackie
C4 159
 V-Select
28
switches
to
Send
Channel
Strip
view
(see
“Send
Channel
Strip
View”
on
page
154).
 V-Select
31
activates
the
Cycle
view
(see
“Cycle
View”
on
page
156).
 V-Select
32
activates
the
Drop
view
(see
“Drop
View”
on
page
156).
FUNCTION
Switches
between
Function
overlay
(see
“Function
Overlay”
on
page
161)
and
normal
view.
Modifier
Buttons
The
four
buttons
in
this
area
are
similar
to
those
found
on
your
computer
keyboard
(but
are
independent
of
the
keyboard
modifiers).
Many
Logic
functions
behave
differently
when
one
or
more
“modifier”
key(s)
is
pressed,
in
conjunction
with
another
key
or
mouse
click.
This
also
applies
to
the
C4
control
surface.
All
“modified”
C4
commands
are
covered
in
each
function
description.
Here
is
a
generic
description
of
the
modifier
button
functions:
 SHIFT:
Switches
other
buttons
to
alternate
function.
 OPTION:
While
held
down,
parameters
are
set
to
the
minimum,
default
or
maximum
value
when
edited
with
a
V-Pot.
 CTRL:
Disables
the
Group
function.
 x/ALT:
While
held
down,
parameters
are
edited
in
fine
(high
resolution)
mode
with
a
V-Pot.
BANK
Left/Right
Shifts
parameter
display
by
one
page
in
particular
view
modes.
SINGLE
Left/Right
Shifts
parameter
display
by
one
parameter
in
particular
view
modes.
TRACK
L/R
In
Multi
Channel
view,
TRACK
L/R
shifts
the
fader
bank
left
or
right
by
the
number
of
channel
strips
in
the
control
surface
group.
As
an
example:
If
you
have
two
C4
units
in
a
control
surface
group,
the
view
shifts
by
16
channels.
Simultaneously
pressing
TRACK
L
or
TRACK
R
and
OPTION
switches
the
fader
bank
to
the
beginning
or
end.
As
an
example,
if
you
are
viewing
the
first
eight
channels
(of
64
Audio
Objects)
in
the
fader
bank,
pressing
OPTION
and
TRACK
L
or
TRACK
R
will
switch
to
view
the
last
eight
channels
in
the
fader
bank
(Audio
Objects
57
to
64).
In
Channel
Strip
view,
TRACK
L/R
selects
the
previous
or
next
track.
With
SHIFT
held
down:
as
above,
but
for
Split
Lower.
160 Chapter
11
Mackie
C4
SLOT
UP/DOWN
Selects
the
desired
EQ,
Send
or
plug-in
insert
slot.
Marker
Overlay
The
Marker
overlay
is
active
when
the
MARKER
button
light
is
on.
 V-Select
1
to
30
is
assigned
to
markers
1
to
30.
The
upper
LCD
line
shows
the
marker
name;
the
lower
line
displays
“INSIDE”
when
the
SPL
falls
between
marker
boundaries.
 V-Select
31
creates
a
new
marker.
 V-Select
32
deletes
the
current
marker.
Track
Overlay
The
Track
overlay
is
active
when
the
TRACK
button
light
is
on.
 V-Select
1
to
32
changes
the
currently
edited
track.
When
a
track
is
selected
for
Split
Upper,
the
lower
LCD
line
displays
the
word
“UPPER.”
If
a
track
is
selected
for
Split
Lower,
the
word
“LOWER”
is
shown.
To
select
a
track
for
Split
Upper,
press
the
appropriate
V-Select.
To
select
a
track
for
Split
Lower,
press
the
V-Select
while
holding
down
SHIFT.
 BANK
Left/Right
shifts
the
fader
bank
by
the
number
of
channels
in
the
control
surface
group.
 SINGLE
Left/Right
shifts
the
fader
bank
by
one
track.
Channel
Strip
Overlay
The
Channel
Strip
overlay
is
active
when
the
CHAN
STRIP
button
light
is
on.
 V-Pot/V-Select
row
1
edits
the
frequency
and
gain
of
EQ
bands
3
to
6
(the
parametric
bands),
provided
an
EQ
plug-in
is
inserted
in
the
current
channel
strip.
 V-Pot/V-Select
row
2
switches
to
edit
mode
for
plug-in
inserts
1
to
8,
provided
a
plug-in
is
inserted
in
the
respective
Insert
slot.
If
no
plug-in
is
inserted,
turn
the
respective
V-Pot
to
select
a
plug-in,
then
press
V-Select,
to
instantiate
it.
 V-Pot/V-Select
row
3
edits
Send
1
to
8
Level,
provided
the
current
track
has
active
sends.
 V-Pot/V-Select
25
switches
to
Instrument
Edit
mode,
provided
the
selected
track
is
an
Audio
Instrument
track
and
an
Audio
Instrument
is
inserted.
 V-Pot/V-Select
26
edits
track
output.
 V-Pot/V-Select
27
sets
the
automation
mode.
 V-Pot/V-Select
28
edits
group
membership.
 V-Pot/V-Select
29
edits
volume.
Chapter
11
Mackie
C4 161
 V-Pot/V-Select
30
edits
pan/surround
angle
(for
surround
channels).
 V-Pot/V-Select
31
edits
Surround
Diversity.
 V-Pot/V-Select
32
edits
track
mode
(mono/stereo).
Function
Overlay
The
Function
overlay
is
active
when
the
FUNCTION
button
light
is
on.
Control Assignment
1
(display:
Params) Enables/Disables
the
parameter
display
of
the
active
window.
2
(Channl
Strip) Enables/Disables
Channel
Strip
Only
option
in
Arrange.
3
(Delay
in
ms) Activates/Deactivates
display
of
delays
in
milliseconds.
4
(Ruler:
SMPTE) Activates/Deactivates
SMPTE
display
of
time
ruler.
5
(Global
Track) Activates/Deactivates
display
of
Global
tracks.
6
(Arrang
Grid) Activates/Deactivates
display
of
the
grid
in
Arrange.
7
(Event
Float) Activates/Deactivates
display
of
the
floating
Event
List.
8
(Name/Value) Switches
the
display
mode
between
Name
and
Value
(identical
to
the
NAME/VALUE
button
on
the
Logic
Control).
9
(Track
Autom.) Enables/Disables
display
of
track
automation
in
Arrange
windows.
10
(Trk>Rg
Autom.) Performs
Move
Current
Track
Automation
Data
To
Region
key
command.
With
the
SHIFT
button
held
down
(display:
Trk>Ob
Au
All),
Move
All
Track
Automation
Data
To
Region
key
command
is
performed.
11
(Rg>Trk
Autom.) Performs
Move
Current
Region
Control
Data
To
Track
Automation
function.
With
the
SHIFT
button
held
down
(display:
Ob>Trk
Au
All),
Move
All
Region
Control
Data
To
Track
Automation
key
command
is
performed.
12
(Clear
Autom.) Performs
Delete
Currently
Visible
Automation
Data
of
Current
Track
key
command.
With
the
SHIFT
button
held
down
(display:
Clear
Au
All),
Delete
All
Automation
Data
of
Current
Track
function
is
performed.
13
(ClrAll
Overld) Resets
the
Level
Meter
Overload
displays.
14
(ClrAll
RecRdy) Switches
off
Record
Ready
for
all
tracks.
15
(ClrAll
Solo) Switches
off
Solo
for
all
tracks.
16
(ClrAll
Mute) Switches
off
Mute
for
all
tracks.
17
(Tool:
Pointr) Chooses
the
Pointer
tool.
18
(Tool:
Pencil) Chooses
the
Pencil
tool.
19
(Tool:
Scissr) Chooses
the
Scissors
tool.
20
(Tool:
Glue) Chooses
the
Glue
tool.
21
(Tool:
Text) Chooses
the
Text
tool.
22
(Tool:
Xfade) Chooses
the
Crossfade
tool.
23
(Tool:
Marque) Chooses
the
Marquee
tool.
24
(Tool:
Autom.) Chooses
the
Automation
tool.
162 Chapter
11
Mackie
C4
The
SHIFT
modifier
button
is
currently
assigned
to
V-Selects
10
to
12
(see
above).
Use
of
the
OPTION,
CTRL
or
x/ALT
modifiers
don’t
alter
V-Select/V-Pot
functionality,
as
they
are
unassigned.
You
can
freely
assign
new
key
commands
to
these
encoders,
or
may
choose
to
reassign
the
existing
assignments
in
Logic
Pro.
V-Pot
25
(WfZoom) Edits
the
active
Arrange
waveform
zoom
factor.
V-Pot
26
(V.Zoom) Edits
the
vertical
zoom
factor
of
the
active
window.
V-Pot
27
(H.Zoom) Edits
the
horizontal
zoom
factor
of
the
active
window.
V-Pot
28
(Move
Cycle) Moves
the
Cycle
locators.
V-Pot
29
(Quantz) Chooses
the
Quantize
Again
value.
V-Select
29
performs
Quantize
Again
for
the
selected
Regions
or
events.
V-Pot
30
(Format) Chooses
the
Format
value
for
clock
display.
V-Select
31
(Prev
SetEXS) Performs
“Next
Plug-in
Setting
or
EXS
Instrument”
key
command.
V-Select
32
(Next
SetEXS) Performs
“Previous
Plug-in
Setting
or
EXS
Instrument”
key
command.
Control Assignment
12
163
12 Mackie
HUI
Set
Up
Please
make
sure
that
your
HUI
unit(s)
are
connected
bi-directionally
with
the
computer,
using
a
MIDI
interface.
To
set
up
Mackie
HUI
units:
1 Choose
Logic
Pro
>
Control
Surfaces
>
Setup.
2 Choose
New
>
Install
in
the
Setup
window’s
local
menu.
3 Select
HUI
in
the
Install
window.
4 Click
the
Scan
button.
Logic
Pro
will
scan
for,
and
automatically
install,
your
control
surface(s).
Other
HUI
Compatible
Devices
If
the
unit
emulates
one
HUI
unit,
proceed
as
if
using
a
HUI.
If
you
experience
problems
in
the
DSP
Edit
display,
install
the
unit
as
a
DM2000.
If
the
unit
emulates
more
than
one
HUI,
add
the
required
number
of
additional
devices
in
the
Setup
window
(see
the
Yamaha
digital
mixer
sections
in
this
document).
If
the
unit
is
limited
to
support
of
only
one
HUI
DSP
edit
section,
choose
HUI
Channel
Strips
only
as
the
model
name
for
these
additional
units.
This
ensures
that
scrolling
in
the
DSP
edit
section
is
limited
to
four
parameters.
If
you
wish
to
know
more
about
button
assignments,
refer
to
the
Assignment
Overview
section
below,
and
the
device’s
user
manual.
Assignment
Overview
A
right-aligned
modifier
button
(such
as
SHIFT)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
164 Chapter
12
Mackie
HUI
ASSIGN
Section
Fader
Bank
Buttons
Control Assignment
SEND
A Assigns
Send
1
Level
to
V-Pots,
and
Send
1
to
4
Levels
to
DSP
V-Pots.
While
held
down,
the
scribble
strips
show
the
current
Send
1
destination
assignment.
SHIFT/ADD As
above,
for
Send
6
SEND
B Assigns
Send
2
Level
to
V-Pots,
and
Send
1
to
4
Levels
to
DSP
V-Pots.
While
held
down,
the
scribble
strips
show
the
current
Send
2
destination
assignment.
SHIFT/ADD As
above,
for
Send
7
SEND
C Assigns
Send
3
Level
to
V-Pots,
and
Send
1
to
4
Levels
to
DSP
V-Pots.
While
held
down,
the
scribble
strips
show
the
current
Send
3
destination
assignment.
SHIFT/ADD As
above,
for
Send
8
SEND
D Assigns
Send
4
Level
to
V-Pots,
and
Send
1
to
4
Levels
to
DSP
V-Pots.
While
held
down,
the
scribble
strips
show
the
current
Send
4
destination
assignment.
SEND
E Assigns
Send
5
Level
to
V-Pots,
and
Send
5
to
8
Levels
to
DSP
V-Pots.
While
held
down,
the
scribble
strips
show
the
current
Send
5
destination
assignment.
PAN Assigns
Pan
to
V-Pots;
assigns
selected
track’s
Pan/Surround
parameters
to
DSP
VPots.
INPUT Assigns
Track
Input
to
V-Pots.
While
held
down,
the
scribble
strips
show
the
current
Track
Input
assignment.
OUTPUT Assigns
Track
Output
to
V-Pots.
While
held
down,
the
scribble
strips
show
the
current
Track
Output
assignment.
REC/RDY
ALL Disable
Record
Ready
on
all
tracks.
BYPASS Switches
the
INSERT
buttons
between
Insert
Select
and
Insert
Bypass
mode.
Also
see
Insert
entry
in
Channel
Strips
table
on
page
166.
MUTE Switches
the
V-Select
buttons
between
Send
Position
and
Send
Mute
mode.
SHIFT Enables/Disables
Flip
mode.
SELECT-ASSIGN Displays
the
V-Pot
assignment
as
follows:
Pan,
Snd1
to
Snd8,
S1As
to
S8As,
In,
Out.
SUSPEND —
DEFAULT Switches
V-Select
buttons
between
normal
behavior
and
setting
default
value.
ASSIGN When
V-Pots
display
a
Send
level,
the
ASSIGN
button
switches
them
to
Send
Destination
Assignment
mode.
Press
V-Select
or
ASSIGN
button
again
to
confirm
the
assignment.
Control Assignment
Bank
Left Shifts
channel
strips
by
one
bank
to
the
left.
Bank
Right Shifts
channel
strips
by
one
bank
to
the
right.
Channel
Left Shifts
channel
strips
by
one
channel
to
the
left.
Channel
Right Shifts
channel
strips
by
one
channel
to
the
right.
Chapter
12
Mackie
HUI 165
WINDOW
Section
KEYBOARD
SHORTCUTS
Section
Control Assignment
TRANSPORT Opens/Closes
the
Transport
window.
EDIT Opens/Closes
the
Arrange
window.
MIX Opens/Closes
the
Track
Mixer.
ALT Opens/Closes
the
Sample
Editor.
STATUS Opens/Closes
the
Audio
window.
MEM-LOC Opens/Closes
the
Marker
List.
Control Assignment
UNDO Performs
Undo.
SHIFT/ADD Performs
Redo.
OPTION/ALL Opens
Undo
History
window.
SAVE Saves
the
song.
OPTION/ALL Performs
Save
As
function,
allowing
you
to
save
the
song
under
a
different
name.
EDIT
MODE —
EDIT
TOOL Selects
the
next
tool.
While
held
down,
numerical
buttons
select
a
specific
tool.
SHIFT/ADD Shifts
to
second
meaning
of
some
buttons.
See
descriptions
of
other
buttons.
OPTION/ALL While
held
down,
value
change
mode
is
set
to
“relative”:
relative
value
changes
result
in
a
minimum,
default,
or
maximum
value
for
the
edited
parameter.
Also
see
description
of
other
buttons.
CTRL/CLUTCH While
held
down,
the
Group
Clutch
is
engaged
(all
groups
are
disabled).
x/ALT/FINE While
held
down,
value
change
mode
is
set
to
“fine”:
relative
value
changes
work
at
maximum
resolution.
Also
see
descriptions
of
other
buttons.
166 Chapter
12
Mackie
HUI
Channel
Strips
Control Assignment
Level
meters Displays
momentary
and
peak
levels.
REC/RDY Activates/Deactivates
Record
Enable
button.
OPTION/ALL Disables
Record
Enable
button
for
all
tracks.
INSERT BYPASS
button
off
(see
Insert
Select
mode
on
page
164):
selects
track
for
plug-in
selection.
BYPASS
button
on
(see
Insert
Bypass
mode
page
164):
enables/disables
bypass
of
currently
selected
Insert
slot.
V-SEL PAN
button
on:
sets
Pan
parameter
to
center
if
DEFAULT
button
is
on.
Send
1
to
8
selected:
edits
Send
Pre/Post,
activates/deactivates
Send
Mute
or
sets
Send
Level
to
default
value.
In
Send
Destination
Assignment
mode,
Track
Input
(see
Input
button
on
page
164)
or
Track
Output
Assignment
mode
(see
Output
button
on
page
164),
the
V-SEL
buttons
confirm
the
selection.
V-Pot Adjusts
parameter
selected
in
the
ASSIGN
section.
AUTO Cycles
through
automation
modes.
With
an
automation
mode
button
held
down,
the
button
sets
this
automation
mode.
SOLO Enables/Disables
Solo.
OPTION/ALL Disables
Solo
for
all
tracks.
MUTE Enables/Disables
Mute.
OPTION/ALL Unmutes
all
tracks.
Scribble
strip Displays
track
name,
or
Send,
In,
or
Out
assignment.
SELECT Selects
track.
SHIFT/ADD Sets
volume
to
unity
level.
DEFAULT Sets
volume
to
unity
level.
Fader Adjusts
volume,
or
duplicates
V-Pot
in
Flip
mode.
Chapter
12
Mackie
HUI 167
DSP
EDIT/ASSIGN
Section
Control Assignment
ASSIGN —
COMPARE Switches
DSP
display
between
“track
name/parameter
name”
and
“parameter
name/
parameter
value”
modes.
BYPASS Enables/Disables
bypass
of
currently
edited
plug-in
insert.
DSP
Select
1
to
4
Assignment Pan:
 DSP
Select
1
centers
Pan
or
Surround
Angle.
 DSP
Select
2
centers
Surround
Diversity.
 DSP
Select
3
centers
Surround
LFE.
 DSP
Select
4
selects
Surround
mode.
Assignment Send:
 Activate/Deactivate
Sends
1
to
4
or
Mutes
5
to
8.
Plug-in Assign mode:
 Confirms
insert
1
to
4
or
5
to
8
plug-in
selection,
selects
this
insert
and
enters
Plug-in
Edit
mode.
Plug-in Edit mode:
 Sets
value
to
default,
or
turns
parameter
“switch”
on/off.
DSP
V-Pots Assignment Pan:
 DSP
V-Pot
1
controls
Pan
or
Surround
Angle.
 DSP
V-Pot
2
controls
Surround
Diversity.
 DSP
V-Pot
3
controls
Surround
LFE.
 DSP
V-Pot
4
controls
Surround
Mode.
Assignment Send:
 Control
Send
1
to
4
or
5
to
8
Level.
Plug-in Assign mode:
 Assigns
plug-in
inserts
1
to
4
or
5
to
8.
Plug-in Edit mode:
 Controls
the
selected
plug-in
parameter.
INSERT/PARAM Switches
between
Plug-in
Assign
and
Plug-in
Edit
modes.
SCROLL Plug-In
Edit
mode:
shifts
parameter
display
by
the
number
of
DSP
V-Pots
in
the
control
surface
group
(usually
four).
x/ALT/FINE Plug-in
Edit:
mode
shifts
parameter
display
by
one.
168 Chapter
12
Mackie
HUI
Function
Keys
AUTO
ENABLE
Section
Control Assignment
F1 Clears
Overload
LEDs.
SHIFT/ADD Switches
to
Global
View
and
enables
MIDI
tracks.
x/ALT/FINE Opens/Closes
Arrange
window.
F2 Recalls
Screenset
2.
SHIFT/ADD Switches
to
Global
View
and
enables
Input
Objects.
x/ALT/FINE Opens/Closes
Track
Mixer.
F3 Recalls
Screenset
3.
SHIFT/ADD Switches
to
Global
View
and
enables
audio
tracks.
x/ALT/FINE Opens/Closes
Event
Editor.
F4 Recalls
Screenset
4.
SHIFT/ADD Switches
to
Global
View
and
enables
Audio
Instrument
trackss.
x/ALT/FINE Opens/Closes
Score
Editor.
F5 Recalls
Screenset
5.
SHIFT/ADD Switches
to
Global
View
and
enables
Aux
Objects.
x/ALT/FINE Opens/Closes
Hyper
Editor.
F6 Recalls
Screenset
6.
SHIFT/ADD Switches
to
Global
View
and
enables
Bus
Objects.
x/ALT/FINE Opens/Closes
Matrix
Editor.
F7 Switches
counter
display
between
SMPTE
and
bars/beats/format/ticks.
SHIFT/ADD Switches
to
Global
View
and
enables
Outputs
and
Master
Object.
x/ALT/FINE Opens/Closes
Transport
window.
F8/ESC Default:
exits
folder.
Goto
Marke
mode:
cancels
dialog.
x/ALT/FINE Opens/Closes
Audio
window.
Control Assignment
FADER Activates/Deactivates
volume
automation
playback
and
recording.
PAN Activates/Deactivates
pan
automation
playback
and
recording.
PLUG
IN Activates/Deactivates
plug-in
parameter
automation
playback
and
recording.
MUTE Activates/Deactivates
mute
automation
playback
and
recording.
SEND Activates/Deactivates
send
level
automation
playback
and
recording.
SEND
MUTE —
Chapter
12
Mackie
HUI 169
AUTO
MODE
Section
STATUS/GROUP
Section
Control Assignment
READ Sets
selected
track
to
Read
automation
mode.
While
held
down,
the
channel
strip
AUTO
buttons
set
automation
mode
to
Read.
OPTION/ALL Sets
all
tracks
to
Read
automation
mode.
LATCH Sets
selected
track
to
Latch
automation
mode.
While
held
down,
the
channel
strip
AUTO
buttons
set
automation
mode
to
Latch.
OPTION/ALL Sets
all
tracks
to
automation
mode
Latch.
TRIM —
TOUCH Sets
selected
track
to
Touch
automation
mode.
While
held
down,
the
channel
strip
AUTO
buttons
set
automation
mode
to
Touch.
OPTION/ALL Sets
all
tracks
to
Touch
automation
mode.
WRITE Sets
selected
track
to
Write
automation
mode.
While
held
down,
the
channel
strip
AUTO
buttons
set
automation
mode
to
Write.
OPTION/ALL Sets
all
tracks
to
Write
automation
mode.
OFF Sets
selected
track
to
Off
automation
mode.
While
held
down,
the
channel
strip
AUTO
buttons
set
automation
mode
to
Off.
OPTION/ALL Sets
all
tracks
to
Off
automation
mode.
Control Assignment
AUTO While
held
down,
the
scribble
strips
display
the
tracks’
automation
mode.
MONITOR —
PHASE —
GROUP Enters Group Edit mode:
 The
upper
line
in
the
DSP
edit
section
displays
the
currently
edited
group
number
and
name.
 DSP
Select
buttons
1
to
4
switch
between
the
properties
of
the
currently
edited
group.
The
group
name
is
shown
in
the
lower
line.
 When
the
INSERT/PARAM
button
is
off,
the
DSP
Edit
V-Pots
scroll
through
the
group
properties.
If
the
INSERT/PARAM
button
is
on,
the
DSP
EDIT
V-Pots
select
the
group
currently
being
edited.
 The
SELECT
buttons
enable/disable
group
membership
of
the
track.
SHIFT/ADD Switches
to
Track
View.
CREATE Creates
a
new
group
and
enters
Group
Edit
mode
(see
above).
SHIFT/ADD Switches
to
Global
View.
SUSPEND Activates/Deactivates
the
Group
Clutch.
SHIFT/ADD Switches
to
Arrange
View.
170 Chapter
12
Mackie
HUI
EDIT
Section
Time
Display
LOCATE/NUMERICS
Section
Control Assignment
CAPTURE —
SEPARATE —
CUT Cuts
the
selection.
COPY Copies
the
selection.
PASTE Pastes
the
Clipboard
contents.
DELETE Deletes
the
selection.
Control Assignment
TIME
CODE Lit
if
counter
displays
time
code.
FEET Not
assigned.
BEATS Lit
if
counter
displays
bars/beats/format/ticks.
Time
display Displays
time
code
or
bars/beats/format/ticks.
RUDE
SOLO
LIGHT
Flashes
if
any
track
is
soloed.
Control Assignment
CLR Deletes
current
marker.
= Creates
a
marker
at
the
current
song
position.
/ Equivalent
to
computer
keyboard
/
key.
* Equivalent
to
computer
keyboard
*
key.
– Equivalent
to
computer
keyboard
–
key.
+ Equivalent
to
computer
keyboard
+
key.
0
to
9 Normal:
1
to
9
recalls
markers
1
to
9.
If
in
Goto
Marker
dialog:
Equivalent
to
computer
keyboard
keys
0
to
9.
SHIFT/ADD Switches to Global View and enables:
1:
MIDI
tracks
2:
Input
Objects
3:
Audio
tracks
4:
Audio
Instrument
Objects
5:
Aux
Objects
6:
Bus
Objects
7:
Outputs
and
Master
Object
Chapter
12
Mackie
HUI 171
Transport
Section
EDIT
TOOL Selects
tool:
1:
Pointer
2:
Pencil
3:
Eraser
4:
Text
tool
5:
Scissors
6:
Glue
7:
Solo
tool
8:
Mute
tool
9:
Magnifying
Glass
0 If
in
Goto
Marker
dialog:
Equivalent
to
computer
keyboard
0
key.
. If
not
in
Goto
Marker
dialog:
Enters
Goto
Marker
dialog.
In
in
Goto
Marker
dialog:
Confirms
entered
marker
number.
ENTER If
not
in
Goto
Marker
dialog:
Enters
folder
of
selected
track.
If
in
Goto
Marker
dialog:
Confirms
entered
marker
number.
Control Assignment
Control Assignment
AUDITION —
PRE Sets
left
locator.
IN Sets
Drop
In
locator.
OUT Sets
Drop
Out
locator.
POST Sets
right
locator.
RTZ Goes
to
the
left
locator.
END Goes
to
the
right
locator.
ON
LINE Switches
between
internal/external
sync.
LOOP Enables/Disables
Cycle
mode.
QUICK
PUNCH Enables/Disables
Drop
mode.
REWIND Shuttles
backward.
FAST
FWD Shuttles
forward.
STOP Stop
playback.
PLAY Starts
playback.
SHIFT/ADD Pause
RECORD Record
172 Chapter
12
Mackie
HUI
Cursor
Buttons
Jog
Wheel
Foot
Switches
Control Assignment
Cursor
Up Cursor
mode:
Equivalent
to
computer
keyboard
Up
Arrow
key.
Zoom
mode:
Zooms
out
vertically.
SHIFT/ADD Zoom
mode:
Individual
track
zoom
in.
x/ALT/FINE Page
up
OPTION/ALL
+
x/ALT/FINE
Scroll
to
top.
Cursor
Down Cursor
mode:
Equivalent
to
computer
keyboard
Down
Arrow
key.
Zoom
mode:
Zooms
out
vertically.
SHIFT/ADD Zoom
mode:
Individual
track
zoom
out.
x/ALT/FINE Page
down
OPTION/ALL
+
x/ALT/FINE
Scroll
to
bottom.
Cursor
Left Cursor
mode:
Equivalent
to
computer
keyboard
Left
Arrow
key.
Zoom
mode:
Zooms
out
horizontally.
SHIFT/ADD Zoom
mode:
Individual
track
zoom
reset
of
tracks
from
the
same
class.
x/ALT/FINE Page
left
OPTION/ALL
+
x/ALT/FINE
Scroll
to
left
border.
Cursor
Right Cursor
mode:
Equivalent
to
computer
keyboard
Right
Arrow
key.
Zoom
mode:
Zooms
in
horizontally.
SHIFT/ADD Zoom
mode:
Individual
track
zoom
reset
of
all
tracks.
x/ALT/FINE Page
right
OPTION/ALL
+
x/ALT/FINE
Scroll
to
right
border.
MODE Switches
between
Cursor
and
Zoom
modes.
Control Assignment
Jog
Wheel Default:
Move
SPL
by
one
bar.
Scrub
button
lit:
Scrub
mode.
Shuttle
button
lit:
Shuttle
mode.
SCRUB Activates/Deactivates
Scrub
mode.
SHUTTLE Activates/Deactivates
Shuttle
mode.
Control Assignment
Foot
Switch
1 Play
or
Stop
Foot
Switch
2 Record
On/Off
13
173
13 Radikal
Technologies
SAC-2K
Set
Up
Please
make
sure
that
your
control
surface
is
connected
bi-directionally
with
the
computer,
either
using
a
MIDI
interface
or
the
built-in
USB
connector.
If
the
unit(s)
are
connected
via
USB,
ensure
that
the
MIDI
driver
shipped
with
the
unit
is
installed.
To
set
up
SAC-2K
units:
1 Choose
Logic
>
Preferences
>
Control
Surfaces
>
Setup.
2 Choose
New
>
Install
in
the
Setup
window’s
local
menu.
3 Select
the
SAC-2K
in
the
Install
window.
4 Click
the
Scan
button.
Assignment
Overview
A
right-aligned
modifier
button
(such
as
SHIFT)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
LCDs
and
Encoders
Control Assignment
Left
and
middle
LCDs Upper
row
displays
track
number
(if
in
a
Multi
Channel
View)
or
parameter
name
(if
in
a
Channel
Strip
View).
Lower
row
shows
the
parameter
value
of
the
encoder
below
the
display.
Level
meters
are
displayed
to
the
right.
Right
LCD Upper
row
displays
the
name
of
the
parameter
edited
with
the
encoder
below.
Lower
row
displays
the
parameter
value
assigned
to
the
encoder
below
the
display.
The
Master
Output
level
meter
is
displayed
at
the
far
right.
Encoders Edit
the
corresponding
parameter
displayed
in
the
LCD.
Encoder
push
buttons Parameters
with
two
values
(On/Off ):
Switches
between
the
two
values.
Parameters
that
access
items
(plug-in
selection):
Confirms
preselection.
At
other
times:
Sets
parameter
to
default
value.
174 Chapter
13
Radikal
Technologies
SAC-2K
Channel
Strips
Mixe
Mode
Section
Control Assignment
Mute/Solo Switches
Mute/Solo
1
to
8
buttons
between
Mute
and
Solo
modes.
LED
off:
Mute/Solo
buttons
switch
Mute
state
on/off.
LED
on:
Mute/Solo
buttons
switch
Solo
state
on/off.
LED
flashes:
Mute/Solo
buttons
switch
Rec/Rdy
state
on/off.
SHIFT Sets
Mute/Solo
buttons
to
Rec/Rdy
mode.
Mute/Solo
1
to
8 Mute/Solo
LED
off:
Enables/Disables
Mute;
LED
displays
Mute
status.
Mute/Solo
LED
on:
Enables/Disables
Solo;
LED
displays
Solo
status.
Mute/Solo
LED
flashing:
Enables/Disables
Rec/Rdy;
LED
displays
Rec/Rdy
status.
SELECT
1
to
8
buttons Selects
track.
Exception:
In
Group
mode,
these
buttons
define
group
membership
of
the
track.
Master
Select
button Switches
Flip
mode
between
Off
and
Duplicate.
Fader
1
to
8 Controls
volume,
or
duplicates
encoder
above
if
Flip
mode
is
enabled.
The
silk
screened
legend
lines
are
scaled
as
follows:
+6
dB,
+3
dB,
0
dB,
−5
dB,
−10
dB,
−15
dB,
−20
dB,
−25
dB,
−30
dB,
−35
dB,
−40
dB,
−45
dB,
−50
dB,
−60
dB,
−inf.
Master
Fader Controls
master
volume.
Control Assignment
Pan Switches
to
multi-channel
pan
editing.
Encoders
9
to
12
edit
Pan/Angle,
Diversity,
LFE,
and
Surround
Mode
of
selected
track
(in
Surround
mode).
High,
HiMid,
LowMid,
Low
Switches
to
multi-channel
gain
editing
of
a
certain
EQ
band.
Encoders
9
to
12
edit
Frequency,
Gain,
Q
factor,
and
On/Off
for
the
selected
track.
Pressing and releasing the button chooses a specific EQ band.
 Low:
Band
3
(first
parametric
EQ
band)
 LowMid:
Band
4
(second
parametric
EQ
band)
 HiMid:
Band
5
(third
parametric
EQ
band)
 High:
Band
6
(fourth
parametric
EQ
band)
While
held
down,
Encoder
9
lets
you
choose
the
EQ
band
to
edit
(bands
1
to
8).
The
button’s
LED
is
lit
when
in
multi-channel
gain
editing
mode
of
the
button’s
EQ
band.
Snd/Ins Switches the four Snd/Ins (1 to 4) buttons between Send and Insert modes.
 LED
off:
Send
mode
 LED
on:
Insert
mode
Chapter
13
Radikal
Technologies
SAC-2K 175
Snd/Ins
1
to
4 Â
If
in
Send
mode,
switches
to
multi-channel
send
level
editing
of
Sends
1
to
4.
Encoders
9
to
12
edit
Destination,
Level,
Pre/Post
and
Mute
of
the
selected
track.
Destination
must
be
confirmed
by
encoder
9’s
push-button.
While
held
down,
Encoder
9
selects
the
desired
Send
number
(1
to
8).
The
button’s
LED
is
lit
when
in
multi-channel
send
level
editing
mode
of
the
button’s
send
number.
 If
in
Insert
mode,
switches
to
multi-channel
plug-in
selection
for
Inserts
1
to
4.
Plug-in
selection
is
confirmed
by
the
encoder’s
push-button.
While
held
down,
Encoder
9
enables
you
to
choose
the
desired
Insert
number
(1
to
15).
The
button’s
LED
is
lit
when
in
plug-in
selection
mode
(of
the
corresponding
button’s
insert
number).
Audio Switches
to
Global
View
and
displays
audio
tracks.
SHIFT Switches
to
Mixer
View.
MIDI Switches
to
Global
View
and
displays
MIDI
tracks.
SHIFT Switches
to
Arrange
View.
Input Switches
to
Global
View
and
displays
Input
Objects.
SHIFT Switches
to
Global
View
and
displays
Outputs
and
Master
Object.
Inst Switches
to
Global
View
and
displays
Audio
Instrument
Objects.
SHIFT Switches
to
Global
View
and
displays
Aux
Objects.
Bus Switches
to
Global
View
and
displays
Bus
Objects.
SHIFT Switches
to
Global
View
and
displays
folders
and
all
tracks
shown
when
the
View
>
Other
Tracks
option
is
activated
in
the
Track
Mixer.
Group Switches to Group editing:
 Encoder
1
to
10
push
buttons
edit
a
group
property
(Property
shown
in
the
LCD’s
lower
line).
 Encoder
11
scrolls
through
group
properties.
 Encoder
12
selects
a
group
to
edit.
Its
name
is
displayed
in
the
lower
line,
above
Encoder
12.
 Select
buttons
1
to
8
activate/deactivate
track
membership
within
the
group.
1
to
8 Shifts
the
fader
bank
offset
to
the
left
by
one
bank.
9
to
16 Shifts
the
fader
bank
offset
to
the
right
by
one
bank.
17
to
24 Shifts
the
fader
bank
offset
to
the
left
by
one
track.
25
to
32 Shifts
the
fader
bank
offset
to
the
right
by
one
track.
Control Assignment
176 Chapter
13
Radikal
Technologies
SAC-2K
Software
Navigation
Section
Locator
Section
The
locator
displays
the
current
song
position
in
bars/beats
format,
as
defined
in
the
song
settings.
The
spaces
between
the
sections
are
replaced
with
a
period,
as
the
bars/
beats
format
uses
up
to
14
characters
in
Logic,
and
the
SAC
display
is
limited
to
eight
digits.
Control Assignment
1 Num
LED
off:
—
Num
LED
on:
Equivalent
to
‘1’
on
computer
keyboard.
2 Num
LED
off:
Equivalent
to
Left
Arrow
key
on
computer
keyboard.
Num
LED
on:
Equivalent
to
‘2’
on
computer
keyboard.
3 Num
LED
off:
Equivalent
to
Up
Arrow
key
on
computer
keyboard.
Num
LED
on:
Equivalent
to
‘3’
on
computer
keyboard.
4 Num
LED
off:
Eequivalent
to
Right
Arrow
key
on
computer
keyboard.
Num
LED
on:
Equivalent
to
‘4’
on
computer
keyboard.
5 Num
LED
off:
Performs
Undo.
Num
LED
on:
Equivalent
to
‘5’
on
computer
keyboard.
6 Num
LED
off:
—
Num
LED
on:
Equivalent
to
‘6’
on
computer
keyboard.
7 Num
LED
off:
Copies
the
selection.
Num
LED
on:
Equivalent
to
‘7’
on
computer
keyboard.
8 Num
LED
off:
Equivalent
to
Down
Arrow
key
on
computer
keyboard.
Num
LED
on:
Equivalent
to
‘8’
on
computer
keyboard.
9 Num
LED
off:
Pastes
the
Clipboard
contents.
Num
LED
on:
Equivalent
to
‘9’
on
computer
keyboard.
0 Num
LED
off:
Saves
the
song.
Num
LED
on:
Equivalent
to
‘0’
on
computer
keyboard.
Num Switches
the
numeric
buttons
between
primary
and
secondary
function
(see
above).
Enter Equivalent
to
Enter
key
on
the
computer
keyboard.
Chapter
13
Radikal
Technologies
SAC-2K 177
Marker
Section
Transport
Section
Control Assignment
SHIFT Shifts
to
secondary
function
of
other
buttons.
Scrub Rotates thru the three modes for the Jog Wheel:
 LED
off:
Move
SPL
by
one
bar.
 LED
on:
Activates
Scrub
mode.
 LED
flashes:
Activates
Shuttle
mode.
From Sets
left
locator
to
current
SPL.
SHIFT Sets
SPL
to
left
locator.
Store
Marker Creates
a
marker
at
the
current
SPL.
SHIFT Deletes
marker
at
the
current
SPL.
To Sets
right
locator
to
current
SPL.
SHIFT Sets
SPL
to
right
locator.
Recall
Marker Opens
the
Goto
Marker
dialog.
SHIFT Opens
the
Marker
List.
Jog
Wheel Moves
the
SPL
in
one
of
three
modes,
depending
on
the
state
of
the
Scrub
button
(see
above).
Control Assignment
<< Shuttles
backward.
SHIFT Goes
to
previous
marker.
>> Shuttles
forward.
SHIFT Goes
to
next
marker.
STOP Stops
playback.
PLAY Starts
playback.
SHIFT Enables/Disables
Cycle
mode.
RECORD Record
SHIFT Enables/Disables
Replace
mode.
178 Chapter
13
Radikal
Technologies
SAC-2K
Channel
Strips
Section
Troubleshooting
The
track
names
are
shorter
than
necessary,
and
the
assignments
don’t
work
correctly.
The
SAC-2K
is
in
an
emulation
mode
(Logic
Control
or
HUI,
for
example).
To
resolve
this
issue,
simply
switch
the
SAC-2K
power
off,
and
then
back
on.
The
faders
don’t
work,
and
the
locator
display
shows
00000000.
You
have
manually
switched
the
SAC-2K
to
SLAVE
mode.
This,
unfortunately,
does
not
initialize
some
settings
required
for
proper
communication.
To
resolve
this
issue,
simply
switch
the
SAC-2K
power
off,
and
then
back
on.
Control Assignment
EQs Enters
Channel
Strip
EQ
editing
mode.
Pressing
the
button
again
cycles
through
the
available
pages.
Inserts/Sends Enters
Channel
Strip
plug-in
editing
mode—edits
the
currently
selected
insert
of
the
selected
track.
Pressing
the
button
again
cycles
through
the
available
pages.
Dynamics —
MIDI —
Instrument Enters
Channel
Strip
instrument
editing
mode—edits
the
instrument
of
the
selected
track
(if
it’s
an
Audio
Instrument
track).
Pressing
the
button
again
cycles
through
the
available
pages.
14
179
14 Roland
SI-24
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 Ensure
that
your
SI-24
unit(s)
are
connected
to
the
RPC
card
with
the
(included)
blue
cable.
This
connector
provides
both
digital
audio
and
MIDI
connections.
 Make
sure
that
the
MIDI
driver
shipped
with
the
unit
is
installed.
To
scan
for
your
Roland
SI-24
unit:
1 Choose
Logic
>
Preferences
>
Control
Surfaces
>
Setup
2 Choose
New
>
Install
in
the
Setup
window’s
local
menu.
3 Select
Roland
SI-24
in
the
Install
window.
4 Click
the
Scan
button.
Logic
Pro
will
scan
for,
and
automatically
install,
your
control
surfaces.
Assignment
Overview
A
right-aligned
modifier
button
(such
as
SHIFT)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
Channel
Strips
Control Assignment
EQ
ON/OFF
1
to
4
In Pan mode:
 Switches
bypass
state
of
EQ
bands
1–4.
 Enters
EQ/Send
mode.
If
no
Channel
or
Linear
Phase
EQ
is
present
on
the
selected
track,
a
Channel
EQ
will
automatically
be
inserted.
In EQ/Send mode:
 Switches
bypass
state
of
EQ
bands
1–4.
The
button
LED
is
lit
when
the
EQ
is
enabled.
In Plug-in mode:
 Switches
to
insert
1–4.
The
lit
button
LED
indicates
the
selected
insert.
 If
a
Plug-in
window
is
open,
it
will
also
switch
to
the
selected
insert.
SHIFT In
EQ/Send
mode:
Enables/Disables
Send
1–4
Mute.
180 Chapter
14
Roland
SI-24
EQ/SEND Switches track edit section between:
 EQ/Send
mode
(LED
on).
 Pan
mode
(LED
off ).
PLUG-IN Switches track edit section between:
 Plug-in
mode
(LED
on)
(Plug-in
window
opens.)
 Pan
mode
(LED
off )
Plug-in
window
closes
when
Plug-in
mode
is
exited.
SHIFT Switches track edit section between:
 Instrument
mode
(LED
on)
(Instrument
window
opens.)
 Pan
mode
(LED
off )
Instrument
editor
window
closes
when
Instrument
mode
is
exited.
PAN
1
to
12 In Pan mode:
 Controls
channel
strip’s
Pan
(surround
angle
for
tracks
in
surround
mode).
In EQ/Send mode:
 1/3/5/7:
EQ
1–4
Gain.
 2/4/6/8:
EQ
1–4
Frequency.
 9–12:
Send
1–4
Level.
In Plug-in mode:
 1–10:
Edits
plug-in
parameter.
 11:
Bypasses
plug-in.
 12:
Shifts
plug-in
parameter
page.
In Instrument mode:
 1–10:
Edits
Instrument
parameter.
 11:
Bypasses
Instrument.
 12:
Shifts
Instrument
parameter
page.
SHIFT In EQ/Send mode:
 1/3/5/7:
EQ
1–4
Type
 2/4/6/8:
EQ
1–4
Q
factor.
 9–12:
Send
1–4
destination.
CH
SELECT
1
to
12
Selects
track/channel.
STATUS
1
to
12 In Automation mode: Switches Automation mode between:
 Off
(LED
off )
 Read
(green)
 Latch
(orange)
 Write
(red)
In
Record
Ready
mode:
Enables/Disables
Record
Ready.
In
Solo
mode:
Enables/Disables
Solo.
In
Mute
mode:
Enables/Disables
Mute.
Fader
1
to
12 Controls
volume.
Control Assignment
Chapter
14
Roland
SI-24 181
STATUS
MODE
Section
CH
ASSIGN
Controls
MASTER
Section
SURROUND
PAN
Section
Control Assignment
AUTOMIX Sets
STATUS
1
to
12
buttons
to
Automation
mode.
SHIFT Sets
all
tracks
to
Off,
Read,
Latch,
or
Write
(cycles
through)
automation
mode.
REC/PLAY Sets
STATUS
1
to
12
buttons
to
Record
Ready
mode.
SOLO Sets
STATUS
1
to
12
buttons
to
Solo
mode.
MUTE Sets
STATUS
1
to
12
buttons
to
Mute
mode.
Control Assignment
INPUT Shows
the
first
12
audio
inputs
(Global
View)
on
channel
strips.
SHIFT Shows
the
first
12
MIDI
channels
(Global
View)
on
channel
strips.
OUTPUT Shows the first 12 audio outputs (Global View) on channel strips:
 1:
Output
1–2
(front).
 2:
Output
3–4
(rear).
 3:
Output
5
(center).
 4:
Output
6
(LFE).
 5:
Output
7–8
(digital
out).
SHIFT Shows
the
first
12
audio
channels
(Global
View)
on
channel
strips.
BUS Shows
the
first
12
audio
buses
(Global
View)
on
channel
strips.
SHIFT Shows
the
first
12
Audio
Instruments
(Global
View)
on
channel
strips.
Tr
1
to
12 Shows
tracks
1
to
12
(Track
View)
on
channel
strips.
Tr
13
to
24 Shows
tracks
13
to
24
(Track
View)
on
channel
strips.
Control Assignment
Master
Fader Controls
output
1-2
volume.
Control Assignment
ON/OFF Switches selected track’s output between:
 Surround
(LED
on)
and
 Out
1-2
(LED
off ).
Also
shows/hides
the
Surround
Pan
window.
Joystick Surround
X/Y
of
selected
track.
182 Chapter
14
Roland
SI-24
Numeric
Key
Section
Control Assignment
SYSTEM Switches
SI-24
to
System
mode.
See
SI-24
user
manual
for
details.
LOCATE Switches
numeric
keys
to
Locate
mode.
SHORT
CUT Switches
numeric
keys
to
Shortcut
mode.
SCREEN
SET Switches
numeric
keys
to
Screenset
mode.
0
to
9 System mode: See SI-24 user manual.
Locate mode:
 1
to
9:
Goes
to
markers
1
to
9.
 0:
Creates
marker
at
SPL.
Shortcut mode:
 1:
Saves
song.
LED
is
lit
if
song
has
changed
since
last
save.
 2:
Performs
undo.
LED
is
on
if
Redo
is
possible.
 3:
Copies
the
selection.
 4:
Pastes
the
Clipboard
contents.
 5:
Deletes
the
selection.
 6:
Enables/Disables
Scrub
mode.
LED
is
on
if
Scrub
mode
is
enabled.
 7:
Enables/Disables
Cycle
mode.
LED
is
on
if
Cycle
mode
is
enabled.
 8:
Enables/Disables
Drop
mode.
LED
is
on
if
Drop
mode
is
enabled.
 9:
Switches
Arrange
window
to
volume
automation
view.
 0:
Switches
Arrange
window
to
pan
automation
view.
Screenset mode:
 1
to
9:
Recall
Screensets
1
to
9.
 0:
Enables/Disables
Lock
Screenset.
SHIFT Locate mode:
 1
to
9:
Goes
to
Markers
10
to
18.
 0:
Deletes
marker
at
SPL.
Shortcut mode:
 1:
Performs
Save
As.
 2:
Performs
Redo.
 3:
Cuts
selection.
 4:
Pastes
the
Clipboard
contents.
Screenset mode:
 1:
Opens/Closes
Arrange
window.
 2:
Opens/Closes
Track
Mixer.
 3:
Opens/Closes
Event
Editor.
 4:
Opens/Closes
Score
Editor.
 5:
Opens/Closes
Hyper
Editor.
 6:
Opens/Closes
Matrix
Editor.
 7:
Opens/Closes
Transport
window.
 8:
Opens/Closes
Audio
window.
 9:
Opens/Closes
Sample
Editor.
Chapter
14
Roland
SI-24 183
Transport
Section
Control Assignment
PAUSE Pause
REW Rewinds
SPL
by
one
bar.
F
FWD Advances
SPL
by
one
bar.
STOP Stops
playback.
PLAY Starts
playback.
RECORD Record
Jog
wheel Scrub
mode
off:
Moves
SPL
by
bars.
Scrub
mode
on:
Scrubs
audio.
15
185
15 Tascam
FW-1884
Introduction
Logic
Pro
7
supports
the
Tascam
FW-1884,
FE-8
extension
and
the
FW-1082.
Version
1.10
of
the
plug-in
also
supports
the
SoftLCD
application
which
displays
information
on
track
names,
parameter
assignments
and
the
current
value
of
the
encoders.
SoftLCD
displays
the
tracks’
current
automation
mode
while
one
of
the
automation
mode
buttons
is
held
down.
The
corresponding
encoder
edits
the
parameter.
Alerts
are
displayed
in
SoftLCD.
Select
buttons
allow
you
to
remotely-control
alert
buttons.
The
following
text
referring
to
the
FW-1884
also
applies
to
FE-8
and
FW-1082,
except
where
mentioned
explicitly.
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro.
 Ensure
that
the
FW-1884’s
MIDI
driver
is
installed.
See
the
FW-1884
documentation
for
details.
 Connect
the
FW-1884
to
your
computer
with
the
supplied
FireWire
cable.
 Boot
Logic
Pro.
The
FW-1884
is
installed
automatically.
Assignment
Overview
A
right-aligned
modifier
button
(such
as
SHIFT)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
Note:
The
FE-8
units
only
offer
the
Channel
Strip
section,
so
other
facilities
mentioned
here
don’t
apply.
The
FW-1884
ENCODERS
section
does,
however,
apply
to
the
FE-8
channel
strips.
The
FW-1082
has
no
channel
encoders,
and
offers
an
extended
channel
strip
section.
186 Chapter
15
Tascam
FW-1884
ENCODERS
Section
(FW-1884
only)
SHORTCUTS
Section
(FW-1884
only).
Control Assignment
FLIP Switches
Flip
mode
between
Off
and
Swap.
PAN Assigns
Pan
to
encoders.
AUX
1 Assigns
Send
1
level
to
encoders.
AUX
2 Assigns
Send
2
level
to
encoders.
AUX
3 Assigns
Send
3
level
to
encoders.
AUX
4 Assigns
Send
4
level
to
encoders.
AUX
5 Assigns
Send
5
level
to
encoders.
AUX
6 Assigns
Send
6
level
to
encoders.
AUX
7 Assigns
Send
7
level
to
encoders.
AUX
8 Assigns
Send
8
level
to
encoders.
Control Assignment
SAVE/F1 Saves
the
active
song;
The
button’s
LED
is
lit
when
the
song
has
been
edited.
REVERT/F2 Reverts
the
active
song
to
the
saved
version.
ALL
SAFE/F3 Disables
Record
Enable
button
for
all
tracks.
CLR
SOLO/F4 Switches
Solo
off
on
all
tracks.
SHIFT Switches
Mute
off
on
all
tracks.
MARKERS/F5 Creates
a
new
marker
at
the
current
SPL.
SHIFT Deletes
the
marker
at
the
SPL.
LOOP/F6 Enables/Disables
Cycle
mode.
CUT Cuts
the
current
selection
and
places
it
in
the
Clipboard.
DEL Deletes
the
current
selection.
COPY Copies
the
current
selection
to
the
Clipboard.
PASTE Pastes
the
Clipboard
contents
to
the
current
SPL.
ALT/CMD Modifier
for
other
buttons.
UNDO Performs
Undo;
The
button’s
LED
is
lit
when
Redo
is
possible.
SHIFT Performs
Redo.
SHIFT Modifier
for
other
buttons.
CTRL Modifier
for
other
buttons.
Chapter
15
Tascam
FW-1884 187
Channel
Strips
EQ
Section
(FW-1884
only)
The
EQ
controls
apply
to
a
certain
EQ
band
of
the
selected
track.
A
Channel
or
Linear
Phase
EQ
will
be
automatically
inserted
in
the
track,
if
not
already
present.
Control Assignment
REC
LEDs These
LEDs
are
lit
when
the
corresponding
track
is
recording.
The
LEDs
flash
when
the
track
is
in
Record
Ready
mode
(armed).
SEL Selects
the
track.
SHIFT Enables/Disables
Send
mute,
when
encoders
are
controlling
a
Send
level.
READ Sets
the
track’s
automation
mode
to
Read.
WRITE Sets
the
track’s
automation
mode
to
Write.
TCH Sets
the
track’s
automation
mode
to
Touch.
LATCH Sets
the
track’s
automation
mode
to
Latch.
SOLO Enables/Disables
the
Solo
status
of
the
track.
SHIFT Disables
Solo
status
for
all
tracks
(new
for
plug-in
version
1.20).
MUTE Enables/Disables
the
Mute
status
of
the
track.
SHIFT Disables
Mute
status
for
all
tracks
(new
for
plug-in
version
1.20).
Encoder Controls
parameter
chosen
with
the
ENCODERS
section.
SET When
encoders
control
a
Send’s
level,
this
combination
sets
the
Send
destination.
Fader Controls
volume
of
the
track.
Mode Assignment
REC While
held
down,
the
SEL
buttons
in
the
channel
strips
enable/disable
the
track’s
Record
Enable
button.
GAIN Edits
Gain
of
currently
selected
EQ
band.
SET Selects
track
input.
FREQ Edits
Frequency
parameter
of
currently
selected
EQ
band.
SET Selects
Track
output.
Q Edits
Q
Factor
of
currently
selected
EQ
band.
SET Selects
Track
mode
(mono/stereo).
HIGH Selects
EQ
band
6.
SHIFT Selects
EQ
band
8.
REC Switches
bypass
state
of
EQ
band
6
(new
in
plug-in
version
1.20).
HI-MID Selects
EQ
band
5.
SHIFT Selects
EQ
band
7.
REC Switches
bypass
state
of
EQ
band
7
(new
in
plug-in
version
1.20).
LOW-MID Selects
EQ
band
4.
188 Chapter
15
Tascam
FW-1884
Encoders
and
Controls
Section
(FW-1082
only)
The
three
buttons
at
the
bottom
of
this
section
define
the
mode
of
the
other
controls:
 EQ/Pan
mode:
The
controls
apply
to
a
certain
EQ
band
of
the
selected
track.
 AUX
1–4
mode:
The
controls
apply
to
Sends
1–4.
 AUX
5–8
mode:
The
controls
apply
to
Sends
5–8.
SHIFT Selects
EQ
band
2.
REC Switches
bypass
state
of
EQ
band
3
(new
in
plug-in
version
1.20).
LOW Selects
EQ
band
3.
SHIFT Selects
EQ
band
1.
REC Switches
bypass
state
of
EQ
band
3
(new
in
plug-in
version
1.20).
Mode Assignment
Mode Assignment
REC While
held
down,
the
SEL
buttons
in
the
channel
strips
enable/disable
the
track’s
Record
Enable
button
status.
EQ
GAIN–AUX
1/5 •
EQ/PAN
mode:
edits
Gain
of
currently
selected
EQ
band.
•
AUX
1–4
mode:
controls
Send
1
level.
•
AUX
5–8
mode:
controls
Send
5
level.
SET Selects
Track
input.
EQ
FREQ–AUX
2/6 •
EQ/PAN
mode:
edits
Frequency
of
currently
selected
EQ
band.
•
AUX
1–4
mode:
controls
Send
2
level.
•
AUX
5–8
mode:
controls
Send
6
level.
SET Selects
Track
output.
EQ
Q–AUX
3/7 •
EQ/PAN
mode:
edits
Q
Factor
of
currently
selected
EQ
band.
•
AUX
1–4
mode:
controls
Send
3
level.
•
AUX
5–8
mode:
controls
Send
7
level.
SET Selects
Track
mode.
PAN–AUX
4/8 •
EQ/PAN
mode:
edits
Pan.
•
AUX
1–4
mode:
controls
Send
4
level.
•
AUX
5–8
mode:
controls
Send
8
level.
EQ
HI–AUX
1/5 •
EQ/PAN
mode:
selects
EQ
band
6.
•
AUX
1–4
mode:
switches
Send
1
Mute
on/off.
•
AUX
5–8
mode:
switches
Send
5
Mute
on/off.
SHIFT •
EQ/PAN
mode:
selects
EQ
band
8.
•
AUX
1–4
mode:
switches
Send
1
Position
(pre/post.)
•
AUX
5–8
mode:
switches
Send
5
Position
(pre/post).
REC Switches
bypass
state
of
EQ
band
6.
EQ
HI
MID–AUX
2/6 •
EQ/PAN
mode:
selects
EQ
band
5.
•
AUX
1–4
mode:
switches
Send
2
Mute
on/off.
•
AUX
5–8
mode:
switches
Send
6
Mute
on/off.
Chapter
15
Tascam
FW-1884 189
MASTER
Fader
This
fader
always
controls
the
master
volume.
If
no
Master
Object
exists
in
the
Environment,
it
controls
Output
1/2.
Automation/Clock
Rate
Section
(FW-1884
only)
SHIFT •
EQ/PAN
mode:
selects
EQ
band
7.
•
AUX
1–4
mode:
switches
Send
2
Position
(pre/post).
•
AUX
5–8
mode:
switches
Send
6
Position
(pre/post).
REC Switchess
bypass
state
of
EQ
band
5.
EQ
LO
MID–AUX
3/7 •
EQ/PAN
mode:
selects
EQ
band
4.
•
AUX
1–4
mode:
switches
Send
3
Mute
on/off.
•
AUX
5–8
mode:
switches
Send
7
Mute
on/off.
SHIFT •
EQ/PAN
mode:
selects
EQ
band
2.
•
AUX
1–4
mode:
switches
Send
3
Position
(pre/post).
•
AUX
5–8
mode:
switches
Send
7
Position
(pre/post).
REC Switches
bypass
state
of
EQ
band
4.
EQ
LOW–AUX
4/8 •
EQ/PAN
mode:
selects
EQ
band
3.
•
AUX
1–4
mode:
switches
Send
4
Mute
on/off.
•
AUX
5–8
mode:
switches
Send
8
Mute
on/off
SHIFT •
EQ/PAN
mode:
selects
EQ
band
1.
•
AUX
1–4
mode:
switches
Send
4
Position
(pre/post).
•
AUX
5–8
mode:
switches
Send
8
Position
(pre/post).
REC Switches
bypass
state
of
EQ
band
3.
EQ/PAN Chooses
EQ/PAN
mode.
SHIFT Enables/Disables
Flip
mode;
With
Flip
mode
enabled,
the
faders
control
Pan.
AUX
1–4 Chooses
AUX
1–4
mode.
AUX
5–8 Chooses
AUX
5–8
mode.
Mode Assignment
Control Assignment
READ While
held
down,
SEL
buttons
are
on
if
a
track
is
in
Read
automation
mode.
Pressing
the
SEL
button
sets
Read
mode.
Turning
the
encoder
also
edits
the
automation
mode.
WRITE While
held
down,
SEL
buttons
are
on
if
a
track
is
in
Write
automation
mode.
Pressing
the
SEL
button
sets
Write
mode.
Turning
the
encoder
also
edits
the
automation
mode.
TCH While
held
down,
SEL
buttons
are
on
if
a
track
is
in
Touch
automation
mode.
Pressing
the
SEL
button
sets
Touch
mode.
Turning
the
encoder
also
edits
the
automation
mode.
LATCH While
held
down,
SEL
buttons
are
on
if
a
track
is
in
Latch
automation
mode.
Pressing
the
SEL
button
sets
Latch
mode.
Turning
the
encoder
also
edits
the
automation
mode.
190 Chapter
15
Tascam
FW-1884
Mode
Controls
Section
(FW-1082
only)
Master
Section
F7 Switches
encoders
to
editing
of
pan/surround
parameters
on
selected
track:
angle,
radius,
LFE,
surround
mode,
X,
Y.
F8 Switches
encoders
to
EQ
editing
on
selected
track.
See
upper
line
on
SoftLCD
application
for
parameter
assignment.
Cursor
left/right
shifts
the
parameter
bank.
F9 Switches
encoders
to
plug-in
editing
on
selected
track.
Cursor
left/right
shifts
parameter
bank;
Cursor
up/down
chooses
insert
to
edit.
F10 Switches
encoders
to
instrument
editing
on
selected
track.
Cursor
left/right
shifts
parameter
bank.
Control Assignment
Control Assignment
F1 Saves
the
active
song;
The
button’s
LED
is
lit
if
the
song
has
been
edited.
SHIFT Opens
the
Save
As
dialog.
F2 Performs
Undo;
The
button’s
LED
is
lit
when
Redo
is
possible.
SHIFT Performs
Redo.
F3 Copies
the
current
selection
to
the
Clipboard.
SHIFT Cuts
the
current
selection
and
places
it
in
the
Clipboard.
F4 Pastes
the
Clipboard
contents.
SHIFT Clears
the
current
selection.
Control Assignment
Cursor
buttons Identical
to
computer
keyboard’s
Arrow
keys—except
when
encoders
are
in
EQ,
Plug-in
or
Instrument
Edit
modes
(see
above).
SHIFT Zoom
in
and
out
horizontally
or
vertically.
SHTL Enables
Shuttle
mode
for
wheel.
Wheel Shuttle
mode
off:
moves
SPL
by
bar.
Shuttle
mode
on:
shuttles
SPL.
Bank
LEDs Show
currently
selected
fader
bank.
If
you
only
have
an
FW-1884,
a
bank
refers
to
eight
tracks.
If
you
have
FE-8
extensions
added,
a
bank
means
the
entire
number
of
channel
strips:
16,
24,
and
so
on.
If
no
LED
is
lit,
a
bank
higher
than
4
is
selected.
<
BANK Shifts
fader
bank
down
by
one
bank.
SHIFT Shifts
fader
bank
down
by
one
track.
SET Switches
to
Track
view
(new
in
plug-in
version
1.20).
BANK
> Shifts
fader
bank
up
by
one
bank.
SHIFT Shifts
fader
bank
up
by
one
track.
SET Switches
to
Global
view
and
shows
Aux,
Bus,
and
Output
Objects
(new
in
plugin
version
1.20).
Chapter
15
Tascam
FW-1884 191
<<
LOCATE Goes
to
previous
marker.
SET Deletes
the
current
marker
(new
in
plug-in
version
1.20).
LOCATE
>> Goes
to
next
marker.
SET Creates
a
new
marker
at
the
SPL
(new
in
plug-in
version
1.20).
NUDGE
buttons Nudge
the
selected
event/Region
left
or
right
(by
the
current
nudge
value).
SET Chooses
the
current
nudge
value:
tick,
format,
denominator,
bar,
frame,
1/2
frame.
SET Modifier
for
other
buttons.
IN Goes
to
left
locator.
SET Sets
left
locator
to
SPL.
SHIFT Sets
Drop
In
locator
to
SPL.
OUT Goes
to
right
locator.
SET Sets
right
locator
to
current
SPL.
SHIFT Sets
Drop
Out
locator
to
SPL.
REW Shuttle
Rewind
key
command.
FFWD Shuttle
Forward
key
command.
STOP Stops
playback.
PLAY Starts
playback.
REC Record
key
command.
Control Assignment
16
193
16 Tascam
US-2400
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 Make
sure
that
your
US-2400
unit(s)
are
connected
to
the
computer
via
USB.
 Ensure
that
the
US-2400
is
in
native
mode.
Please
consult
your
US-2400
manual
for
more
information
on
this.
 Launch
Logic
Pro
7.
Your
control
surface(s)
will
be
scanned
for,
and
installed,
automatically.
Special
Note
The
US-2400
is
capable
of
running
in
both
“native”
and
Logic
Control
emulation
modes.
If
the
unit
is
set
up
in
Logic
Control
emulation
mode,
and
the
native
support
plug-in
is
installed
in
the
Logic
Pro
7
program
bundle,
Logic
will
detect
both
a
US-2400
native
control
surface
and
a
Logic
Control
plus
two
Extender
(XT)
units.
If
you
wish
to
run
the
US-2400
in
Logic
Control
mode,
you
may
find
it
most
convenient
to
remove
the
US-2400
plug-in
from
the
Logic
Pro
7
application
bundle.
Logic
will
then
detect
a
Logic
Control
plus
two
Extender
(XT)
units
(the
appropriate
setup
for
the
US-
2400
in
Logic
Control
emulation
mode),
when
you
scan
your
control
surfaces.
The
Logic/Mackie
Control
differs
in
button
layout
to
the
Tascam
US-2400.
When
running
the
Tascam
US-2400
in
Logic
Control
mode,
certain
controllers
are
not
accessible
(the
Joystick,
as
an
example).
Given
these
restrictions,
it’s
not
recommended
that
the
Tascam
US-2400
is
used
in
Logic
Control
mode
with
Logic.
If
you
choose
to
do
so,
please
refer
to
the
documentation
supplied
with
the
Tascam
US-2400
for
details.
194 Chapter
16
Tascam
US-2400
Assignment
Overview
A
right-aligned
modifier
button
(such
as
SHIFT)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
Channel
Strips
Encoder
Details
In
CHAN
mode
(CHAN
button
on),
the
encoders
control
these
parameters
on
the
selected
track:
Control Assignment
Encoder(s) CHAN
button
on:
see
“Encoder
Details”
on
page
194.
CHAN
button
flashing:
Encoders
control
Instrument
parameters,
also
see
“Instrument
Edit
View”
on
page
197.
PAN
button
flashing:
Encoders
control
plug-in
parameters,
also
see
“Plug-in
Edit
View”
on
page
197.
Other
modes:
Encoders
control
the
mode’s
parameters.
F-KEY Â If
you
are
in
Instrument
Edit
view
(CHAN
button
flashing),
pressing
the
F-Key
enters
the
Instrument
Assignment
view:
The
encoders
then
choose
an
instrument.
 If
you
are
in
Plug-in
Edit
view
(PAN
button
flashing),
pressing
the
F-Key
enters
the
Plug-in
Assignment
view:
the
encoders
then
choose
a
plug-in.
 If
you
are
in
Send
views
(AUX
button
LED
flashes)
and
press
the
F-Key,
the
encoders
assign
the
send’s
destination.
SEL
buttons Select
tracks.
SHIFT In
Pan
view:
sets
volume
to
Unity
(0
dB)
In
Send
views:
switches
Send
mode
pre/post
F-KEY Activates/Deactivates
Record
Enable
buttons.
SOLO
button(s) Enables/Disables
Solo.
MUTE
button(s) Enables/Disables
Mute.
In
Send
views
with
Flip
mode
enabled:
activates/deactivates
Send
mute.
SHIFT In
Send
views:
activates/deactivates
Send
mute.
Faders Control
volume.
Control Assignment
Encoder
1
(AUX
1) Controls
Send
1
level.
Encoder
2
(AUX
2) Controls
Send
2
level.
Encoder
3
(AUX
3) Controls
Send
3
level.
Encoder
4
(AUX
4) Controls
Send
4
level.
Encoder
5
(AUX
5) Controls
Send
5
level.
Encoder
6
(AUX
6) Controls
Send
6
level.
Encoder
7 Controls
Send
7
level.
Encoder
8 Controls
Send
8
level.
Chapter
16
Tascam
US-2400 195
In
CHAN
mode,
with
the
SHIFT
button
held,
the
encoders
control
the
following
parameters
on
the
selected
track:
Encoder
11
(GAIN
1) Controls
the
Gain
parameter
of
band
3,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
12
(FREQ
1) Controls
the
Frequency
parameter
of
band
3,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
13
(Q
1) Controls
the
Q
factor
of
band
3,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
14
(GAIN
2) Controls
the
Gain
parameter
of
band
4,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
15
(FREQ
2) Controls
the
Frequency
parameter
of
band
4,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
16
(Q
2) Controls
the
Q
factor
of
band
4,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
17
(GAIN
3) Controls
the
Gain
parameter
of
band
5,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
18
(FREQ
3) Controls
the
Frequency
parameter
of
band
5,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
19
(Q
3) Controls
the
Q
factor
of
band
5,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
20
(GAIN
4) Controls
the
Gain
parameter
of
band
6,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
21
(FREQ
4) Controls
the
Frequency
parameter
of
band
5,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
22
(Q
4) Controls
the
Q
factor
of
band
5,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
24
(PAN) Controls
Panning.
Control Assignment
Control Assignment
Encoder
1
(AUX
1) Controls
Pan/Surround
Angle
Encoder
2
(AUX
2) Controls
Surround
Radius.
Encoder
3
(AUX
3) Controls
Surround
LFE.
Encoder
4
(AUX
4) Controls
Surround
mode.
Encoder
5
(AUX
5) Controls
Surround
X.
Encoder
6
(AUX
6) Controls
Surround
Y.
Encoder
11
(GAIN
1) Controls
the
Slope
parameter
of
band
1,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
12
(FREQ
1) Controls
the
Frequency
parameter
of
band
1,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
13
(Q
1) Controls
the
Q
factor
of
band
1,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
14
(GAIN
2) Controls
the
Gain
parameter
of
band
2,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
15
(FREQ
2) Controls
the
Frequency
parameter
of
band
2,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
196 Chapter
16
Tascam
US-2400
Master
Channel
Encoder
Assignment
Section
This
is
the
standard
assignment
of
these
buttons:
Encoder
16
(Q
2) Controls
the
Q
factor
of
band
2,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
17
(GAIN
3) Controls
the
Gain
parameter
of
band
7,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
18
(FREQ
3) Controls
the
Frequency
parameter
of
band
7,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
19
(Q
3) Controls
the
Q
factor
of
band
7,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
20
(GAIN
4) Controls
the
Slope
parameter
of
band
8,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
21
(FREQ
4) Controls
the
Q
factor
of
band
8,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
22
(Q
4) Controls
the
Q
factor
of
band
8,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
24
(PAN) Controls
Panning.
Control Assignment
Control Assignment
SEL Selects
Master
Output
track
(if
Master
Output
Object
exists).
CLR
SOLO Disables
Solo
for
all
tracks.
SHIFT Disables
Mute
for
all
tracks.
F-KEY Disables
Record
Enable
button
for
all
tracks.
FLIP Switches
Flip
mode
between
Off
(LED
off )
and
Duplicate
(LED
on).
SHIFT Sets
Flip
mode
to
Swap
(LED
flashing).
F-KEY Sets
Flip
mode
to
Zero—fader
motors
are
disabled
(LED
flashing).
Control Assignment
CHAN Switches
encoders
to
Channel
Strip
view
(see
encoders’
legend)—CHAN
button
LED
is
lit.
F-KEY Switches
encoders
to
Instrument
Edit
view—CHAN
button
LED
flashes.
See
“Instrument
Edit
View”
on
page
197
for
details.
PAN Switches
encoders
to
Multi
Channel
view
of
panning—PAN
button
LED
is
lit.
F-KEY Switches
encoders
to
Plug-in
Edit
view—PAN
button
LED
flashes.
See
“Plug-in
Edit
View”
on
page
197
for
details.
AUX
1 Switches
encoders
to
Multi
Channel
view
of
Send
1
level.
F-KEY Switches display of Arrange window:
 If
Arrange
window
is
open,
it
will
be
closed.
 If
Arrange
window
is
closed,
it
will
be
opened.
AUX
2 Switches
encoders
to
Multi
Channel
view
of
Send
2
level.
Chapter
16
Tascam
US-2400 197
Instrument
Edit
View
In
Instrument
Edit
view,
the
following
AUX
buttons
have
special
assignments:
The
AUX
button
LEDs
show
the
currently
selected
parameter
bank.
AUX
2
LED
is
on
if
parameters
25–48
are
shown
on
the
encoders.
Plug-in
Edit
View
In
Plug-in
Edit
view,
the
following
AUX
buttons
have
special
assignments:
The
AUX
button
LEDs
show
the
currently
selected
Insert
slot.
As
an
example:
AUX
2
LED
is
on
if
Insert
slot
2
is
being
edited.
F-KEY Switches display of Event List:
 If
Event
List
is
open,
it
will
be
closed.
 If
Event
List
is
closed,
it
will
be
opened.
AUX
3 Switches
encoders
to
Multi
Channel
view
of
Send
3
level.
F-KEY Switches display of Score Editor:
 If
Score
Editor
is
open,
it
will
be
closed.
 If
Score
Editor
is
closed,
it
will
be
opened.
AUX
4 Switches
encoders
to
Multi
Channel
view
of
Send
4
level.
F-KEY Switches display of Audio window:
 If
Audio
window
is
open,
it
will
be
closed.
 If
Audio
window
is
closed,
it
will
be
opened.
AUX
5 Switches
encoders
to
Multi
Channel
view
of
Send
5
level.
F-KEY Switches display of Hyper Editor:
 If
Hyper
Editor
is
open,
it
will
be
closed.
 If
Hyper
Editor
is
closed,
it
will
be
opened.
AUX
6 Switches
encoders
to
Multi
Channel
view
of
Send
6
level.
F-KEY Switches display of Matrix Editor:
 If
Matrix
Editor
is
open,
it
will
be
closed.
 If
Matrix
Editor
is
closed,
it
will
be
opened.
Control Assignment
Control Assignment
AUX
1 Scrolls
parameter
fader
bank
left
by
24
parameters.
AUX
2 Scrolls
parameter
fader
bank
right
by
24
parameters.
AUX
4 Enables/Disables
Bypass
button
of
the
currently
edited
Instrument.
Control Assignment
AUX
1 Scrolls
parameter
fader
bank
left
by
24
parameters.
AUX
2 Scrolls
parameter
fader
bank
right
by
24
parameters.
AUX
3 Increments
Insert
slot.
AUX
4 Enables/Disables
Bypass
button
of
the
currently
edited
plug-in.
AUX
6 Decrements
Insert
slot.
198 Chapter
16
Tascam
US-2400
Master
Section
Control Assignment
MTR Switches
encoder
LED
rings
between
value
controlled
by
encoder
(LED
off ),
and
level
and
peak
hold
meters
(LED
on).
In
Level
Meter
mode,
the
LED
below
the
encoder
displays
signal
overloads
(clipping).
F-KEY Modifier
key,
used
to
switch
the
function
of
other
controls
(see
right-aligned
“FKEY”
in
left
column).
NULL Sets
Surround
x/y
or
Panning
of
selected
track
to
center
position—LED
is
on
if
Surround
X
(or
Panning)
is
centered.
F-KEY Resets
overload
for
level
meters.
Jog
Wheel SCRUB
off:
moves
SPL
by
bars.
SCRUB
on:
audio
scrubbing.
SCRUB
flashing:
Shuttle
mode.
Joystick Edits
Surround
x/y
or
Panning
of
selected
track.
SCRUB Switches
Jog
Wheel
between
“Move
SPL
by
Bars”
(LED
off )
and
audio
scrubbing
(LED
on).
F-KEY Sets
Jog
Wheel
to
Shuttle
mode
(LED
flashes).
BANK
– Shifts
fader
bank
left
by
one
bank—LED
is
lit
if
the
left-most
fader
bank
has
not
been
reached.
F-KEY Shifts
fader
bank
left
by
one
track.
BANK
+ Shifts
fader
bank
right
by
one
bank—LED
is
lit
if
the
right-most
fader
bank
has
not
been
reached.
F-KEY Shifts
fader
bank
right
by
one
track.
IN
Sets
Drop
In
locator
to
Song
Position
Line.
SHIFT Navigates
to
left
Cycle
locator.
F-KEY Sets
left
Cycle
locator
to
Song
Position
Line.
OUT Sets
Drop
Out
locator
to
Song
Position
Line.
SHIFT Navigates
to
right
Cycle
locator.
F-KEY Sets
right
Cycle
locator
to
Song
Position
Line.
SHIFT Modifier
key,
used
to
switch
the
function
of
other
controls
(see
right-aligned
“SHIFT”
in
left
column).
REW Shuttles
backward.
SHIFT Identical
to
Left
Arrow
key
on
computer
keyboard.
F
FWD Shuttles
forward.
SHIFT Identical
to
Right
Arrow
key
on
computer
keyboard.
STOP Stops
playback.
SHIFT Identical
to
Down
Arrow
key
on
computer
keyboard.
PLAY Starts
playback.
SHIFT Identical
to
Up
Arrow
key
on
computer
keyboard.
RECORD Enables/Disables
Record.
17
199
17 Tascam
US-428
and
US-224
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 Ensure
that
your
US-428/224
unit(s)
are
connected
to
the
computer
via
USB.
 Launch
Logic,
and
the
unit(s)
will
be
scanned
for,
and
installed,
automatically.
Assignment
Overview
A
right-aligned
modifier
button
(such
as
NULL)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
Note:
The
US-224
has
only
four
channel
strips,
and
the
EQ
section,
as
well
as
the
Master
section
(except
the
NULL
button
and
data
wheel)
are
not
available.
Channel
Strips
Control Assignment
MUTE
1
to
8 SOLO
LED
off:
Switches
Mute
on/off;
LED
displays
Mute
status.
SOLO
LED
on:
Switches
Solo
on/off;
LED
displays
Solo
status.
REC
1
to
8
LEDs Displays
Record
Ready
status.
NULL On
if
fader
is
higher
than
actual
volume.
SELECT
1
to
8
LEDs Displays
select
status.
NULL On
if
fader
is
lower
than
actual
volume.
SELECT
1
to
8
buttons Selects
track.
REC Enables/Disables
Record
Ready
status.
Fader
1
to
8 Controls
Volume.
NULL Allows
you
to
update
the
fader
position
to
match
the
actual
volume.
Master
fader Controls
master
volume
(Outputs
1
and
2
if
no
Master
Fader
Object
is
available
in
the
Environment).
200 Chapter
17
Tascam
US-428
and
US-224
EQ
Section
Master
Section
Controls
Control Assignment
Gain Controls
gain
of
currently
selected
EQ
of
chosen
track.
Freq Controls
frequency
of
currently
selected
EQ
of
chosen
track.
Q Controls
Q
factor
of
currently
selected
EQ
of
chosen
track.
HIGH Selects
EQ
band
3
for
Gain,
Freq,
and
Q
controls.
ASGN Switches
EQ
band
3
bypass
state.
HI-MID Selects
EQ
band
4
for
Gain,
Freq,
and
Q
controls.
ASGN Switches
EQ
band
4
bypass
state.
LO-MID Selects
EQ
band
5
for
Gain,
Freq,
and
Q
controls.
ASGN Switches
EQ
band
5
bypass
state.
LOW Selects
EQ
band
6
for
Gain,
Freq,
and
Q
controls.
ASGN Switches
EQ
band
6
bypass
state.
Control Assignment
AUX
1 Switches
data
wheel
between
Transport/Scrub
mode
and
Send
Level
1.
ASGN Switches
Send
1
Mute
state.
AUX
2 Switches
data
wheel
between
Transport/Scrub
mode
and
Send
Level
2.
ASGN Switches
Send
2
Mute
state.
AUX
3 Switches
data
wheel
between
Transport/Scrub
mode
and
Send
Level
3.
ASGN Switches
Send
3
Mute
state.
AUX
4 Switches
data
wheel
between
Transport/Scrub
mode
and
Send
Level
4.
ASGN Switches
Send
4
Mute
state.
ASGN Modifier
for
function
of
EQ
controls,
AUX
1
to
4
buttons,
PAN
knob
and
data
wheel.
F1 Enables/Disables
Cycle
mode.
F2 Enables/Disables
Drop
mode.
F3 Enables/Disables
Scrub
mode.
PAN Controls
panning
of
selected
track.
ASGN Selects
current
track’s
input.
NULL Modifier
for
NULL
mode.
NULL
mode
allows
you
to
update
the
fader
positions
to
match
the
actual
volume.
Chapter
17
Tascam
US-428
and
US-224 201
LOCATE
Section
BANK
Section
Transport
Section
Data
wheel AUX
1
LED
on:
Controls
Send
1
Level
of
selected
track.
AUX
2
LED
on:
Controls
Send
2
Level
of
selected
track.
AUX
3
LED
on:
Controls
Send
3
Level
of
selected
track.
AUX
4
LED
on:
Controls
Send
4
Level
of
selected
track.
F3
LED
on:
Data
wheel
is
in
Scrub
mode.
None
of
the
above
is
lit:
Data
wheel
is
in
Transport
mode
and
moves
the
SPL
by
bars.
ASGN Selects
current
track’s
output.
Control Assignment
Control Assignment
<<
LOCATE
Goes
to
previous
marker.
LOCATE
>> Goes
to
next
marker.
SET Creates
a
new
marker
at
the
current
SPL.
Control Assignment
<
BANK Shifts
fader
bank
left
by
one
bank.
The
LED
is
lit
if
the
left-most
fader
bank
has
not
been
reached.
BANK
> Shifts
fader
bank
right
by
one
bank.
The
LED
is
lit
if
the
right-most
fader
bank
has
not
been
reached.
Control Assignment
REW Shuttles
backward.
F
FWD Shuttles
forward.
STOP Stops
playback.
PLAY Starts
playback.
RECORD Record
18
203
18 Yamaha
01V96
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 Make
sure
that
your
01V96
unit(s)
are
connected
to
the
computer
via
USB.
 Make
sure
that
the
MIDI
driver
shipped
with
the
unit
is
installed.
Basically,
you
set
up
the
01V96
as
if
you
are
using
it
with
Pro
Tools.
See
the
01V96
user
manual.
Here
are
the
necessary
steps:
1 Press
DISPLAY
ACCESS
[SETUP]
repeatedly
until
the
Setup/MIDI/Host
page
is
visible.
2 Move
the
cursor
to
the
port
parameters:
select
DAW,
then
select
USB
and
1-2.
3 Press
DISPLAY
ACCESS
[REMOTE].
4 Choose
General
DAW
as
the
TARGET
parameter.
5 Press
LAYER
[REMOTE].
The
unit
is
installed
automatically
when
Logic
Pro
is
launched.
You
should
see
two
01V96
(USB
1–2)
icons
in
the
setup
window,
aligned
horizontally.
204 Chapter
18
Yamaha
01V96
Assignment
Overview
A
right-aligned
modifier
button
(such
as
SHIFT)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
DISPLAY
ACCESS
Section
FADER
MODE
Section
Control Assignment
DISPLAY Hides/shows
the
Sample
Editor.
AUTOMIX While
held,
the
Channel
Strip
displays
show
the
automation
mode
of
the
selected
tracks.
PAIR/GROUP Enters Group Edit mode:
 The
upper
line
in
the
DSP
edit
section
displays
the
currently
edited
group
number
and
name.
 Parameter
control
push-switch
buttons
1
to
4
switch
the
properties
of
the
currently
edited
group.
Group
name
is
shown
in
the
lower
line.
 When
INSERT/PARAM
is
off,
DSP
Edit
Scroll
encoder
scrolls
through
the
group
properties.
At
other
times,
it
selects
the
group
currently
being
edited.
 The
SELECT
buttons
switch
group
membership
of
the
track.
DAW
SHIFT/ADD Switches
to
Track
View.
EFFECT Hides/shows
the
Sample
Editor.
Control Assignment
AUX
1 Assigns
Send
1
Level
to
encoders,
and
Send
1
to
4
Levels
to
DSP
encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
1
Destination
assignment.
DAW
SHIFT/ADD As
above,
for
Send
6.
AUX
2 Assigns
Send
2
Level
to
encoders,
and
Send
1
to
4
Levels
to
DSP
encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
2
Destination
assignment.
DAW
SHIFT/ADD As
above,
for
Send
7.
AUX
3 Assigns
Send
3
Level
to
encoders,
and
Send
1
to
4
Levels
to
DSP
encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
3
Destination
assignment.
DAW
SHIFT/ADD As
above,
for
Send
8.
AUX
4 Assigns
Send
4
Level
to
encoders,
and
Send
1
to
4
Levels
to
DSP
encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
4
Destination
assignment.
AUX
5 Assigns
Send
5
Level
to
encoders,
and
Send
5
to
8
Levels
to
DSP
encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
5
Destination
assignment.
AUX
6 Switches
Encoder
Push-Switch
buttons
between
normal
behavior
and
setting
default
value.
Chapter
18
Yamaha
01V96 205
LCD
Function
LCD
The
LCD
displays
different
data,
depending
on
the
page
selected
with
the
F2,
F3,
and
F4
buttons:
Insert
Display
Mode
Press
the
[F2]
button
to
select
Insert
Display
mode.
In
this
mode,
the
LCD
displays
parameter
details
and
you
can
edit
and
select
plug-ins.
AUX
7 Assigns
Pan
to
encoders;
assigns
selected
track’s
pan/surround
parameters
to
DSP
encoders.
AUX
8 Determines mode of channel strip SEL buttons when channel strip AUTO button
is off:
 Indicator
off:
Track
selection.
 Indicator
on:
Insert
selection.
HOME Enables/Disables
Flip
mode.
Control Assignment
Control Assignment
Left/Right
buttons Plug-in
Edit
mode:
Shifts
parameter
display
by
the
number
of
parameters
shown
in
the
control
surface
group
(usually
four).
DAW
ALT/FINE Plug-in
Edit
mode:
Shifts
parameter
display
by
one.
F1 Clears
Overload
LEDs.
DAW
SHIFT/ADD Switches
to
Global
View
and
enables
MIDI
tracks.
DAW
ALT/FINE Opens/Closes
Arrange
window.
Display Assignment
TIME
CODE
option Active
if
counter
is
displaying
time
code.
FEET Not
assigned.
BEATS
option Active
if
counter
is
displaying
bars/beats/format/ticks.
Time
display Displays
time
code
or
bars/beats/format/ticks.
SELECT
ASSIGN Displays
the
encoder
assignment
as
follows:
Pan,
Snd1
to
Snd8,
S1As
to
S8As,
In,
Out.
ASSIGN —
COMPARE Switches
DSP
display
between
“track
name/parameter
name”
and
“parameter
name/parameter
value”
modes.
BYPASS Switches
bypass
status
of
plug-in
insert
currently
being
edited.
INSERT/PARAM Switches
between
Plug-in
Assign
and
Plug-in
Edit
modes.
206 Chapter
18
Yamaha
01V96
LCD
Channel
Page
Selected
Channel
Section
Parameter
control
1
to
4
push-switch
Assignment Pan:
 Parameter
control
1
push-switch
centers
Pan
or
Surround
Angle.
 Parameter
control
2
push-switch
centers
Surround
Diversity.
 Parameter
control
3
push-switch
centers
Surround
LFE.
 Parameter
control
4
push-switch
sets
Surround
Mode
to
center.
Assignment Send:
 Enables/Disables
Sends
1
to
4
or
Mutes
5
to
8.
Plug-in Assign:
 Confirms
insert
1
to
4
or
5
to
8
plug-in
selection,
selects
this
insert
slot
and
enters
Plug-in
Edit
mode.
Plug-In Edit mode:
 Sets
value
to
default,
or
bi-polar
switch
to
on/off.
Parameter
controls Assignment Pan:
 Parameter
control
1
controls
Pan
or
Surround
Angle.
 Parameter
control
2
controls
Surround
Diversity.
 Parameter
control
3
controls
Surround
LFE.
 Parameter
control
4
controls
Surround
Mode.
Assignment Send:
 Control
Send
1
to
4
or
5
to
8
Level.
Plug-in Assign:
 Assigns
insert
1
to
4
or
5
to
8.
Plug-in Edit mode:
 Sets
value
to
default.
Display Assignment
Control Assignment
Encoder Adjusts
parameter
selected
in
the
FADER
MODE
section.
Encoder
Switch Pan
selected:
Sets
Pan
to
center
if
MATRIX
1
is
on.
Send
1
to
8
selected:
Edits
Send
Pre/Post,
enables/disables
Send
Mute
or
sets
Send
Level
to
default
value.
Assignment
Send,
Input,
or
Output:
Confirms
selection.
Control Assignment
Pan
controls Adjusts
parameter
selected
in
the
FADER
MODE
section.
SEL Switches
channel
strip
SEL
buttons
between
track
and
insert
selection.
Chapter
18
Yamaha
01V96 207
Data
Entry
Section
Channel
Strips
Stereo
Channel
Strip
Control Assignment
Parameter
Wheel Default:
Move
SPL
by
one
bar.
Scrub:
Scrubbing.
Shuttle:
Shuttle
mode.
–
(DEC) Default:
Exits
Folder.
Goto
Marker:
Cancels
dialog.
DAW
ALT/FINE Opens/Closes
Audio
window.
+
(INC) Enters
folder
of
selected
track.
Control Assignment
Level
Meters Display
momentary
and
peak
level.
SEL
If AUTO off:
 FADER
MODE
[AUX
8]
off:
Selects
track.
 FADER
MODE
[AUX
8]
on:
Selects
track
for
insert
assignment.
If AUTO on:
 Cycles
through
automation
modes.
With
an
automation
mode
button
held
down,
sets
this
automation
mode.
DAW
SHIFT/ADD Sets
volume
to
unity
level.
MATRIX
SELECT
1 Sets
volume
to
unity
level.
SOLO Enables/Disables
Solo.
DAW
OPTION/ALL Disables
Solo
for
all
tracks.
ON Enables/Disables
Mute.
DAW
OPTION/ALL Unmutes
all
tracks.
Fader Adjusts
volume,
or
duplicates
encoder
in
Flip
mode.
Control Assignment
SEL Switches
channel
strips’
SEL
buttons
between
track
and
insert
selection.
208 Chapter
18
Yamaha
01V96
User
Defined
Keys
Section
These
keys
can
be
assigned
to
the
following
functions:
Control Assignment
DAW
WIN
STATUS Opens/Closes
the
Audio
window.
DAW
REC/RDY
1
to
16 Enables/Disables
Record
Ready.
DAW
WIN
TRANSPORT Opens/Closes
the
Transport
window.
DAW
BANK– Shifts
channel
strips
by
one
bank
to
the
left.
DAW
BANK+ Shifts
channel
strips
by
one
bank
to
the
right.
DAW
SHIFT/ADD Shifts
to
second
meaning
of
some
buttons.
See
descriptions
of
other
buttons.
DAW
OPTION/ALL While
held
down,
value
change
mode
is
set
to
“relative”:
relative
value
changes
result
in
a
minimum,
default,
or
maximum
value
for
the
edited
parameter.
Also
see
description
of
other
buttons.
DAW
GROUP
STATUS Enters Group Edit mode:
 The
upper
line
in
the
DSP
edit
section
displays
the
currently
edited
group
number
and
name.
 Parameter
control
push-switch
buttons
1
to
4
switch
between
properties
of
the
currently
edited
group.
Group
name
is
shown
in
the
lower
line.
 When
INSERT/PARAM
is
off,
DSP
Edit
Scroll
Encoder
scrolls
through
the
group
properties.
At
other
times,
it
selects
the
group
currently
being
edited.
 The
SELECT
buttons
enable/disable
group
membership
of
the
track.
DAW
SHIFT/ADD Switches
to
Track
View.
DAW
SUSPEND Enables/Disables
the
Group
Clutch.
DAW
SHIFT/ADD Switches
to
Extended
Track
View.
DAW
CREATE
GROUP Creates
a
new
group
and
enters
Group
Edit
mode
(see
above).
DAW
SHIFT/ADD Switches
to
Global
View.
DAW
WIN
MIX/EDIT Switches
between
the
Arrange
and
Track
Mixer
windows.
DAW
CHANNEL
– Shifts
channel
strips
by
one
channel
to
the
left.
DAW
CHANNEL+ Shifts
channel
strips
by
one
channel
to
the
right.
DAW
CTRL/CLUTCH While
held
down,
the
Group
Clutch
is
engaged
(all
groups
are
disabled).
DAW
ALT/FINE While
held
down,
value
change
mode
is
set
to
“fine”:
relative
value
changes
work
at
maximum
resolution.
Also
see
description
of
other
buttons.
DAW
MONI
STATUS —
DAW
UNDO Performs
Undo.
DAW
SHIFT/ADD Performs
Redo.
DAW
OPTION/ALL Opens
Undo
History
window.
DAW
SAVE Saves
the
song.
DAW
WIN
MEM-LOC Opens/Closes
the
Marker
List.
Chapter
18
Yamaha
01V96 209
DAW
OPTION/ALL Performs
Save
As
and
allows
saving
the
song
under
a
different
name.
DAW
EDIT
TOOL Selects
the
next
tool.
While
held,
numerical
buttons
select
a
specific
tool.
DAW
WIN
INSERT Opens/Closes
the
Sample
Editor.
DAW
REC/RDY
ALL Disable
Record
Ready
on
all
tracks.
DAW
SCRUB Enables/Disables
Scrub
mode.
DAW
SHUTTLE Enables/Disables
Shuttle
mode.
DAW
REW Shuttles
backward.
DAW
FF Shuttles
forward.
DAW
STOP Stop
DAW
PLAY Play
DAW
SHIFT/ADD Pause
DAW
REC Record
DAW
PRE Sets
left
locator.
DAW
IN Sets
Drop
In
locator.
DAW
OUT Sets
Drop
Out
locator.
DAW
POST Sets
right
locator.
DAW
RTZ Goes
to
the
left
locator.
DAW
END Goes
to
the
right
locator.
DAW
ONLINE Enables/Disables
internal/external
sync.
DAW
QUICK
PUNCH Enables/Disables
Drop
mode.
DAW
AUTO
FADER Enables/Disables
Volume
automation
playback
and
recording.
DAW
AUTO
PAN Enables/Disables
Pan
automation
playback
and
recording.
DAW
AUTO
PLUGIN Enables/Disables
Plug-in
parameter
automation
playback
and
recording.
DAW
AUTO
MUTE Enables/Disables
Mute
automation
playback
and
recording.
DAW
AUTO
SEND Enables/Disables
Send
Level
automation
playback
and
recording.
DAW
AUTO
SEND
MUTE —
DAW
AUTO
WRITE Sets
selected
track
to
Write
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
Write.
DAW
OPTION/ALL Sets
all
tracks
to
Write
automation
mode.
DAW
AUTO
TOUCH Sets
selected
track
to
Touch
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
Touch.
DAW
OPTION/ALL Sets
all
tracks
to
Touch
automation
mode.
DAW
AUTO
LATCH Sets
selected
track
to
Latch
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
Latch.
DAW
OPTION/ALL Sets
all
tracks
to
Latch
automation
mode.
DAW
AUTO
READ Sets
selected
track
to
Read
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
Read.
Control Assignment
210 Chapter
18
Yamaha
01V96
DAW
OPTION/ALL Sets
all
tracks
to
Read
automation
mode.
DAW
AUTO
TRIM —
DAW
AUTO
OFF Sets
selected
track
to
Off
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
Off.
DAW
OPTION/ALL Sets
all
tracks
to
Off
automation
mode.
DAW
AUTO
STATUS While
held
down,
the
Channel
Strip
displays
show
the
automation
mode
of
the
selected
track.
Control Assignment
19
211
19 Yamaha
02R96
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 Make
sure
that
your
02R96
unit(s)
are
connected
to
the
computer
via
USB.
 Make
sure
that
the
MIDI
driver
shipped
with
the
unit
is
installed.
On
the
02R96
Front
Panel:
Basically,
you
set
up
the
02R96
as
if
you
are
using
it
with
Pro
Tools.
See
the
02R96
user
manual.
Here
are
the
necessary
steps:
 Press
DISPLAY
ACCESS
[SETUP]
repeatedly
until
the
Setup
/
MIDI/Host
page
is
visible.
Now
move
the
cursor
to
the
port
parameters:
select
DAW,
then
select
USB
and
1-3.
 Press
DISPLAY
ACCESS
[REMOTE].
Choose
General
DAW
as
the
TARGET
parameter.
 Press
LAYER
[REMOTE].
In
Logic:
The
unit
is
installed
automatically
when
Logic
Pro
is
launched.
You
should
see
three
02R96
(USB
1-3)
icons
in
the
setup
window,
aligned
horizontally.
212 Chapter
19
Yamaha
02R96
Assignment
Overview
A
right-aligned
modifier
button
(such
as
SHIFT)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
DISPLAY
ACCESS
Section
AUX
SELECT
Section
ENCODER
MODE
Section
FADER
MODE
Section
Control Assignment
METER Clears
Overload
LEDs.
Control Assignment
AUX
1 Assigns
Send
1
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
1
destination
assignment.
AUX
2 Assigns
Send
2
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
2
destination
assignment.
AUX
3 Assigns
Send
3
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
3
destination
assignment.
AUX
4 Assigns
Send
4
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
4
destination
assignment.
AUX
5 Assigns
Send
5
Level
to
Encoders,
and
Send
5
to
8
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
5
destination
assignment.
Control Assignment
PAN Assigns
Pan
to
Encoders;
assigns
selected
track’s
pan/surround
parameters
to
DSP
Encoders.
AUX Assigns
Send
1
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
1
destination
assignment.
Control Assignment
FADER Enables/Disables
Flip
mode.
AUX/MTRX Enables/Disables
Flip
mode.
Chapter
19
Yamaha
02R96 213
EFFECTS/PLUG-INS
Section
Control Assignment
Display Opens/Closes
the
Sample
Editor
window.
PLUG-INS Switches
Encoder
Push-Switch
buttons
between
normal
behavior
and
setting
default
value.
CHANNEL
INSERTS
Determines mode of channel strip SEL buttons:
 Indicator
off:
track
selection.
 Indicator
on:
Insert
selection.
1 —
2 Switches
DSP
display
between
“track
name/parameter
name”
and
“parameter
name/
parameter
value”
modes.
3 Switches
bypass
status
of
currently
edited
plug-in
insert.
4 Switches
between
Plug-in
Assign
and
Plug-in
Edit
modes.
Parameter
Up
&
Parameter
Down
Plug-In
Edit:
shifts
parameter
display
by
the
number
of
parameters
shown
in
the
control
surface
group
(usually
four).
Parameter
control
1–4
push-switch
Assignment Pan:
 Parameter
control
1
push-switch
centers
Pan
or
Surround
Angle.
 Parameter
control
2
push-switch
centers
Surround
Diversity.
 Parameter
control
3
push-switch
centers
Surround
LFE.
 Parameter
control
4
push-switch
sets
Surround
Mode
to
center.
Assignment Send:
 Enables/Disables
Sends
1
to
4
or
Mutes
5
to
8.
Plug-In Assign:
 Confirm
insert
1
to
4
or
5
to
8
plug-in
selection,
selects
this
insert
slot
and
enters
Plug-In
Edit
mode.
Plug-In Edit mode:
 Sets
value
to
default,
or
sets
bi-polar
switch
to
on/off.
Parameter
controls
Assignment Pan:
 Parameter
control
1
controls
Pan
or
Surround
Angle.
 Parameter
control
2
controls
Surround
Diversity.
 Parameter
control
3
controls
Surround
LFE.
 Parameter
control
4
controls
Surround
Mode.
Assignment Send:
 Control
Send
1
to
4
or
5
to
8
Level.
Plug-In Assign:
 Assigns
insert
1
to
4
or
5
to
8.
Plug-In Edit mode:
 Sets
value
to
default.
214 Chapter
19
Yamaha
02R96
LCD
The
LCD
displays
different
data,
depending
on
the
page
selected
with
the
F2,
F3,
and
F4
buttons:
 INSERT
ASSIGN/EDIT
Display
Mode:
parameter
details,
plug-in
selection
or
plug-in
parameters.
Press
[F2]
to
select
this
mode.
 Channel
Display
Mode:
Encoder
values
and
Channel
Strip
display).
Press
[F3]
to
select
this
mode.
 level
meters.
Press
[F4]
to
select
this
mode.
USER
DEFINED
KEYS
Section
Display Assignment
TIME
CODE Active
if
counter
is
displaying
time
code.
FEET Not
assigned.
BEATS Active
if
counter
is
displaying
bars/beats/format/ticks.
Time
display Displays
time
code
or
bars/beats/format/ticks.
SELECT
ASSIGN Displays
the
Encoder
assignment
as
follows:
Pan,
Snd1
to
Snd8,
S1As
to
S8As,
In,
Out.
Control Assignment
DISPLAY While
held,
the
Channel
Strip
displays
show
the
automation
mode
of
the
selected
tracks.
1 Switches
between
the
Arrange
and
Track
Mixer
windows.
2 Enables/Disables
the
Group
Clutch.
3 Sets
selected
track
to
“Write”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Write.”
4 Sets
selected
track
to
“Touch”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Touch.”
5 Sets
selected
track
to
“Latch”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Latch.”
6 Sets
selected
track
to
“Read”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Read.”
7 —
8 Sets
selected
track
to
“Off”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Off.”
9 Shifts
channel
strips
by
one
bank
to
the
left.
10 Shifts
channel
strips
by
one
bank
to
the
right.
11 Enables/Disables
Volume
automation
playback
and
recording.
12 Enables/Disables
Mute
automation
playback
and
recording.
13 Enables/Disables
Pan
automation
playback
and
recording.
14 Enables/Disables
Send
Level
automation
playback
and
recording.
Chapter
19
Yamaha
02R96 215
Channel
Strips
MACHINE
CONTROL
Section
Data
Entry
Section
15 —
16 Enables/Disables
Plug-in
parameter
automation
playback
and
recording.
Control Assignment
Control Assignment
Encoder Adjusts
parameter
selected
in
the
AUX
SELECT
section.
Encoder
Push-
Switch
Pan
selected:
sets
Pan
to
center.
If
EFFECTS/PLUG-INS
[PLUG-INS]
on
Sends
1
to
8
selected:
edits
Send
Pre/Post,
switches
Send
Mute
status
or
sets
Send
Level
to
default
value.
Send
Assign,
Input,
or
Output:
confirms
selection.
AUTO Cycles
through
automation
modes.
With
an
automation
mode
button
held
down,
sets
this
automation
mode.
SEL
If
EFFECTS/PLUG-INS
[CHANNEL
INSERTS]
off:
selects
track.
If
EFFECTS/PLUG-INS
[CHANNEL
INSERTS]
on:
chooses
track
for
plug-in
selection/
insertion.
SOLO Enables/Disables
Solo.
ON Enables/Disables
Mute.
Fader Adjusts
volume,
or
duplicates
Encoder
in
Flip
mode.
Control Assignment
DISPLAY Opens/Closes
the
Marker
List
window.
1
to
8 Recalls
markers
1
to
8.
REW Shuttles
backward.
FF Shuttles
forward.
STOP Stop
PLAY Play
REC Record
Control Assignment
SCRUB Enables/Disables
Scrub
mode.
SHUTTLE Enables/Disables
Shuttle
mode.
Parameter
Wheel
Default:
move
SPL
by
one
bar.
Scrub:
scrubbing.
Shuttle:
Shuttle
mode.
ENTER Enters
folder
of
selected
track.
DEC Exits
Folder.
216 Chapter
19
Yamaha
02R96
INC Switches
between
Cursor
and
Zoom
modes.
Cursor
Up Cursor
mode:
equivalent
to
computer
keyboard
up
arrow
key.
Zoom
mode:
zooms
out
vertically.
Cursor
Down Cursor
mode:
equivalent
to
computer
keyboard
down
arrow
key.
Zoom
mode:
zooms
out
vertically.
Cursor
Left Cursor
mode:
equivalent
to
computer
keyboard
left
arrow
key.
Zoom
mode:
zooms
out
horizontally.
Cursor
Right Cursor
mode:
equivalent
to
computer
keyboard
right
arrow
key.
Zoom
mode:
zooms
in
horizontally.
Control Assignment
20
217
20 Yamaha
DM1000
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 Make
sure
that
your
DM1000
unit(s)
are
connected
to
the
computer
via
USB.
 Make
sure
that
the
MIDI
driver
shipped
with
the
unit
is
installed.
On
the
DM1000
Front
Panel:
Basically,
you
set
up
the
DM1000
as
if
you
are
using
it
with
Pro
Tools.
See
the
DM1000
user
manual,
section
17.
Here
are
the
necessary
steps:
 Press
DISPLAY
ACCESS
[SETUP]
repeatedly
until
the
Setup
/
MIDI/Host
page
is
visible.
Now
move
the
cursor
to
the
port
parameters:
select
DAW,
then
select
USB
and
1-2.
 Press
DISPLAY
ACCESS
[REMOTE],
then
[F1]
(below
the
LCD).
Choose
General
DAW
as
the
TARGET
parameter.
 Press
LAYER
[REMOTE
1].
In
Logic:
When
Logic
Pro
is
launched,
the
unit
is
installed
automatically.
You
should
see
two
DM1000
(USB
1-2)
icons
in
the
Setup
window,
aligned
horizontally.
218 Chapter
20
Yamaha
DM1000
Assignment
Overview
A
right-aligned
modifier
button
(such
as
SHIFT)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
DISPLAY
ACCESS
Section
AUX
SELECT
Section
Control Assignment
DISPLAY Opens/Closes
the
Sample
Editor
window.
AUTOMIX While
held,
the
Channel
Strip
displays
show
the
automation
mode
of
the
selected
track.
PAIR/GROUP Enters
Group
Edit
mode:
 The
upper
line
in
the
DSP
edit
section
displays
the
currently
edited
group
number
and
name.
 Parameter
control
push-switch
buttons
1
to
4
switch
between
properties
of
the
currently
edited
group
(name
shown
in
lower
line
of
LCD).
 When
INSERT/PARAM
is
off,
DSP
Edit
Scroll
Encoder
scrolls
through
the
group
properties.
Otherwise,
it
selects
the
currently
edited
group.
 The
SELECT
buttons
enable/disable
group
membership
of
the
track.
DAW
SHIFT/ADD Switches
to
Track
View.
METER Clears
Overload
LEDs.
DAW
SHIFT/ADD Switches
to
Global
View
and
enables
MIDI
Tracks.
DAW
ALT/FINE Opens/Closes
Arrange
window.
EFFECT Opens/Closes
the
Sample
Editor
window.
Control Assignment
AUX
1 Assigns
Send
1
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
1
destination
assignment.
DAW
SHIFT/ADD As
above,
for
Send
6.
AUX
2 Assigns
Send
2
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
2
destination
assignment.
DAW
SHIFT/ADD As
above,
for
Send
7.
AUX
3 Assigns
Send
3
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
3
destination
assignment.
DAW
SHIFT/ADD As
above,
for
Send
8.
AUX
4 Assigns
Send
4
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
4
destination
assignment.
AUX
5 Assigns
Send
5
Level
to
Encoders,
and
Send
5
to
8
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
5
destination
assignment.
Chapter
20
Yamaha
DM1000 219
ENCODER
MODE
Section
FADER
MODE
Section
LCD
Function
LCD
The
LCD
displays
different
data,
depending
on
the
page
selected
with
the
F2,
F3,
and
F4
buttons:
 INSERT
ASSIGN/EDIT
Display
Mode:
parameter
details,
plug-in
selection
or
plug-in
parameters.
Press
[F2]
to
select
this
mode.
AUX
6 Switches
Encoder
Push-Switch
buttons
between
normal
behavior
and
setting
default
value.
AUX
8 Determines
mode
of
channel
strip
SEL
buttons
when
channel
strip
AUTO
button
is
off:
 Indicator
off:
track
selection.
 Indicator
on:
Insert
selection.
Control Assignment
Control Assignment
PAN Assigns
Pan
to
Encoders;
assigns
selected
track’s
pan/surround
parameters
to
DSP
Encoders.
AUX Assigns
Send
1
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
1
destination
assignment.
Control Assignment
FADER
MODE Enables/Disables
Flip
mode.
Control Assignment
Left
&
Right Plug-In
Edit:
shifts
parameter
display
by
the
number
of
Parameter
controls
in
the
control
surface
group
(usually
four).
DAW
ALT/FINE Plug-In
Edit:
shifts
parameter
display
by
one
(parameter).
Display Assignment
LCD Displays
parameter
details,
plug-in
selection
or
plug-in
parameters.
TIME
CODE Active
if
counter
is
displaying
time
code.
FEET Not
assigned.
BEATS Active
if
counter
is
displaying
bars/beats/format/ticks.
Time
display Displays
time
code
or
bars/beats/format/ticks.
SELECT
ASSIGN Displays
the
Encoder
assignment
as
follows:
Pan,
Snd1
to
Snd8,
S1As
to
S8As,
In,
Out.
220 Chapter
20
Yamaha
DM1000
LCD
Insert
Page
Data
Entry
Section
Control Assignment
ASSIGN —
COMPARE Switches
DSP
display
between
“track
name/parameter
name”
and
“parameter
name/parameter
value”
modes.
BYPASS Activates/Deactivates
bypass
of
plug-in
insert
currently
being
edited.
INSERT/PARAM Switches
between
Plug-in
Assign
and
Plug-in
Edit
modes.
Parameter
control
1–4
push-switch
Assignment
Pan:
 Parameter
control
1
push-switch
centers
Pan
or
Surround
Angle.
 Parameter
control
2
push-switch
centers
Surround
Diversity.
 Parameter
control
3
push-switch
centers
Surround
LFE.
 Parameter
control
4
push-switch
sets
Surround
Mode
to
center.
Assignment
Send:
 Enables/Disables
Sends
1
to
4
or
Mutes
5
to
8.
Plug-In
Assign:
 Confirm
insert
1
to
4
or
5
to
8
plug-in
selection,
selects
this
insert
slot
and
enters
Plug-In
Edit
mode.
Plug-In
Edit
mode:
 Sets
value
to
default,
or
sets
bi-polar
switch
on/off.
Parameter
controls Assignment
Pan:
 Parameter
control
1
controls
Pan
or
Surround
Angle.
 Parameter
control
2
controls
Surround
Diversity.
 Parameter
control
3
controls
Surround
LFE.
 Parameter
control
4
controls
Surround
Mode.
Assignment
Send:
 Control
Send
1
to
4
or
5
to
8
Level.
Plug-In
Assign:
 Assigns
insert
1
to
4
or
5
to
8.
Plug-In
Edit
mode:
 Sets
value
to
default.
Control Assignment
Parameter
Wheel Default:
move
SPL
by
one
bar.
Scrub:
scrubbing.
Shuttle:
Shuttle
mode.
–
(DEC) Default:
leaves
Folder.
Goto
Marker:
cancels
dialog.
DAW
ALT/FINE Opens/Closes
Audio
window.
+
(INC) Enters
folder
of
selected
track.
Chapter
20
Yamaha
DM1000 221
Channel
Strips
Stereo
Channel
Strip
USER
DEFINED
KEYS
Section
These
keys
can
be
assigned
to
the
following
functions:
Control Assignment
Level
Meters Display
momentary
and
peak
level.
Encoder Adjusts
parameter
selected
in
the
AUX
SELECT
section.
Encoder
Push-Switch Pan
selected:
sets
Pan
to
center
if
MATRIX
1
on.
Send
1
to
8
selected:
edits
Send
Pre/Post,
activates/deactivates
Send
Mute
or
sets
Send
Level
to
default
value.
Send
Assign,
Input,
or
Output:
confirms
selection.
SEL
If
AUTO
off:
 AUX
[AUX
8]
off:
selects
track.
 AUX
[AUX
8]
on:
selects
track
for
insert
assignment.
If
AUTO
on:
 Cycles
through
automation
modes.
With
an
automation
mode
button
held
down,
sets
this
automation
mode.
DAW
SHIFT/ADD Sets
volume
to
unity
level.
MATRIX
SELECT
1 Sets
volume
to
unity
level.
SOLO Enables/Disables
Solo.
DAW
OPTION/ALL Disables
Solo
for
all
tracks.
ON Enables/Disables
Mute.
DAW
OPTION/ALL Unmutes
all
tracks.
Fader Adjusts
volume,
or
duplicates
Encoder
assignment
in
Flip
mode.
Control Assignment
AUTO Switches
channel
strips’
SEL
buttons
between
track
and
insert
selection.
Control Assignment
DAW
WIN
STATUS Opens/Closes
the
Audio
window.
DAW
REC/RDY
1
to
16 Enables/Disables
Record
Ready.
DAW
WIN
TRANSPORT Opens/Closes
the
Transport
window.
DAW
BANK- Shifts
channel
strips
by
one
bank
to
the
left.
DAW
BANK+ Shifts
channel
strips
by
one
bank
to
the
right.
DAW
SHIFT/ADD Shifts
to
second
meaning
of
some
buttons.
DAW
OPTION/ALL While
held
down,
value
change
mode
is
set
to
“relative”:
relative
value
changes
result
in
a
minimum,
default,
or
maximum
value
for
the
edited
parameter.
Also
see
description
of
other
buttons.
222 Chapter
20
Yamaha
DM1000
DAW
GROUP
STATUS Enters
Group
Edit
mode:
 The
upper
line
in
the
DSP
edit
section
displays
the
currently
edited
group
number
and
name.
 Parameter
control
push-switch
buttons
1
to
4
switch
between
properties
of
the
currently
edited
group.
Group
name
shown
in
lower
line
of
LCD.
 When
INSERT/PARAM
is
off,
DSP
Edit
Scroll
Encoder
scrolls
through
the
group
properties.
At
other
times,
it
selects
the
group
currently
being
edited.
 The
SELECT
buttons
enable/disable
group
membership
of
the
track.
DAW
SHIFT/ADD Switches
to
Track
View.
DAW
SUSPEND Enables/Disables
the
Group
Clutch.
DAW
SHIFT/ADD Switches
to
Extended
Track
View.
DAW
CREATE
GROUP Creates
a
new
group
and
enters
Group
Edit
mode
(see
above).
DAW
SHIFT/ADD Switches
to
Global
View.
DAW
WIN
MIX/EDIT Switches
between
the
Arrange
and
Track
Mixer
windows.
DAW
CHANNEL
- Shifts
channel
strips
by
one
channel
to
the
left.
DAW
CHANNEL+ Shifts
channel
strips
by
one
channel
to
the
right.
DAW
CTRL/CLUTCH While
held
down,
the
Group
Clutch
is
engaged
(all
groups
are
disabled).
DAW
ALT/FINE While
held
down,
value
change
mode
is
set
to
“fine”:
relative
value
changes
work
at
maximum
resolution.
Also
see
description
of
other
buttons.
DAW
MONI
STATUS —
DAW
UNDO Performs
undo.
DAW
SHIFT/ADD Performs
redo.
DAW
OPTION/ALL Opens
undo
history
window.
DAW
SAVE Saves
the
song.
DAW
WIN
MEM-LOC Opens/Closes
the
Marker
List
window.
DAW
OPTION/ALL Save
As…:
saves
the
song
under
a
different
name.
DAW
EDIT
TOOL Selects
the
next
tool.
While
held,
numerical
buttons
select
a
specific
tool.
DAW
WIN
INSERT Opens/Closes
the
Sample
Editor
window.
DAW
REC/RDY
ALL Disable
Record
Ready
on
all
tracks.
DAW
SCRUB Enables/Disables
Scrub
mode.
DAW
SHUTTLE Enables/Disables
Shuttle
mode.
DAW
REW Shuttles
backward.
DAW
FF Shuttles
forward.
DAW
STOP Stop
DAW
PLAY Play
DAW
SHIFT/ADD Pause
DAW
REC Record
DAW
PRE Sets
left
locator.
Control Assignment
Chapter
20
Yamaha
DM1000 223
DAW
IN Sets
Drop
In
locator.
DAW
OUT Sets
Drop
Out
locator.
DAW
POST Sets
right
locator.
DAW
RTZ Goes
to
the
left
locator.
DAW
END Goes
to
the
right
locator.
DAW
ONLINE Activates/Deactivates
internal/external
Sync.
DAW
QUICK
PUNCH Enables/Disables
Drop
mode.
DAW
AUTO
FADER Enables/Disables
Volume
automation
playback
and
recording.
DAW
AUTO
PAN Enables/Disables
Pan
automation
playback
and
recording.
DAW
AUTO
PLUGIN Enables/Disables
Plug-in
parameter
automation
playback
and
recording.
DAW
AUTO
MUTE Enables/Disables
Mute
automation
playback
and
recording.
DAW
AUTO
SEND Enables/Disables
Send
Level
automation
playback
and
recording.
DAW
AUTO
SEND
MUTE
—
DAW
AUTO
WRITE Sets
selected
track
to
“Write”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Write.”
DAW
OPTION/ALL Sets
all
tracks
to
“Write”
automation
mode.
DAW
AUTO
TOUCH Sets
selected
track
to
“Touch”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Touch.”
DAW
OPTION/ALL Sets
all
tracks
to
“Touch”
automation
mode.
DAW
AUTO
LATCH Sets
selected
track
to
“Latch”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Latch.”
DAW
OPTION/ALL Sets
all
tracks
to
“Latch”
automation
mode.
DAW
AUTO
READ Sets
selected
track
to
“Read”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Read.”
DAW
OPTION/ALL Sets
all
tracks
to
“Read”
automation
mode.
DAW
AUTO
TRIM —
DAW
AUTO
OFF Sets
selected
track
to
“Off”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Off.”
DAW
OPTION/ALL Sets
all
tracks
to
“Off”
automation
mode.
DAW
AUTO
STATUS While
held
down,
the
Channel
Strip
displays
show
the
automation
mode
of
the
selected
track.
Control Assignment
21
225
21 Yamaha
DM2000
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 Make
sure
that
your
DM2000
unit(s)
are
connected
to
the
computer
via
USB.
 Make
sure
that
the
MIDI
driver
shipped
with
the
unit
is
installed.
On
the
DM2000
Front
Panel:
Basically,
you
set
up
the
DM2000
as
if
you
are
using
it
with
Pro
Tools.
See
the
DM2000
user
manual,
section
19.
Here
are
the
necessary
steps:
 Press
DISPLAY
ACCESS
[SETUP],
then
[F4]
(below
the
LCD)
so
that
the
Setup
/
MIDI/Host
page
is
visible.
Now
move
the
cursor
to
the
port
parameters:
select
DAW,
then
select
USB
and
1-3.
 Press
DISPLAY
ACCESS
[REMOTE],
then
[F1]
(below
the
LCD).
Choose
General
DAW
as
the
TARGET
parameter.
 Press
LAYER
[REMOTE
1].
In
Logic:
When
Logic
Pro
is
launched,
the
unit
is
installed
automatically.
You
should
see
three
DM2000
(USB
1-3)
icons
in
the
Setup
window,
aligned
horizontally.
226 Chapter
21
Yamaha
DM2000
Assignment
Overview
A
right-aligned
modifier
button
(such
as
SHIFT)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
MATRIX
SELECT
Section
AUX
SELECT
Section
Control Assignment
MATRIX
1 Switches
Encoder
Push-Switch
buttons
between
normal
behavior
and
setting
default
value.
MATRIX
2 Switches
the
Encoder
Push-Switch
buttons
between
Send
Position
and
Send
Mute
mode.
MATRIX
4 If
ENCODER
MODE
[ASSIGN
4]
is
on,
switches
the
channel
strip
SEL
buttons
between
Insert
Select
(indicator
off )
and
Insert
Bypass
mode
(indicator
on).
Control Assignment
AUX
1 Assigns
Send
1
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
1
destination
assignment.
USER
4 As
above,
for
Send
6.
AUX
2 Assigns
Send
2
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
2
destination
assignment.
USER
4 As
above,
for
Send
7.
AUX
3 Assigns
Send
3
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
3
destination
assignment.
USER
4 As
above,
for
Send
8.
AUX
4 Assigns
Send
4
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
4
destination
assignment.
AUX
5 Assigns
Send
5
Level
to
Encoders,
and
Send
5
to
8
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
5
destination
assignment.
Chapter
21
Yamaha
DM2000 227
ENCODER
MODE
Section
FADER
MODE
Section
DISPLAY
ACCESS
Section
Control Assignment
PAN Assigns
Pan
to
Encoders;
assigns
selected
track’s
pan/surround
parameters
to
DSP
Encoders.
AUX/MTRX Assigns
Send
1
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
1
destination
assignment.
ASSIGN
1 Assigns
Track
Input
to
Encoders.
While
held
down,
the
Channel
Strip
displays
show
the
current
Track
Input
assignment.
ASSIGN
2 Assigns
Track
Output
to
Encoders.
While
held
down,
the
Channel
Strip
displays
show
the
current
Track
Output
assignment.
ASSIGN
3 When
Encoders
display
a
Send
level,
switches
them
to
Send
Destination
assignment
mode.
Press
Encoder
Push-Switch
or
ASSIGN
3
again
to
confirm
the
assignment.
ASSIGN
4 Determines
mode
of
channel
strip
SEL
buttons:
 Indicator
off:
track
selection.
 Indicator
on:
Insert
selection
or
Insert
Bypass,
depending
on
MATRIX
SELECT
[MATRIX
4].
Control Assignment
FADER Enables/Disables
Flip
mode.
AUX/MTRX Enables/Disables
Flip
mode.
Control Assignment
METER Clears
Overload
LEDs.
USER
4 Switches
to
Global
View
and
enables
MIDI
Tracks.
USER
13 Opens/Closes
Arrange
window.
228 Chapter
21
Yamaha
DM2000
EFFECTS/PLUG-INS
Section
Control Assignment
Display Opens/Closes
the
Sample
Edit
window.
5 —
6 Switches
DSP
display
between
“track
name/parameter
name”
and
“parameter
name/
parameter
value”
modes.
7 Activates/Deactivates
bypass
of
plug-in
insert
that
is
currently
being
edited.
8 Switches
between
Plug-in
Assign
and
Plug-in
Edit
modes.
Parameter
Up
&
Parameter
Down
Plug-In
Edit:
shifts
parameter
display
by
the
number
of
Parameter
controls
in
the
control
surface
group
(usually
four).
USER
13 Plug-In
Edit:
shifts
parameter
display
by
one
(parameter).
Parameter
control
1–4
push-switch
Assignment
Pan:
 Parameter
control
1
push-switch
centers
Pan
or
Surround
Angle.
 Parameter
control
2
push-switch
centers
Surround
Diversity.
 Parameter
control
3
push-switch
centers
Surround
LFE.
 Parameter
control
4
push-switch
sets
Surround
Mode
to
center.
Assignment
Send:
 Enables/Disables
Sends
1
to
4
or
Mutes
5
to
8.
Plug-In
Assign:
 Confirm
insert
1
to
4
or
5
to
8
plug-in
selection,
selects
this
insert
slot
and
enters
Plug-In
Edit
mode.
Plug-In
Edit
mode:
 Sets
value
to
default,
or
switches
bi-polar
parameter
value
on/off.
Parameter
controls
Assignment
Pan:
 Parameter
control
1
controls
Pan
or
Surround
Angle.
 Parameter
control
2
controls
Surround
Diversity.
 Parameter
control
3
controls
Surround
LFE.
 Parameter
control
4
controls
Surround
Mode.
Assignment
Send:
 Control
Send
1
to
4
or
5
to
8
Level.
Plug-In
Assign:
 Assigns
insert
1
to
4
or
5
to
8.
Plug-In
Edit
mode:
 Sets
value
to
default.
Chapter
21
Yamaha
DM2000 229
LCD
TRACK
ARMING
Section
Display Assignment
LCD Displays
parameter
details,
plug-in
selection
or
plug-in
parameters.
TIME
CODE Active
if
counter
is
displaying
time
code.
FEET Not
assigned.
BEATS Active
if
counter
is
displaying
bars/beats/format/ticks.
Time
display Displays
time
code
or
bars/beats/format/ticks.
SELECT
ASSIGN Displays
the
Encoder
assignment
as
follows:
Pan,
Snd1
to
Snd8,
S1As
to
S8As,
In,
Out.
Control Assignment
1
to
24 Enables/Disables
Record
Ready.
USER
5 Disables
Record
Ready
for
all
tracks.
MASTER Disables
Record
Ready
for
all
tracks.
230 Chapter
21
Yamaha
DM2000
AUTOMIX
Section
Control Assignment
DISPLAY While
held,
the
Channel
Strip
displays
show
the
automation
mode
of
selected
track.
REC Sets
selected
track
to
“Write”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Write.”
USER
5 Sets
all
tracks
to
“Write”
automation
mode.
ABORT/UNDO Sets
selected
track
to
“Touch”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Touch.”
USER
5 Sets
all
tracks
to
automation
mode
“Touch.”
AUTOREC Sets
selected
track
to
“Latch”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Latch.”
USER
5 Sets
all
tracks
to
automation
mode
“Latch.”
RETURN Sets
selected
track
to
“Read”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to”
Read.”
USER
5 Sets
all
tracks
to
“Read”
automation
mode.
RELATIVE —
TOUCH
SENSE Sets
selected
track
to
“Off”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Off.”
USER
5 Sets
all
tracks
to
“Off”
automation
mode.
OVERWRITE
[FADER]
Enables/Disables
volume
automation
playback
and
recording.
OVERWRITE
[PAN]
Enables/Disables
pan
automation
playback
and
recording.
OVERWRITE
[EQ]
Enables/Disables
Plug-in
parameter
automation
playback
and
recording.
OVERWRITE
[ON]
Enables/Disables
mute
automation
playback
and
recording.
OVERWRITE
[AUX]
Enables/Disables
Send
level
automation
playback
and
recording.
OVERWRITE
[AUX
ON]
—
Chapter
21
Yamaha
DM2000 231
USER
DEFINED
KEYS
Section
Control Assignment
DISPLAY Opens/Closes
the
Audio
window.
1 Opens/Closes
the
Transport
window.
2 Shifts
channel
strips
by
one
bank
to
the
left.
3 Shifts
channel
strips
by
one
bank
to
the
right.
4 Shifts
to
second
meaning
of
some
buttons
(see
descriptions
of
other
buttons).
5 While
held
down,
value
change
mode
is
set
to
“full”:
any
relative
value
changes
will
“jump”
to
their
minimum
or
maximum
values.
6 Enters
Group
Edit
mode:
 The
upper
line
in
the
DSP
edit
section
displays
the
currently
edited
group
number
and
name.
 Parameter
control
push-switch
buttons
1
to
4
switch
the
properties
of
the
group
currently
being
edited
(names
shown
in
lower
line
of
display).
 When
INSERT/PARAM
is
off,
DSP
Edit
Scroll
Encoder
scrolls
through
the
group
properties.
Otherwise,
it
selects
the
currently
edited
group.
 The
SELECT
buttons
activate/deactivate
group
membership
of
the
track.
USER
4 Switches
to
Track
View.
7 Activates/Deactivates
the
Group
Clutch
(disables
all
groups).
USER
4 Switches
to
Extended
Track
View.
8 Creates
a
new
group
and
enters
Group
Edit
mode
(see
above).
USER
4 Switches
to
Global
View.
9 Switches
between
the
Arrange
and
Track
Mixer
windows.
10 Shifts
channel
strips
by
one
channel
to
the
left.
11 Shifts
channel
strips
by
one
channel
to
the
right.
12 While
held
down,
the
Group
Clutch
is
engaged
(all
groups
are
disabled).
13 While
held
down,
value
change
mode
is
set
to
“fine”:
relative
value
changes
work
at
maximum
resolution.
Also
see
descriptions
of
other
buttons.
14 —
15 Performs
Undo.
USER
4 Performs
Redo.
USER
5 Opens
Undo
History
window.
16 Saves
the
song.
USER
5 Save
As…:
saves
the
song
under
a
different
name.
232 Chapter
21
Yamaha
DM2000
LOCATOR
Section
Control Assignment
DISPLAY Opens/Closes
the
Marker
List
window.
1
to
8 Recalls
markers
1
to
8.
USER
4 Switches
to
Global
View
and
enables:
1:
MIDI
Tracks.
2:
Inputs.
3:
Audio
Tracks.
4:
Audio
Instruments.
5:
Aux
Tracks.
6:
Busses.
7:
Outputs
and
Master
object.
DISPLAY
HISTORY
[FORWARD]
Selects
tool:
1:
Arrow.
2:
Pencil.
3:
Eraser.
4:
Text
edit.
5:
Scissors.
6:
Glue.
7:
Solo.
8:
Mute.
AUDITION —
PRE Sets
left
locator.
IN Sets
Drop
In
locator.
OUT Sets
Drop
Out
locator.
POST Sets
right
locator.
RETURN
TO
ZERO
Navigates
to
the
left
locator.
END Navigates
to
the
right
locator.
ONLINE Enables/Disables
internal/external
sync.
QUICK
PUNCH Enables/Disables
Drop
mode.
Chapter
21
Yamaha
DM2000 233
Channel
Strips
Transport/Cursor
Section
Control Assignment
Level
Meters Displays
momentary
and
peak
levels.
Encoder Adjusts
parameter
selected
in
the
AUX
SELECT
section.
Encoder
Push-
Switch
Pan
selected:
sets
Pan
to
center
if
MATRIX
1
on
Send
1
to
8
selected:
edits
Send
Pre/
Post,
activates/deactivates
Send
Mute
or
sets
Send
Level
to
default
value.
Send
Assign,
Input,
or
Output
selected:
confirms
selection.
AUTO Cycles
through
automation
modes.
With
an
automation
mode
button
held
down,
sets
this
automation
mode.
SEL
If
ENCODER
MODE
[ASSIGN
4]
off:
selects
track.
If
ENCODER
MODE
[ASSIGN
4]
on:
 BYPASS
off:
selects
track
for
plug-in
selection.
 BYPASS
on:
switches
bypass
status
of
currently
selected
insert
slot.
USER
4 Sets
volume
to
unity
level.
MATRIX
SELECT
1
Sets
volume
to
unity
level.
SOLO Enables/Disables
Solo.
USER
5 Disables
Solo
for
all
tracks.
ON Enables/Disables
Mute.
USER
5 Unmutes
all
tracks.
Channel
strip
display
Displays
track
name,
or
Send,
In,
or
Out
assignment.
Fader Adjusts
volume,
or
duplicates
Encoder
in
Flip
mode.
Control Assignment
REW Shuttles
backward.
FF Shuttles
forward.
STOP Stop
PLAY Play
USER
4 Pause
REC Record
DISPLAY
HISTORY
[BACK]
—
DISPLAY
HISTORY
[FORWARD]
Selects
the
next
tool.
While
held
down,
numerical
buttons
select
a
specific
tool.
SCRUB Enables/Disables
Scrub
mode.
SHUTTLE Enables/Disables
Shuttle
mode.
234 Chapter
21
Yamaha
DM2000
Parameter
Wheel
Default:
move
SPL
by
one
bar.
Scrub:
scrubbing.
Shuttle:
Shuttle
mode.
DEC Default:
leaves
Folder.
Goto
Marker:
cancels
dialog.
USER
13 Opens/Closes
Audio
window.
INC Switches
between
Cursor
and
Zoom
mode.
Cursor
Up Cursor
mode:
equivalent
to
computer
keyboard
up
arrow
key.
Zoom
mode:
zooms
out
vertically.
USER
4 Zoom
mode:
Individual
track
zoom
in.
USER
13 Page
Up.
USER
5
+
USER
13
Scroll
to
top.
Cursor
Down Cursor
mode:
equivalent
to
computer
keyboard
down
arrow
key.
Zoom
mode:
zooms
out
vertically.
USER
4 Zoom
mode:
Individual
track
zoom
out.
USER
13 Page
Down.
USER
5
+
USER
13
Scroll
to
bottom.
Cursor
Left Cursor
mode:
equivalent
to
computer
keyboard
left
arrow
key.
Zoom
mode:
zooms
out
horizontally.
USER
4 Zoom
mode:
Individual
track
zoom
reset
for
tracks
of
the
same
type.
USER
13 Page
Left.
USER
5
+
USER
13
Scroll
to
left
border.
Cursor
Right Cursor
mode:
equivalent
to
computer
keyboard
right
arrow
key.
Zoom
mode:
zooms
in
horizontally.
USER
4 Zoom
mode:
Individual
track
zoom
reset
of
all
tracks.
USER
13 Page
Right.
USER
5
+
USER
13
Scroll
to
right
border.
ENTER Enters
folder
of
selected
track.
Control Assignment
235
A
Appendix
A Logic
Control—Specifications
Logic
Control
(Base
Unit)
This
appendix
describes
the
specifications
of
the
Logic
Control
unit.
Display
 55
×
2-digit
(LCD)
backlit
multi-function
display
for
detailed
parameter
information
and
metering
 Built-in
screensaver
function
 2-digit,
7-segment
display
for
mode
displays
 10-digit,
7-segment
display
for
song
position
information
in
either
SMPTE
or
bar/
beats/ticks
 1
×
button
to
toggle
the
LCD
between
parameter
name/value
and
to
activate
the
level
meters.
 1
×
button
to
toggle
the
7-segment
display
between
SMPTE
and
bar/beats/ticks.
 2
×
LEDs
show
the
current
7-segment
display
status.
 1
×
LED
shows
the
current
Solo
status.
Per
Channel
(8
Channels)
 1
×
motorized
100mm
touch-sensitive
Penny
&
Giles
faders
with
10Bit
resolution
(1024
steps)
 1
×
V-POT:
digital
endless
rotary
knob
with
position
indicator
and
integrated
push
button
for
parameter
adjustments
of
pan,
EQ,
send
levels,
and
so
on
 4
×
buttons
with
integrated
colored
LED
for
channel
functions
such
as:
Record,
Solo,
Mute,
and
Channel
Selection
 Signal
Present
LED
indicates
when
an
audio
or
MIDI
signal
is
present.
Master
Fader
 1
×
motorized
100mm
touch-sensitive
Penny
&
Giles
fader
with
10Bit
resolution
(1024
steps).
236 Appendix
A
Logic
Control—Specifications
Controller
 6
×
buttons
with
status
LED
for
direct
selection
of
parameter
groups
for
Track,
Pan/
Surround,
EQ,
Send,
Plug-In,
Instrument
 8
×
buttons
to
directly
select
sections
of
Logic
mixers
such
as
audio
tracks,
MIDI
tracks,
inputs,
busses,
and
so
on
 4
×
buttons
to
shift
the
displayed
mixer
channels
to
the
left
and
right,
either
one
channel
at
a
time,
or
in
banks
 1
×
button
with
status
LED
for
the
channel
fader/V-POT
flip:
swaps
the
assignments
of
fader
and
V-POTs
 1
×
button
with
status
LED
to
toggle
between
Mixer
View
and
Global
View
 4
×
buttons
with
status
LED
to
activate
automation
modes
such
as
Read,
Write,
Touch,
and
Latch
 4
×
buttons
to
select
utility
functions
such
as:
“Save
Song,”
“Undo,”
“Cancel,”
or
confirmations
in
dialogs
 4
×
buttons
to
access
additional
functions
through
modifier
keys
 8
×
freely
definable
user
keys
 2
×
currently
unassigned
buttons
for
future
use
Transport
Controls
 5
×
Transport
buttons
with
status
LED
for
Forward,
Rewind,
Stop,
Play,
Record
 1
×
Jog/Scrub
wheel
for
precise
location
of
any
song
position
and
audio
scrubbing
 1
×
Scrub
button
with
status
LED
to
activate
the
scrub
function
 1
×
Marker
and
1
×
Nudge
button
with
status
LED
to
extend
the
functionality
of
the
Forward/Rewind
buttons
(Nudge
functionality
only
available
in
Logic
Pro)
 4
×
Navigation
buttons
to
quickly
navigate
through
plug-in
slots
and
parameter
pages
 1
×
Zoom
button
to
switch
the
navigate
buttons
to
zoom
Internal
Processor
 High-speed
RISC
micro
controller
 Firmware
can
be
updated
via
MIDI
dump.
Connections
 1
×
MIDI
in,
1
×
MIDI
out.
 2
×
assignable
foot
switch
inputs
to
control
Start/Stop
and
Punch
In/Out,
for
example
 1
×
assignable
external
control
signal
input
to
connect
a
volume
pedal.
 Power
supply
jack
Appendix
A
Logic
Control—Specifications 237
Power
Supply
 International
(100–250V)
external
power
supply
for
standard
power
cords
 Rear-mounted
power
switch
Weight
and
Construction
 Logic
Control
weighs
5.05
kg
(unpacked).
 High
quality,
sturdy
1mm
steel
chassis
and
case
 Comfortable,
durable
wrist
rest
Dimensions
Logic
Control
XT
(Extension
Unit)
Display
 55
×
2-digit
(LCD)
backlit
multi-function
display
for
detailed
parameter
information
and
metering
 Built-in
screensaver
function
Per
channel
(8
channels)
 1
×
motorized
100mm
touch-sensitive
Penny
&
Giles
faders
with
10Bit
resolution
(1024
steps)
 1
×
V-POT:
digital
endless
rotary
knob
with
position
indicator
and
integrated
push
button
for
parameter
adjustments
of
pan,
EQ,
send
levels,
and
so
on
 4
×
buttons
with
integrated
colored
LED
for
channel
functions
such
as:
Record,
Solo,
Mute,
and
Channel
Selection
 Signal
Present
LED
indicates
the
presence
of
an
audio
signal
Internal
Processor
 High-speed
RISC
micro
controller
 Firmware
can
be
updated
via
MIDI
dump.
238 Appendix
A
Logic
Control—Specifications
Connections
 1
×
MIDI
in,
1
×
MIDI
out
 Power
supply
jack
Power
Supply
 International
(100–250V)
external
power
supply
for
standard
power
cords
 Rear-mounted
power
switch
Weight
and
Construction
 Logic
Control
XT
weighs
3.45
kg
(unpacked)
 High
quality,
sturdy
1mm
steel
chassis
and
case
 Comfortable,
durable
wrist
rest
Dimensions
239
B
Appendix
B Logic
Control—
MIDI
Implementation
The
following
information
is
important
for
software
vendors
who
wish
to
create
a
level
of
software
integration
for
the
Logic/Mackie
Control/XT
units.
This
documentation
covers
firmware
version
V1.0.
Note:
All
numbers
are
in
hexadecimal
format.
Variable
bytes
are
shown
in
italics
and
use
characters
other
than
a-f
as
a
placeholder.
All
channel
messages
use
running
status
messages.
Once
an
initial
3-byte
message
has
been
sent,
the
status
byte
is
dropped
from
proceeding
transmitted
channel
messages,
in
order
to
conserve
bandwidth.
SysEx
Message
Header
The
following
documentation
uses
the
place
holder
“”
whenever
the
SysEx
header
is
transmitted
or
received.
It
has
the
following
form:
F0 MIDI
SysEx
status
byte
00
00
66 Mackie
3-byte
SysEx
manufacturer
ID
ii Model
ID
10 Logic
Control
11 Logic
Control
XT
A
device
ID
is
not
required,
as
each
unit
needs
a
dedicated
MIDI
cable.
240 Appendix
B
Logic
Control—MIDI
Implementation
Global
Control
Messages
Host
Connection
and
Initialization
Received:
00
F7
Device
Query
02
ss
ss
ss
ss
ss
ss
ss
rr
rr
rr
rr
F7
Host
Connection
Reply
0F
7F
F7
Go
Offline
Transmitted:
01
ss
ss
ss
ss
ss
ss
ss
ll
ll
ll
ll
F7
Host
Connection
Query
03
ss
ss
ss
ss
ss
ss
ss
F7
Host
Connection
Confirmation
04
ss
ss
ss
ss
ss
ss
ss
F7
Host
Connection
Error
ss = Serial
number
(7
bytes
ASCII
text,
non
null-terminated)
ll = Challenge
code
(4
bytes)
rr = Response
code
(4
bytes)
Offline
Mode:
Logic
Control
employs
a
query
system
to
maintain
a
connection
to
the
host
software.
When
Logic
Control
is
initially
powered
up,
it
defaults
to
Offline
mode.
In
Offline
mode,
Logic
Control’s
faders
move
to
their
lowest
setting,
and
the
LCD
reads
“EMAGIC
LOGIC
CONTROL
--
by
MACKIE.”
After
power-on,
Logic
Control
also
transmits
a
system
exclusive
Host
Connection
Query
message
that
is
used
(by
the
host)
to
detect
a
connection,
and
what
type
of
device
is
connected
(Logic
Control/Logic
Control
XT).
Communications
Initialization:
When
the
host
software
receives
a
Host
Connection
Query
message
(containing
a
serial
number
and
a
random
challenge
code),
it
should
transmit
a
Host
Connection
Reply
command
within
300ms
to
initialize
Logic
Control.
The
command
must
contain
the
same
serial
number
and
the
correct
response
code
for
the
challenge
code.
Here
is
the
algorithm
(l1
to
l4
=
challenge
code
bytes
1
to
4,
r1
to
r4
=
response
code
bytes
1
to
4):
r1
=
0x7F
&
(l1
+
(l2
^
0xa)
–
l4);
r2
=
0x7F
&
((l3>>4)
^
(l1+l4));
r3
=
0x7F
&
(l4-(l3<<2)
^
(l1|l2));
r4
=
0x7F
&
(l2-l3+(0xF0^(l4<<4)));
Logic
Control
will,
in
turn,
respond
with
either:
 a
Host
Connection
Confirmation
message
that
contains
the
serial
number,
and
switch
to
Online
mode—where
it
will
await
further
instructions
from
the
host,
or
 reply
with
a
Host
Connection
Error
message,
if
the
response
code
was
wrong.
Appendix
B
Logic
Control—MIDI
Implementation 241
Online
Mode:
Once
the
connection
between
Logic
Control
and
the
host
software
has
been
made,
Logic
Control
stays
in
Online
Mode
until
it
receives
a
Go
Offline
message.
Firmware
version
request
Received:
13
00
F7 Version
request
Transmitted:
14
vv
vv
vv
vv
vv
F7 Version
reply
vv 5
ASCII
bytes
containing
version
string,
e. g.
“V1.0”.
Note:
When
Logic
Control
receives
a
version
request
message,
it
sends
the
version
reply
message.
Reset
Messages
Received:
61
F7 Faders
to
minimum
(Sends
all
faders
to
the
bottom
of
their
throw)
62
F7 All
LEDs
off
(Turns
off
all
LEDs
on
Logic
Control)
63
F7 Reset
(Re-Boots
Logic
Control
into
Offline
mode)
Transmitted: No
Configuration
Messages
Received:
0A
tt
F7 Transport
button
click
0B
ll
F7 LCD
back
light
saver
0C
mm
F7 Touchless
movable
faders
0E
ii
ss
F7 Fader
touch
sensitivity
Transmitted: No
tt 00
=
no
transport
button
click
01
=
transport
button
click
(default)
ll 00
=
LCD
back
light
off
01
to
7F
=
LCD
back
light
on,
with
time
out
in
minutes
(default:
0F
=
15
minutes)
mm 00
=
fader
movements
are
only
transmitted
if
the
fader
has
been
recognized
as
touched
01
=
fader
movements
are
also
transmitted
if
the
fader
has
not
been
recognized
as
touched
(e. g.
with
fingernail
or
pen)
ii Fader
ID
(00
thru
07;
Master
=
08)
ss Fader
touch
sensitivity
(00
to
05;
default:
03)
242 Appendix
B
Logic
Control—MIDI
Implementation
Common
Control
Messages
Faders
Received: Ei,
ll,
hh Move
fader
to
position
Transmitted: Ei,
ll,
hh Fader
moved
by
user
i Fader
ID
(00
thru
07;
Master
=
08)
ll Fader
position
value
low
7
bits
(00–7F)
hh Fader
position
value
high
7
bits
(00–7F)
Example: E0,
40,
55
=
Fader
Ch.
1,
position
(55
<<
7)
+
40
Note:
Message
format
for
transmitted
fader
position
is
the
same
as
for
received
position.
Only
the
top
(high)
10
of
the
14
transmitted
bits
are
required.
Positions
0
to
1023
(decimal)
are
transmitted
as
0000
to
03FF
(Ei
00
00
to
Ei
7F
7F).
Switches
Received: None
Transmitted: 90,
ii,
ss Switch
pressed/released
by
user
ii Switch
ID
(See
“Logic
Control—Control
Surface
Layout
and
IDs”
on
page
251.)
ss Switch
State
00
=
switch
or
fader
relead
7F
=
switch
pressed
or
fader
touched
Example: 90,
0F,
7F
=
SOLO
Ch.
8
is
pressed
90,
0F,
00
=
SOLO
Ch.
8
is
released
Note:
LEDs
and
switches
use
the
same
control
message.
This
approach
means
that
an
LED
has
the
same
ID
as
its
corresponding
switch.
LEDs
Received: 90,
ii,
ss Set
LED
status
Transmitted: None
ii LED
ID
(See
“Logic
Control—Control
Surface
Layout
and
IDs”
on
page
251.)
ss LED
State
(7F
=
on,
00
=
off,
01
=
flashing)
Example: 90,
08,
7F
=
Turn
LED
08
on
90,
08,
00
=
Turn
LED
08
off
Note:
Switches
and
LEDs
use
the
same
control
message.
This
ensures
that
an
LED
always
shares
an
ID
with
its
corresponding
switch.
Appendix
B
Logic
Control—MIDI
Implementation 243
V-Pots
Received: None
Transmitted: B0,
1i,
XX V-POTs
turned
by
user
i V-POT
ID
(00–07)
XX delta
value
in
the
form
of
(0
s
v
v
v
v
v
v)
s direction
bit:
0
=
clockwise,
1
=
counter
clockwise
vv number
of
ticks
Examples:
 B0,
10,
01
=
V-POT
Ch.
1
is
being
turned
clockwise
by
one
tick.
 B0,
17,
47
=
V-POT
Ch.
8
is
being
turned
counter-clockwise
by
7
ticks.
V-Pot
LED
ring
Received: B0,
3i,
XX Set
LED
ring
display
Transmitted: None
i V-POT
number
(0
thru
7)
XX V-POT
display
control
byte
in
the
form
of
(0
p
x
x
v
v
v
v):
p V-POT
display
center
LED
state
(1
=
on,
0
=
off )
xx V-POT
mode
(00
thru
03;
see
diagrams
below)
vv V-POT
display
position
value
00
=
all
LEDs
in
ring
off;
01
thru
0B
see
diagrams
below
Example:
 B0,
31,
06
=
V-POT
2
display
shows
LEDs
at
position
6.
Note:
In
any
V-POT
display
mode,
a
received
LED
position
value
of
00
will
turn
off
all
of
the
V-POT
LEDs.
244 Appendix
B
Logic
Control—MIDI
Implementation
V-POT
Display
modes
available:
Appendix
B
Logic
Control—MIDI
Implementation 245
External
Controller
Received:
None
Transmitted: B0,
2E,
vv External
Controller
changed
vv External
Controller
position
value
(00–7F)
Example:
 B0,
2E,
07
=
External
Controller
value
=
07
Jog
Wheel
Received: None
Transmitted: B0,
3C,
XX Jog
wheel
turned
by
user
XX delta
value
in
the
form
of
(0
s
v
v
v
v
v
v)
s direction
bit:
0
=
clockwise,
1
=
counter
clockwise
vv number
of
ticks
Examples:
 B0,
3C,
01
=
Jog
forward.
 B0,
3C,
41
=
Jog
reverse.
246 Appendix
B
Logic
Control—MIDI
Implementation
LCD
Received: ,
12,
oo,
yy,
…,
F7 Update
LCD
Transmitted: None
oo Display
offset
to
write
from:
00
thru
37
for
upper
line,
38
thru
6F
for
lower
line.
yy Data:
ASCII
equivalents
for
display
characters—written
from
left
to
right—
and
including
line
wrapping
between
upper
and
lower
lines.
Up
to
100
data
bytes
may
be
sent
in
one
message.
Example:
 The
following
message
writes
“Hello”
to
the
top
left
of
the
LCD
on
a
Logic
Control
master
section.
F0
00
00
66
10
12
00
48
65
6C
6C
6F
F7
Notes:
 There
are
7
displayed
characters
per
channel,
with
the
exception
of
channel
8,
which
is
limited
to
displaying
the
first
6
characters.
Internally
however,
the
LCD
stores
2
x
56
characters.
 In
most
cases,
you
will
use
the
LCD
in
a
scribble-strip
fashion
(text
above
each
channel).
In
this
scenario,
you
should
only
use
the
first
six
characters
per
channel,
thus
allowing
for
spaces
between
the
text
of
each
channel.
 The
lower
line
can
be
switched
into
meter
mode.
See
“Metering”
on
page
249
for
further
details.
 While
the
LCD
switches
between
horizontal
and
vertical
metering
modes,
it
ignores
LCD
messages.
You
should
delay
LCD
messages
for
at
least
600
ms
after
sending
an
LCD
metering
mode
change
message.
Appendix
B
Logic
Control—MIDI
Implementation 247
Time
Code/BBT
Display
Received:
,
10,
yy,
…,
F7 Update
multiple
characters
B0,
4i,
yy Update
single
character
Transmitted: None
i Digit
ID:
0
=
right-most,
9
=
left-most
yy Data
bytes
representing
character
to
be
written
(See
“7-Segment
Display
Character
Table”
on
page
248).
Up
to
ten
characters
can
be
sent
in
the
SysEx
message.
Examples:
 The
following
message
writes
“109.02.01.126”
to
the
Time
Code
display
(note
decimal
points).
F0
00
00
66
10
10
36
32
31
71
30
72
30
79
30
31
F7
 B0
40
30
41
31
=
writes
“10”
into
the
last
two
digits.
Important:
The
digits
in
the
Time
Code
and
Assignment
displays
are
written
RIGHT-TOLEFT,
which
helps
to
conserve
bandwidth.
Assignment
7-segment
display
Received:
,
11,
yy,
yy,
F7 Update
multiple
characters
B0,
4i,
yy Update
single
character
Transmitted: None
i Digit
ID:
A=
right,
B
=
left
yy Data
bytes
representing
character
to
be
written
(See
“7-Segment
Display
Character
Table”
on
page
248).
Two
characters
can
be
sent
in
the
SysEx
message.
Example:
 B0
4B
10
4A
4E
=
writes
“Pn.”
to
the
Assignment
display.
Important:
The
digits
in
the
Time
Code
and
Assignment
displays
are
written
RIGHT-TOLEFT,
to
help
conserve
bandwidth.
248 Appendix
B
Logic
Control—MIDI
Implementation
7-Segment
Display
Character
Table
Hint:
 Characters
@
(40h)
thru
`
(60h)
=
(ASCII
value)
−
40h
 Characters
!
(21h)
thru
?
(3Fh)
=
ASCII
value
Note:
The
decimal
point
on
each
7-segment
character
can
be
lit
by
adding
40
Hex
to
the
value
of
the
data.
Appendix
B
Logic
Control—MIDI
Implementation 249
Metering
Received:
D0,
XX Peak
level
,
20,
ii,
mm,
F7 Channel
meter
mode
,
21,
yy,
F7 Global
LCD
meter
mode
Transmitted: None
XX Meter
level
in
the
form
of
(0
h
h
h
l
l
l
l):
hh Channel
to
be
addressed
(0
thru
7)
ll Meter
level:
0
thru
C =
level
meter
0%
to
100%
Overload
not
cleared!
E =
set
overload
F =
clear
overload
ii Channel
ID
(0
to
7)
mm mode
bit
map
in
the
form
of
(0
0
0
0
0
l
p
s):
l Enable
level
meter
on
LCD
p Enable
peak
hold
display
(horizontal
only)
s Enable
Signal
LED
yy 00
=
horizontal;
01
=
vertical
Notes:
 There
is
only
one
level
meter
per
channel.
For
stereo
tracks,
use
the
maximum
of
left
and
right
levels.
 Only
transmit
peak
levels.
Logic
Control
automatically
decreases
the
level
meter
bars,
and
switches
off
the
Signal
Present
LED
(over
time).
This
approach
ensures
that
MIDI
bandwidth
takes
only
a
fraction
of
that
required
by
implementations
where
the
current
level
(and
peak
level)
is
transmitted
constantly.
 Decay
rate
is
approximately
300ms
per
meter
division
(1.8
seconds
to
fall
from
100%
to
0%).
 The
LCD
meter
value
and
the
duration
of
the
Signal
Present
LED
are
controlled
by
the
same
data
byte.
 While
the
LCD
switches
between
horizontal
and
vertical
metering
mode,
it
ignores
LCD
messages.
You
should
delay
LCD
messages
for
at
least
600
ms
after
sending
an
LCD
metering
mode
change
message.
251
C
Appendix
C Logic
Control—
Control
Surface
Layout
and
IDs
ID Switch LED Function
00 • • REC/RDY
Ch.
1
01 • • REC/RDY
Ch.
2
02 • • REC/RDY
Ch.
3
03 • • REC/RDY
Ch.
4
04 • • REC/RDY
Ch.
5
05 • • REC/RDY
Ch.
6
06 • • REC/RDY
Ch.
7
07 • • REC/RDY
Ch.
8
08 • • SOLO
Ch.
1
09 • • SOLO
Ch.
2
0A • • SOLO
Ch.
3
0B • • SOLO
Ch.
4
0C • • SOLO
Ch.
5
0D • • SOLO
Ch.
6
0E • • SOLO
Ch.
7
0F • • SOLO
Ch.
8
10 • • MUTE
Ch.
1
11 • • MUTE
Ch.
2
12 • • MUTE
Ch.
3
13 • • MUTE
Ch.
4
14 • • MUTE
Ch.
5
15 • • MUTE
Ch.
6
16 • • MUTE
Ch.
7
17 • • MUTE
Ch.
8
18 • • SELECT
Ch.
1
19 • • SELECT
Ch.
2
252 Appendix
C
Logic
Control—Control
Surface
Layout
and
IDs
1A • • SELECT
Ch.
3
1B • • SELECT
Ch.
4
1C • • SELECT
Ch.
5
1D • • SELECT
Ch.
6
1E • • SELECT
Ch.
7
1F • • SELECT
Ch.
8
20 • V-Select
Ch.
1
21 • V-Select
Ch.
2
22 • V-Select
Ch.
3
23 • V-Select
Ch.
4
24 • V-Select
Ch.
5
25 • V-Select
Ch.
6
26 • V-Select
Ch.
7
27 • V-Select
Ch.
8
28 • • ASSIGNMENT:
TRACK
29 • • ASSIGNMENT:
SEND
2A • • ASSIGNMENT:
PAN/SURROUND
2B • • ASSIGNMENT:
PLUG-IN
2C • • ASSIGNMENT:
EQ
2D • • ASSIGNMENT:
INSTRUMENT
2E • FADER
BANKS:
BANK
Left
2F • FADER
BANKS:
BANK
Right
30 • FADER
BANKS:
CHANNEL
Left
31 • FADER
BANKS:
CHANNEL
Right
32 • • FLIP
33 • • GLOBAL
VIEW
34 • NAME/VALUE
35 • SMPTE/BEATS
36 • F1
37 • F2
38 • F3
39 • F4
3A • F5
3B • F6
3C • F7
3D • F8
ID Switch LED Function
Appendix
C
Logic
Control—Control
Surface
Layout
and
IDs 253
3E • GLOBAL
VIEW:
MIDI
TRACKS
3F • GLOBAL
VIEW:
INPUTS
40 • GLOBAL
VIEW:
AUDIO
TRACKS
41 • GLOBAL
VIEW:
AUDIO
INSTRUMENT
42 • GLOBAL
VIEW:
AUX
43 • GLOBAL
VIEW:
BUSSES
44 • GLOBAL
VIEW:
OUTPUTS
45 • GLOBAL
VIEW:
USER
46 • SHIFT
47 • OPTION
48 • CONTROL
49 • CMD/ALT
4A • • AUTOMATION:
READ/OFF
4B • • AUTOMATION:
WRITE
4C • • AUTOMATION:
TRIM
4D • • AUTOMATION:
TOUCH
4E • • AUTOMATION:
LATCH
4F • • GROUP
50 • • UTILITIES:
SAVE
51 • • UTILITIES:
UNDO
52 • UTILITIES:
CANCEL
53 • UTILITIES:
ENTER
54 • • MARKER
55 • • NUDGE
(Logic
Pro
only)
56 • • CYCLE
57 • • DROP
58 • • REPLACE
59 • • CLICK
5A • • SOLO
5B • • REWIND
5C • • FAST
FWD
5D • • STOP
5E • • PLAY
5F • • RECORD
60 • Cursor
Up
61 • Cursor
Down
ID Switch LED Function
254 Appendix
C
Logic
Control—Control
Surface
Layout
and
IDs
62 • Cursor
Left
63 • Cursor
Right
64 • • Zoom
65 • • Scrub
66 • User
Switch
A
67 • User
Switch
B
68 • Fader
Touch
Ch.
1
69 • Fader
Touch
Ch.
2
6A • Fader
Touch
Ch.
3
6B • Fader
Touch
Ch.
4
6C • Fader
Touch
Ch.
5
6D • Fader
Touch
Ch.
6
6E • Fader
Touch
Ch.
7
6F • Fader
Touch
Ch.
8
70 • Fader
Touch
Master
71 • SMPTE
LED
72 • BEATS
LED
73 • RUDE
SOLO
LIGHT
76 • Relay
click
ID Switch LED Function
255
D
Appendix
D Logic
Control—
MIDI
Implementation
Chart
Mode
1:
OMNI
ON,
POLY,
Mode
2:
OMNI
ON,
MONO,
O:
Yes
Mode
3:
OMNI
OFF,
POLY,
Mode
4:
OMNI
OFF,
MONO,
X:
No
Function Transmitted Recognized Remarks
Channel,
Default:
Changed:
1
1
1
1
Each
Logic
Control
unit
should
be
installed
on
a
separate
MIDI
port.
Mode,
Default:
Messages:
Altered:
X
X
X
X
X
X
Note
Number
True
Voice:
O
0–127
X
O
0–127
X
Velocity,
Note
On:
Note
Off:
O
v
=
1–127
X
v
=
00
O
v
=
1–127
X
v
=
00
After
Touch,
Keys:
Chan’s:
X
X
X
O
Pitch
Bend O O Used
for
motor
faders
Control
Change O O
Program
Change
True
#:
X X
SYSTEM
EXCLUSIVE:
O O
SYSTEM
COMMON:
X X
Soundtrack Pro 2
User Manual
K
Apple Inc.
Copyright © 2007 Apple Inc. All rights reserved.
Your rights to the software are governed by the
accompanying software license agreement. The owner
or authorized user of a valid copy of Soundtrack Pro
software may reproduce this publication for the purpose
of learning to use such software. No part of this
publication may be reproduced or transmitted for
commercial purposes, such as selling copies of this
publication or for providing paid for support services.
The Apple logo is a trademark of Apple Inc., registered
in the U.S. and other countries. Use of the “keyboard”
Apple logo (Shift-Option-K) for commercial purposes
without the prior written consent of Apple may
constitute trademark infringement and unfair
competition in violation of federal and state laws.
Every effort has been made to ensure that the
information in this manual is accurate. Apple is not
responsible for printing or clerical errors.
Note:
Because Apple frequently releases new versions
and updates to its system software, applications, and
Internet sites, images shown in this book may be slightly
different from what you see on your screen.
Apple Inc.
1 Infinite Loop
Cupertino, CA 95014–2084
408-996-1010
www.apple.com
Apple, the Apple logo, Apple Cinema Display,
AppleScript, DVD Studio Pro, Final Cut, Final Cut Pro,
Final Cut Studio, FireWire, iPhoto, iPod, iTunes, Logic,
Mac, Macintosh, Mac OS, QuickTime, and Soundtrack are
trademarks of Apple Inc., registered in the U.S. and
other countries.
Finder and Apple TV are trademarks of Apple Inc.
AppleCare and Apple Store are service marks of Apple
Inc., registered in the U.S. and other countries.
iTunes Store is a service mark of Apple Inc.
Dolby Laboratories: Manufactured under license from
Dolby Laboratories. “Dolby,” “Pro Logic,” and the
double-D symbol are trademarks of Dolby Laboratories.
Confidential Unpublished Works, © 1992–1997 Dolby
Laboratories, Inc. All rights reserved.
NeXT is a trademark of NeXT Software, Inc., registered in
the U.S. and other countries.
Other company and product names mentioned herein
are trademarks of their respective companies. Mention
of third-party products is for informational purposes
only and constitutes neither an endorsement nor a
recommendation. Apple assumes no responsibility with
regard to the performance or use of these products.
Production stills from the film “Koffee House Mayhem”
provided courtesy of Jean-Paul Bonjour. “Koffee House
Mayhem” © 2004 Jean-Paul Bonjour. All rights reserved.
http://www.jbonjour.com
3
1
Contents
Preface 11 An Introduction to Soundtrack Pro
11
Overview of Soundtrack Pro
13
Using Soundtrack Pro in Your Post-Production Workflow
15
Notable Features in Soundtrack Pro
18
Resources for Learning About Soundtrack Pro
18
About This Soundtrack Pro Onscreen User Manual
19
Apple Websites
Chapter 1 21 Setting Up Your System
21
System Considerations
23
Connecting Equipment
24
Video and Audio Input and Output Devices
25
Video and Audio Interfaces
25
External Audio and Video Monitoring
27
Example Hardware Setups
32
Setting Up a System for Stereo Mixing
32
Setting Up a System for Surround Mixing
Chapter 2 33 The Soundtrack Pro Interface
34
Soundtrack Pro Window Organization
37
Project Pane
38
Toolbar
38
Transport Controls
39
Timeline
43
File Editor
44
Mixer
46
Multitake Editor
47
Conform
48
Bin
49
Meters Tab
50
Recording Tab
51
Browser
52
Search Tab
4
Contents
54
Favorites Tab
55
Video Tab
55
Project Tab
57
Details Tab
60
Effects Tab
61
Tracks Tab
62
Actions Tab
63
Analysis Tab
64
HUDs
Chapter 3 65 Setting Up Soundtrack Pro
65
Two Kinds of Projects
67
Setting Up Your Workspace
71
Playing Projects
75
About Changing Values and Timecode Entries
78
Locating and Adding Audio Files
91
Previewing Audio Files
93
Using Undo and Redo
94
Using Snapping
96
Reconnecting Media Files
97
Setting Soundtrack Pro Preferences
Chapter 4 105 Working with Multitrack Projects
105
Creating and Opening Multitrack Projects
106
Creating a Multitrack Project from Final Cut Pro Clips or Sequences
106
Closing Multitrack Projects
106
Setting Project Properties
110
Setting the Project Length
111
Saving Multitrack Projects
112
Setting Default Locations for Saving Media Files
113
Adding Files to a Multitrack Project
114
Viewing and Editing Clip and Track Properties
124
Tracks, Busses, Submixes, and the Master Bus
Chapter 5 127 Working in the Timeline
127
Working in the Timeline
128
Moving Around in the Timeline
135
Working with Tracks, Busses, and Submixes in the Timeline
147
Selecting Audio Clips in the Timeline
149
Selecting the Entire Contents of a Track
150
Selecting Partial Contents of One or More Tracks
151
Cutting, Copying, and Pasting Audio Clips
153
Spotting Clips to the Timeline
Contents
5
154
Moving Clips
156
Snapping Clips to Clips on Adjacent Tracks
156
Resizing Audio Clips
157
Changing the Offset of an Audio Clip
158
Creating Fades and Crossfades in the Timeline
162
Truncating Overlapping Audio Clips
162
Editing Audio Clips in the Multitrack Timeline
164
Using the Timeline Editing Tools
165
Timeline Editing Tools HUD
166
Editing in Place
166
How Clips Are Affected by Media File Editing
166
How Source Audio File Editing Works in a Soundtrack Pro Multitrack Project
167
Modifying a Clip Without Affecting Its Source Media
168
Using the Multitrack Timeline and the File Editor Together
170
Spotting Sound Effects from the File Editor to the Timeline
170
Splitting and Joining Audio Clips
174
Editing with the Timeslice Tool
179
Using the Lift and Stamp Tools
183
Working with Markers
185
Using Markers with Video
188
Working with Tagged and Looping Clips
189
Replacing the Source Audio in a Clip
Chapter 6 191 Editing Audio Files
193
Audio File Projects
193
Editing Audio Files Directly in a Multitrack Project
195
Editing in Place
195
How Clips Are Affected by Media File Editing
196
How Media File Editing Works in a Multitrack Project
196
How Source Audio File Editing Works in an Audio File Project
197
Modifying a Clip Without Affecting Its Source Media
198
Editing Audio Files in the File Editor
198
Opening Audio Files in the File Editor Tab
199
Playing Audio Files in the File Editor
199
Soloing an Audio File in the File Editor
200
Linking the File Editor Selection and the Cycle Region
200
Scrubbing Audio Files
202
Selecting Part of an Audio File
206
Cutting, Copying, and Pasting in the File Editor
207
Zooming In and Out in the File Editor
208
Editing Audio Files Graphically with Waveform Editing Tools
212
Choosing the Sample Units in the File Editor
212
Editing Multichannel Files
6
Contents
214
Using Frequency Spectrum View
219
Processing Audio Files
230
Working with Actions
236
Analyzing an Audio File
240
Using the File Editor Project View
Chapter 7 251 Using the Multitake Editor
251
About the Multitake Editor
252
What Is ADR?
252
Multitake Clips
252
Creating Multitake Clips
253
Overview of the Multitake Editor
254
Editing in the Multitake Editor
255
Slipping Take Regions
256
Adding and Deleting Takes
256
Renaming Takes
257 Reordering Takes
257 Example: A Multitake Editing Workflow
Chapter 8 261 Basic Mixing in Soundtrack Pro
262 Steps in Mixing
263 Structuring an Audio Post-Production Project
263 What Is a Submix and How Do You Use It?
263 Basic Signal Routing in Soundtrack Pro
266 Example: Mixing a Project with Dialogue, Music, and Effects Submixes
270 Using Sends and Busses
273 Using the Mixer
273 Working with Channel Strips in the Mixer
284 Working with Effects in the Mixer
286 Working with Sends and Busses in the Mixer
288 Setting the Overall Project Volume Level
290 Using the Master Bus
290 Listening to a Temporary Mono Mix
291 Recording Audio in the Mixer
291 Recording Automation in the Mixer
292 Creating Multiple Mixes
292 Things to Keep in Mind While Mixing
Chapter 9 293 Mixing Surround Sound
293 What Is 5.1 Surround?
294 Creating a Surround Project
294 Setting Up for Surround
294 Setting Up Soundtrack Pro for Surround
Contents 7
298 Surround Speaker Placement
299 Using Surround Panners to Create a Surround Mix
299 The Mini Surround Panner
300 The Surround Panner HUD
303 Surround Panner Automation
303 Modifier Keys for Moving the Puck
304 Surround Metering
306 Surround Mixing Strategies
306 Mixing Surround Files
307 Converting a Stereo Mix to 5.1 Surround
309 Placing Dialogue and Voiceover in a Surround Mix
310 Placing Stereo Music in a Surround Mix
310 Using the Center Channel
310 Using Surround Channels
311 Using Surround Effect Plug-ins
311 Limitations of the LFE Channel
312 Accommodating Stereo Playback
312 Exporting and Delivering 5.1 Surround Projects
312 Mixdowns
313 Project Files
Chapter 10 315 Working with Video in Soundtrack Pro
315 Supported Video File Formats
316 Adding a Video to a Project
317 Playing the Video
320 Viewing Video Details
321 Working with a Video’s Audio
321 Using the Time Display and Time Ruler with Video
322 Scrubbing and Spotting with the Multipoint Video HUD
325 Removing a Video from a Project
Chapter 11 327 Working with Audio Effects
327 Processing Effects and Realtime Effects
330 Working with Effect Presets
331 Audio Effects Included with Soundtrack Pro
343 Working with Realtime Effects
353 Working with Processing Effects
Chapter 12 355 Working with Automation
355 Working with Envelopes
365 Recording Automation Data
Chapter 13 367 Recording Audio in Soundtrack Pro
367 Getting Ready to Record
8 Contents
368 Recording Audio in the Timeline
374 Recording Audio in the Mixer
375 Recording Audio in the File Editor Project View
Chapter 14 377 Creating Podcasts in Soundtrack Pro
378 Podcasting Media Production
379 Using the Podcast Track and Podcast Markers
379 Displaying the Podcast Track and the Details Tab
380 Podcast Marker Information in the Details Tab
381 Adding Markers to a Podcast
384 Adding Images to a Podcast
387 Exporting Podcasts
387 Exporting Audio Podcasts
388 Exporting Video Podcasts
390 Using Post-Export Actions for Podcast Production
Chapter 15 391 Using Control Surfaces with Soundtrack Pro
391 Connecting Control Surfaces
392 Adding and Deleting Control Surfaces
393 Premapped Controls
393 Mapping Commands to Control Surface Buttons
394 Recording Control Surface Automation
Chapter 16 395 Exporting Multitrack Projects
396 About the Export Dialog
397 Exporting and the Cycle Region
397 Exporting a Master Mix
414 Exporting Tracks, Busses, and Submixes Separately
415 Exporting Multiple Mono Files
416 Using Post-Export Actions
418 Using Export Presets
419 Exporting to AAF
419 Saving Multitrack Projects
419 Distributing a Multitrack Project and Its Media Files Together
Chapter 17 421 Using Soundtrack Pro with Other Applications
421 Using Soundtrack Pro with Final Cut Pro
421 About Soundtrack Pro Audio File Projects
422 Methods for Sending Audio from Final Cut Pro to Soundtrack Pro
422 Sending Individual Audio Clips from Final Cut Pro to Soundtrack Pro
428 About Soundtrack Pro Multitrack Projects
428 Creating Soundtrack Pro Multitrack Projects from Final Cut Pro Clips or Sequences
432 Using Soundtrack Pro with DVD Studio Pro
434 Using Soundtrack Pro with Motion
Contents 9
435 Using Soundtrack Pro with Third-Party Applications
435 Exchanging OMF and AAF Files with Other Applications
437 Exporting Audio Files
Chapter 18 439 Using Conform with Final Cut Pro
439 About Conforming Manually
439 Using Soundtrack Pro Conform
444 Reviewing and Approving the Changes in the Conform Result Project
Appendix A 449 Soundtrack Pro Keyboard Shortcuts
449 General and File
450 Layouts, Tabs, and HUDs
451 Navigating the Timeline
451 Project Playback
452 Cycle Region
453 General Editing
453 Editing Audio Clips in the Timeline
454 Moving Audio Clips and Envelope Points
455 Viewing the Timeline
456 Timeline Tools
456 File Editor Project View Tools and Commands
457 Processing and Editing Audio Files
458 Tracks, Busses, and Submixes
459 Markers
459 Selecting Audio Clips in the Timeline
460 Video Out
460 Recording
461 Using Arrow Keys to Move the Playhead
461 Working with Timeslices
Appendix B 463 Audio Fundamentals
463 What Is Sound?
463 Fundamentals of a Sound Wave
465 Frequency Spectrum of Sounds
467 Measuring Sound Intensity
469 Signal-to-Noise Ratio
470 Headroom and Distortion
470 Dynamic Range and Compression
471 Stereo Audio
473 Digital Audio
474 Sample Rate
474 Bit Depth
Appendix C 477 Working with Professional Video and Audio Equipment
10 Contents
477 About Video Interfaces, Signals, and Connectors
477 Video Interfaces
480 Video Signals and Connectors
485 About Audio Interfaces, Signals, and Connectors
485 Setting Up an Audio Interface
490 Audio Connectors, Cables, and Signal Formats
494 About Balanced Audio Signals
496 Tips for Choosing Speakers and an Amplifier
497 Frequency Response and Dynamic Range
497 Self-Powered Versus Passive Speakers
498 Amplifiers and Signal Levels for Unpowered Speakers
498 Connecting Professional Video Devices
498 Connecting Professional SD Video Devices
501 Connecting Professional Component Analog Video Devices
501 Connecting Consumer Analog Video Devices
501 Connecting Non-DV Devices to a DV Converter
503 Connecting Professional Audio Devices
503 Connecting Professional Digital Audio Devices
503 Connecting Consumer Digital Audio Devices
503 Connecting Professional Analog Audio
504 Synchronizing Equipment with a Blackburst Generator
506 Synchronizing Soundtrack Pro to External Timecode
Appendix D 509 Working with Apogee Hardware in Soundtrack Pro
510 Global Parameters
511 Units Parameters
514 Setup Buttons
Appendix E 515 Solutions to Common Problems and Customer Support
516 Solutions to Common Problems
517 Calling AppleCare Support
Appendix F 519 Using Apple Loops Utility
519 What Is Apple Loops Utility?
520 The Apple Loops Utility Interface
526 Opening Files in Apple Loops Utility
527 Tagging Files in Apple Loops Utility
528 Working With Transients
530 Saving Changes to Files
530 Removing Files From the Assets Drawer
531 Apple Loops Utility Preferences
532 Apple Loops Utility Keyboard Shortcuts
Index 537
11
Preface
An Introduction
to Soundtrack Pro
Soundtrack Pro gives you the tools you need to create
high-quality soundtracks for your film and video productions.
Most experienced film and television producers know that “audio is more than half the
picture.” The art and techniques of sound recording, dialogue editing, sound effect
recording and placement, mixing, and sound design play a substantial role in how
audiences perceive the (visual) quality of a film or video.
Soundtrack Pro is designed to serve the art of motion picture sound post-production.
Like the other applications in Final Cut Studio, Soundtrack Pro was created for the film
and video industry. Soundtrack Pro gives you many specialized tools and powerful
features that you can use to create high-quality audio.
Overview of Soundtrack Pro
Soundtrack Pro provides film and video professionals streamlined workflows for editing
everything from individual audio files to large multitrack sound projects, including
synchronizing audio and video, editing sound in place, working with automatic
dialogue replacement (ADR), analyzing and fixing common audio problems like clicks
and pops, and creating stereo and surround sound design. Add interoperability with
the other applications in Final Cut Studio to this list of features, and you have a
professional-quality audio application designed to meet the needs of the most
discerning audio editors and mixers.
Soundtrack Pro features two types of projects: audio file projects and multitrack projects.
You use audio file projects to edit individual audio files. This is sometimes known as
waveform editing. However, unlike most waveform editing applications, Soundtrack Pro
allows you to edit your audio files nondestructively by keeping track of the actions you
have performed on your audio file. You can edit down to the file’s individual sample level
and perform tasks ranging from audio repair to sound design. You can perform edits
nondestructively using actions, which include processing effects and other operations.
You can analyze audio files for a range of common audio problems, including clicks and
pops, hum, and phase issues, and automatically fix problems that are found.
12 Preface An Introduction to Soundtrack Pro
Multitrack projects look and function similarly to Final Cut Pro projects. You arrange a
multitrack project’s audio clips on the tracks in the Timeline. Multitrack projects contain
the features you expect from a high-performance and professional-quality audio editor,
including features to synchronize audio and video, work with ADR and multitake
editing, and automate volume, pan, and other changes over time using envelopes. You
can record over multiple channels to the Timeline or the File Editor or to multiple tracks
in the Timeline.
Most audio applications focus on multitrack editing or waveform editing, but not both.
Furthermore, most waveform editing applications handle media destructively—making
permanent changes to your media files. Soundtrack Pro provides the best of both
worlds: nondestructive waveform editing while working in a multitrack project.
You can edit audio clips in a variety of ways in the Timeline. You can select, cut, copy,
and paste clips; move, resize, transpose, split, and join them; and edit them in other
ways. You can also apply any actions to and process menu operations for any clip
directly in the Timeline.
You can organize your multitrack project for the final mix by creating busses and
submixes, adding realtime effects and actions, and adding surround panning. When
you’re ready to mix, you can mix in the Timeline or in the Soundtrack Pro Mixer. The
Mixer models a traditional hardware mixing board and includes a channel strip for each
track, bus, and submix in the project.
Soundtrack Pro includes a large library of stereo and surround sound effects and music
beds that you can use for Foley effects, background ambience, sound effects, and
music transitions in your audio and multitrack projects. Soundtrack Pro also includes a
generous selection of professional-quality effects plug-ins, like Space Designer and
Channel EQ that you can add to tracks, busses, and submixes.
You have numerous options for exporting your project. You can export your mix (or
selected tracks, busses, or submixes) in a variety of audio file types including WAVE,
AIFF, MP3, AAC, Dolby Digital Professional, and as a QuickTime movie. You can export
your mix with Compressor, Apple’s high-performance encoding application. You can
also pick from a variety of post-export actions that automatically open the mix in a
Final Cut Pro sequence, or export it to Motion, Logic, or Waveburner.
Preface An Introduction to Soundtrack Pro 13
Using Soundtrack Pro in Your Post-Production Workflow
On its own, Soundtrack Pro is a powerful audio editing application. As part of
Final Cut Studio, Soundtrack Pro becomes an integral part of your post-production
workflow.
You can easily share media projects between Final Cut Pro and Soundtrack Pro. When
you send a sequence from Final Cut Pro, your audio files and a compiled video file
arrive in a Soundtrack Pro multitrack project, ready for you to edit. After editing and
creating your final mix, you can automatically send a mixdown back to the original
Final Cut Pro sequence. The Soundtrack Pro Conform feature allows you to quickly sync
up the picture editor’s cut with the sound editor’s version of the same sequence.
Unlike many audio editing applications, Soundtrack Pro was created specifically to
produce sound for motion picture audio projects. This means it has many specialized
tools and features that simplify and enhance the sound-for-picture editing process.
Here are some examples of how you can use Soundtrack Pro to enhance your motion
picture sound editing and mixing experience:
 To quickly synchronize a sound effect with the picture using the Multipoint Video HUD
For more information, see “Scrubbing and Spotting with the Multipoint Video HUD”
on page 322.
 To edit audio dialogue replacement (ADR) recordings, combine them with
production sound files, and create perfect voiceover narration
For more information, see Chapter 7, “Using the Multitake Editor,” on page 251.
 With the Soundtrack Pro Conform feature, to quickly merge two versions of the same
sequence: the picture edit (from Final Cut Pro) and the sound edit/mix (from
Soundtrack Pro)
For more information, see Chapter 18, “Using Conform with Final Cut Pro,” on
page 439.
 To perfect and clean up individual audio files. You can go straight into a clip’s
waveform to correct a click or pop or add an effect. Soundtrack Pro makes it easy for
you to move between editing individual clips and arranging your overall multitrack
project for a quick back-and-forth workflow.
To learn more about editing individual audio files, see “Editing Audio Clips in the
Multitrack Timeline” on page 162 and Chapter 6, “Editing Audio Files,” on page 191.
 To lift effects from one clip and apply them to other clips using lift-and-stamp tools
and the Sound Palette, and to create palettes of sound processing for future use
For more information, see “Using the Lift and Stamp Tools” on page 179.
 To organize your multitrack project for professional sound effect editing and mixing
For more information, see “Basic Signal Routing in Soundtrack Pro” on page 263 and
“Using Sends and Busses” on page 270.
14 Preface An Introduction to Soundtrack Pro
 To prepare your multitrack project for distribution and final delivery, such as foreign
language versions (for example, to create separate submixes for dialogue, sound
effects, and music)
For more information, see “What Is a Submix and How Do You Use It?” on page 263
and “Example: Mixing a Project with Dialogue, Music, and Effects Submixes” on
page 266.
 To use advanced editing techniques and tools in the multitrack Timeline for
streamlined sound editing
For more information, see “Using the Timeline Editing Tools” on page 164, “Moving
Around in the Timeline” on page 128, “Selecting Audio Clips in the Timeline” on
page 147, and “Editing with the Timeslice Tool” on page 174.
 To create a podcast from a video edited in Final Cut Pro
For more information, see Chapter 14, “Creating Podcasts in Soundtrack Pro,” on
page 377 and “Exporting Video Podcasts” on page 388.
 To create stereo and surround mixes for the same project
For more information, see “Mixing Surround Sound” on page 293 and “Converting a
Stereo Mix to 5.1 Surround” on page 307.
 To set up your sound-for-picture editing system to display video on an external video
monitor or use Digital Cinema Desktop on the Apple Studio and Apple Cinema Displays
For more information, see “Setting Up a System Using a Video Output Device” on
page 30 and “Video Out Preferences” on page 103.
 To adjust the selection for an action. For example, you may have applied an effect to a
portion of a file, and you might like to move that effect to a different portion of the file.
For more information, see “Selecting Part of an Audio File” on page 202, “Editing with
the Timeslice Tool” on page 174, and “Working with Actions” on page 230.
 To use the resizable Timecode HUD to display the current project timecode (for a
client sitting across the room)
For more information, see “Timecode HUD” on page 64.
 With the Frequency Spectrum view and the Frequency Selection tool, to make
selections of frequency ranges as well as copy, paste, delete, and adjust the
amplitude of frequency selections
These tools help you visually pinpoint specific frequencies, for example, some noise
that you want to remove. For more information, see “Using Frequency Spectrum
View” on page 214.
 To send a mixdown back to Final Cut Pro automatically
Soundtrack Pro can send a new copy of the Final Cut Pro sequence that looks just
like the original sequence but has additional audio tracks that contain your mixdown.
For more information, see “Sending a Mixdown Back to Final Cut Pro Automatically”
on page 430.
Preface An Introduction to Soundtrack Pro 15
 As you drag clips to the Timeline, to separate the channels of stereo and
multichannel clips into individual clips, or combine separate clips into single stereo
or multichannel clips
For more information, see “Separating Channels by Option-Dragging” on page 122
and “Combining Separate Clips to Create Multichannel Clips” on page 123.
 To arrange background music or add FX and Foley in stereo or surround sound
For more information, see Chapter 18, “Using Conform with Final Cut Pro,” on
page 439.
Combining these Soundtrack Pro features creates your sound-for-picture project, a
balanced sound design that enhances your video or film project using tools that look
like and function similarly to the tools you know from using Final Cut Pro.
Notable Features in Soundtrack Pro
Soundtrack Pro provides a powerful set of tools for your motion picture sound editing
and mixing projects, including the following features.
Audio editing features:
 Powerful audio editing: You can edit audio files nondestructively in Soundtrack Pro.
You can edit audio files graphically with sample-accurate precision and process files
using actions, which can be reordered and turned on or off individually.
 Analysis and repair of common audio problems: You can choose which problems to
analyze the file for, then fix the problems detected by analysis either individually or
in a single operation. Selected problems are highlighted in the waveform display for
easy viewing.
 Multitake Editor: Use the Multitake Editor to edit multitake and synced audio that is
created by performing multitake recording (such as in automatic dialogue
replacement, or ADR).
 Edit in place: Edit and process a file’s waveform directly in the Timeline and hear the
changes in the context of your whole multitrack project. Simply select a clip in the
Timeline and it appears in the File Editor tab below. Any changes you make to the
media file are updated in the Timeline immediately.
 Ability to add professional-quality effects: Soundtrack Pro includes high-quality effects
plug-ins from the Logic Pro effects library that you can use in your projects, including
the Space Designer convolution reverb. You can also install third-party effects in the
Audio Units plug-in format.
 Frequency Selection tool and Spectrum View HUD: Use the Frequency Selection tool in
the Frequency Spectrum view to make selections of frequency ranges as well as
copy, paste, delete, and adjust the amplitude of frequency selections. The new
Spectrum View HUD provides extensive controls.
16 Preface An Introduction to Soundtrack Pro
 Tape-style scrubbing: The Scrub tool provides detailed scrubbing that realistically
approximates the “rock-the-reels” scrubbing on analog tape decks to help you
quickly find a particular sound or event in a long audio file.
 Multichannel support: You can edit up to 24 channels in a single audio file, and play
back and record up to six channels in a single audio file in the Timeline.
Soundtrack Pro 2 supports the following types of multichannel files: AIFF, WAVE,
Broadcast Wave, QuickTime, CAF, and single folder/multi-mono file AIFF.
Multitrack project features:
 Advanced multitrack editing features: Soundtrack Pro includes the ability to lock/unlock,
enable/disable, and color-label clips and tracks in the Timeline; an advanced Timeslice
tool for marquee time selections; enhanced marquee clip selection; Final Cut Pro–style
J-K-L transport controls; the ability to spot clips from various media tabs to the
Timeline; the ability to move clips numerically; blade tools for splitting clips; region
markers; and a mode for selecting and moving envelope points with clips.
 Record and edit automation tools: You can record movements to sliders and other
onscreen controls, play back the automation, and edit it in the Timeline.
 OMF and AAF support: Soundtrack Pro can use these industry-standard project
interchange formats to import the editing decisions from other video and audio
editing applications. You can also export a multitrack project from Soundtrack Pro
as an AAF file.
 Sophisticated export options: You can export an entire project, or selected portions of
it, to a mono, stereo, or multichannel audio file using the following audio file types:
AIFF, WAVE, NeXT, Sound Designer II, MP3, AAC/Podcast, and Dolby Digital Professional
(AC-3). Soundtrack Pro has a direct link to Compressor, the Final Cut Studio
transcoding application, for exporting to numerous other audio and video formats.
Other options include a variety of post-export actions, the ability to add your own
custom AppleScript actions using the Export dialog, as well as custom export presets.
 Lift and Stamp tools and the Sound Palette: Soundtrack Pro includes time-saving tools
for applying work you have done on one clip to one or more other clips. Use the Lift
tool to copy properties from selected clips. Create a processing template in the
Sound Palette that can be applied to other clips with the Stamp tool.
Final Cut Studio workflow features:
 Send clips: You can send clips from the Final Cut Pro Timeline to Soundtrack Pro and
edit the clips in the File Editor. When you save the clip, it is automatically updated in
your Final Cut Pro project. Soundtrack Pro includes similar support for Motion and
DVD Studio Pro.
 Send sequences: You can also send clips or entire sequences to a Soundtrack Pro
multitrack project to complete your final mix, adding additional tracks of sound
effects, voiceover, and music. Both stereo and surround sound mixing are supported.
Preface An Introduction to Soundtrack Pro 17
 Conform: You can use the Conform feature in Soundtrack Pro to quickly merge two
versions of the same sequence: the picture edit (from Final Cut Pro) and the sound
edit/mix (from Soundtrack Pro).
 Automatic mixdown return: When you export a mixdown of the multitrack project
originally sent from Final Cut Pro, you can choose to open a new copy of the
Final Cut Pro sequence that looks just like the original sequence but has additional
audio tracks that contain your mixdown.
Mixing features:
 Advanced mixing capabilities: You can mix multitrack projects in the Mixer, which
displays a virtual mixing console for a project. Using the channel strips in the Mixer,
you can adjust levels, mute and solo tracks, and add realtime effects. You can create
submixes using busses, and send audio to multiple physical outputs using submixes.
 Surround editing and mixing: Soundtrack Pro provides an elegant and easy-to-use
toolset for creating and adjusting projects in 5.1 discrete surround audio including
surround panning, mixing, and automation; unparalleled flexibility with surround
sources; and the ability to easily switch between stereo and surround mixes.
 Support for control surfaces: In addition to recording movements of onscreen
controls, you can connect a supported control surface and record automation of
control surface movements.
 Synchronized video display: You can add a video to a project and view it in the Video
tab or display the video on an external video monitor. Audio/video synchronization is
accurate both onscreen and on the external monitor, up to HD resolutions. You can
accurately place audio clips to sync with specific frames or points in time in the video.
Other features:
 Audio recording capability: You can record audio directly into multiple tracks in the
Soundtrack Pro Timeline, including recording multiple takes.
 Powerful Inspector tabs: These include the Tracks tab for easily viewing, selecting, and
grouping tracks, busses, and submixes, and the Bin, a hierarchical display of
information about all open projects.
 HUDs: Heads-up displays (HUDs) are semi-transparent floating windows with
controls and displays that you can use to accomplish specific tasks. The HUDs include
the Fade Selector HUD for quickly applying and adjusting fades and crossfades, the
Multipoint Video HUD for providing visual context when you are positioning audio
clips in a video-based project, and the Timecode HUD, which displays the current
project timecode.
 Podcasting: With Soundtrack Pro, audio creators can quickly and easily produce extremely
high-quality audio and video podcasts directly from their Soundtrack Pro projects.
18 Preface An Introduction to Soundtrack Pro
Resources for Learning About Soundtrack Pro
This manual describes the Soundtrack Pro interface, commands, and menus, and gives
step-by-step instructions for creating Soundtrack Pro projects and for accomplishing
specific tasks. It also includes information on setting up your system and on audio
basics. It is designed to provide the information you need to get up to speed quickly so
you can take full advantage of the intuitive interface and powerful features of
Soundtrack Pro.
If you want to start by learning how to set up audio hardware to use with
Soundtrack Pro, read Chapter 1, “Setting Up Your System,” on page 21. If you want to
learn about the features and controls in the Soundtrack Pro interface, read Chapter 2,
“The Soundtrack Pro Interface,” on page 33. If you want to jump right in and start using
the application, skip ahead to Chapter 3, “Setting Up Soundtrack Pro,” on page 65. If
you want to read about editing audio files, turn to Chapter 6, “Editing Audio Files,” on
page 191. If you want to start using the multitrack Timeline, read Chapter 5, “Working in
the Timeline,” on page 127.
Soundtrack Pro provides several different sources of support.
About This Soundtrack Pro Onscreen User Manual
The Soundtrack Pro onscreen user manual allows you to access information directly
onscreen while you’re working in Soundtrack Pro. To view this information, choose
Help > Soundtrack Pro User Manual. The Soundtrack Pro onscreen user manual is a fully
hyperlinked version of the Soundtrack Pro User Manual, enhanced with many features
that make locating information quick and easy.
 The homepage provides quick access to various features, including Release Notes,
the index, and the Soundtrack Pro website.
 A comprehensive bookmark list allows you to quickly choose what you want to see
and takes you there as soon as you click the link.
In addition to these navigational tools, the Soundtrack Pro onscreen user manual gives
you other means to locate information quickly:
 All cross-references in the text are linked. You can click any cross-reference and jump
immediately to that location. Then, you can use the Preview Back button to return to
where you were before you clicked the cross-reference.
 The table of contents and index are also linked. If you click an entry in either of these
sections, you jump directly to that section of the user manual.
 You can also use the Find dialog to search the text for specific words or a phrase.
Preface An Introduction to Soundtrack Pro 19
Apple Websites
There are a variety of Apple websites that you can visit to find additional information.
Soundtrack Pro Website
For general information and updates, as well as the latest news on Soundtrack Pro, go to:
 http://www.apple.com/finalcutstudio/soundtrackpro
Apple Service and Support Website
Go here for software updates and answers to the most frequently asked questions for all
Apple products, including Soundtrack Pro. You’ll also have access to product specifications,
reference documentation, and Apple and third-party product technical articles.
To access the Apple Service and Support webpage, go to:
 http://www.apple.com/support
To access the Soundtrack Pro support webpage, go to:
 http://www.apple.com/support/soundtrackpro
To access the Soundtrack Pro discussion webpage, go to:
 http://discussions.info.apple.com
Other Apple Websites
Start at the Apple homepage to find the latest and greatest information about
Apple products:
 http://www.apple.com
QuickTime is industry-standard technology for handling video, sound, animation,
graphics, text, music, and 360-degree virtual reality (VR) scenes. QuickTime provides a
high level of performance, compatibility, and quality for delivering digital video. Go to
the QuickTime website for information on the types of media supported, a tour of the
QuickTime interface, specifications, and more:
 http://www.apple.com/quicktime
FireWire is one of the fastest peripheral standards ever developed, which makes it great
for use with multimedia peripherals, such as video camcorders and the latest high-speed
hard disk drives. Visit this website for information about FireWire technology and
available third-party FireWire products:
 http://www.apple.com/firewire
20 Preface An Introduction to Soundtrack Pro
For information about seminars, events, and third-party tools used in web publishing,
design and print, music and audio, desktop movies, digital imaging, and the media arts,
go to:
 http://www.apple.com/pro
For resources, stories, and information about projects developed by users in education
using Apple software, including Soundtrack Pro, go to:
 http://www.apple.com/education
Go to the Apple Store to buy software, hardware, and accessories direct from Apple
and to find special promotions and deals that include third-party hardware and
software products:
 http://www.apple.com/store
1
21
1 Setting Up Your System
The way you set up your system depends on the audio
equipment you plan to use.
You can use your computer’s speaker or headphone jack to monitor the audio output
from Soundtrack Pro. For better results, you may want to connect external monitors or
speakers to your system, so that you can monitor the audio output at a higher level of
quality. You may want to connect other external audio equipment such as an audio
interface or a mixer, particularly if you plan to record your own audio in Soundtrack Pro.
 For information on system and hardware requirements, see the Read Before You
Install document on the installation DVD.
 For information on installing the software, see the Installing Your Software booklet.
System Considerations
To achieve the most effective results, you should consider the following issues when
setting up your system.
Processor Speed and RAM
Digital audio files require intensive processing by your computer. If you plan to work on
longer or more complex projects, or use multiple effects plug-ins in your projects, a
computer with a faster processor can facilitate your productivity.
Soundtrack Pro is optimized for use with computers that have a multiprocessor
architecture. Working with Soundtrack Pro projects on a multiprocessor-equipped
computer can make your workflow more efficient, especially when creating longer or
more complex projects.
If you plan to work on large projects, it’s useful to have extra random-access memory,
or RAM, installed in your computer. Additional RAM allows you to play back more files
simultaneously, use a greater number of effects plug-ins, and keep several multimedia
applications open at the same time.
22 Chapter 1 Setting Up Your System
Hard Disks
It’s also a good idea to have a large hard disk with plenty of available space to store
the media (audio and video) files you use with Soundtrack Pro. As you work with the
application, you’ll likely want to acquire a large collection of sounds to use in your
Soundtrack Pro projects. Hard disk performance is a critical aspect of your editing
system: the storage capacity and data rate of your disks must match or exceed the
requirements of the audio (and video) formats you are using.
If you store media files on an external hard disk, make sure the disk has a fast enough
seek time and a high enough sustained data transfer rate for use with video and audio
files. Consult the manufacturer’s specifications.
Dedicated Hard Disk
Every minute of stereo digital audio (recorded using a 44.1 kHz sample rate and 16-bit
depth) requires roughly 10 MB of hard disk space. If you plan to record large amounts
of audio in Soundtrack Pro, you may want to record to a hard disk dedicated to storage
for your Soundtrack Pro projects.
Setting the Audio Input and Output
You can set the default input and output devices for Soundtrack Pro with the Audio
MIDI Setup utility.
To select a default output device:
1 Double-click Audio MIDI Setup in the Utilities folder.
2 Choose the device from the Default Output pop-up menu.
Note: Optionally, you can choose Apple menu > System Preferences, click Sound, then
click Output. Select the audio interface in the list that appears.
To select a default input device:
1 Double-click Audio MIDI Setup in the Utilities folder.
2 Choose the device from the Default Input pop-up menu.
Note: Optionally, you can choose Apple menu > System Preferences, click Sound, then
click Input. Select the audio interface in the list that appears.
Chapter 1 Setting Up Your System 23
Audio MIDI Setup
The Audio MIDI Setup utility is a program that comes with the Mac OS X for adjusting a
computer’s audio input and output settings and managing MIDI devices. You can select
audio channel input and output devices, configure output speakers, set clock rates, and
control levels. You may also be able to open a configuration utility provided by your
audio device.
For more information, go to:
http://www.apple.com/macosx/features/coreaudio
Adding Audio Units Plug-ins to Your Computer
Soundtrack Pro includes an extensive set of professional-quality effects plug-ins.
Soundtrack Pro uses effects in the Audio Units plug-in format, the native plug-in format
of Mac OS X.
Audio Units plug-ins are also available from third-party manufacturers. When adding
third-party effects to your computer, be sure to read the documentation, including any
Read Me and installation files, that came with the plug-in. Supported Audio Units
effects plug-ins appear in the Effects window under the manufacturer’s name.
Soundtrack Pro does not support VST, ASIO, MAS, or RTAS effects plug-ins.
Connecting Equipment
You can use a variety of audio equipment with Soundtrack Pro for both recording and
playback. For information on connecting a specific piece of equipment to your
computer, read the documentation that came with the equipment.
Final Cut Studio editing systems can be configured to meet the most demanding
professional requirements. An advanced editing system can be built by expanding the
basic system described in the Final Cut Pro User Manual. The following list includes
equipment commonly used in Final Cut Studio editing systems:
 Macintosh computer with Final Cut Studio installed: The core of your editing system
 Professional video and audio devices: For capturing footage and outputting finished
projects. (For more information about video and audio devices, see Appendix C,
“Working with Professional Video and Audio Equipment,” on page 477.)
 External video and audio monitors: For viewing and listening to your program in its
final image and audio quality
 Video and audio interfaces: For connecting professional and non-FireWire devices to
your editing system
 RS-422 serial device control interfaces: For remote device control during capture
and output
24 Chapter 1 Setting Up Your System
 Video, audio, and remote device control cables: For separate video, audio, and remote
device control connections. Unlike a basic DV editing system that uses a solitary
FireWire cable to transfer video, audio, and remote control signals, many professional
configurations require separate cables for each of these signals.
 Additional scratch disks: One or more internal or external hard disks, a RAID, or a
connection to a storage area network (SAN)
 Control surfaces: Hardware controls that let you mix and edit your projects with
greater flexibility and precision than using a mouse to move onscreen controls
Video and Audio Input and Output Devices
An input device is used to transfer footage into your computer. For output, you record
your finished movie to an output device. Basic editing systems use a DV camcorder or
deck as both an input and output device. Professional editing systems may use
multiple video decks to capture and output to different video formats. While
Soundtrack Pro does not support video capture from devices such as camcorders or
VTRs, it does support recording from a variety of digital audio devices.
To connect non-FireWire devices to your computer, you also need a third-party video or
audio interface. For more information, see “About Video Interfaces, Signals, and
Connectors” on page 477.
Video Device
This is a VTR or camcorder you connect to your computer to capture and output media.
The connectors and signal format on your video device determine what kind of video
interface your computer needs to connect to your device.
Audio Device
This is a device, such as a digital audio tape (DAT) recorder or multitrack audio recorder,
that lets you capture or output audio independently from video.
Note: When using external audio devices, it’s a good idea to connect them before
opening Soundtrack Pro.
Chapter 1 Setting Up Your System 25
Video and Audio Interfaces
An interface is a device that adds physical video or audio connectors to your computer
so that you can connect your Final Cut Studio system to other professional equipment
(such as video or audio decks and monitors).
Interfaces provide input and output connectors that aren’t included with your
computer. For example, if you want to output multiple audio channels to an analog
audio mixer or digital multitrack, you need an audio interface that has XLR, 1/4”
tip-ring-sleeve (TRS), AES/EBU, or ADAT Lightpipe output connectors.
You may also want to consider adding a third-party interface to your system if:
 You need to capture or output many audio channels at once
 You are integrating Final Cut Studio into a professional broadcast environment that
requires SDI, HD-SDI, or other non-FireWire video and audio connections
 You need to capture, edit, and output full-resolution, uncompressed video signals
instead of DV video (which is compressed)
 You are digitizing video from an older analog VTR (such as a Betacam SP deck) that
does not have digital video outputs or remote control via FireWire
Third-party video and audio interfaces can be installed in one of your computer’s PCI
slots, connected to the USB port, or connected via FireWire.
For more information about selecting and connecting an audio interface for use with
Soundtrack Pro, see “Setting Up an Audio Interface” on page 485.
External Audio and Video Monitoring
In the final stages of post-production, external video and audio monitors are essential
to ensure the quality of your movie. Editing systems focused on these final phases of
post-production are often called finishing systems.
External Audio Speakers and Monitors
You can play back audio through your computer’s speakers or headphone jack, but the
audio output may not be high enough for you to evaluate your music at a professional
level of quality. Connecting external speakers or monitors to your system allows you to
hear the audio output with greater fidelity and a wider dynamic range. During the final
mix, it is important to monitor your audio so that it matches the listening environment
where the final project will be shown. For detailed information on connecting external
speakers to your audio interface, see the documentation that came with the speakers.
26 Chapter 1 Setting Up Your System
Setting Up a Proper Audio Monitoring Environment
Room shape and material are just as important as the quality of the speakers
themselves. Every surface in a room potentially reflects sound, and these reflections
mix together with the sound originating from the speakers. Rooms with parallel walls
can create standing waves, which are mostly low-frequency sound waves that reinforce
and cancel each other as they bounce back and forth.
Standing waves cause some frequencies to be emphasized or attenuated more than
others, depending on your listening position. When you mix in a room that creates
standing waves, you may adjust certain frequencies more than necessary. However, you
may not notice until you play back your audio in a different listening environment, in
which those frequencies may sound overbearing or nonexistent.
Π Tip: A much cheaper alternative to building new walls is to mount angled pieces of
material to the existing walls to eliminate parallel surfaces.
If the material in a room is very reflective, the room sounds “brighter” because high
frequencies are easily reflected. Mounting absorbing material (such as acoustic foam)
on the walls can reduce the brightness of a room. A “dead room” is one that has very
little reflection (or reverberation). Try to cover any reflective surfaces in your
monitoring environment.
Amplifiers
If you are recording audio from microphones and are not running the microphone’s
signal through a mixer with a microphone pre-amplifier, you need to connect an
amplifier to boost the microphone’s signal before sending it to the computer. If you are
connecting monitors or speakers that are not self-powered, you also need to connect
them through an amplifier.
Mixers
Connecting a mixer to your system allows you to record audio from multiple
microphones or instruments simultaneously, to play back the output from your computer
through connected monitors or speakers, and to control the volume levels of both the
audio input and output. Professional-quality mixers have a number of additional features,
including equalization (EQ) controls, auxiliary sends and returns for adding external
effects, and separate monitor and mix level controls. Mixers may also include inboard
pre-amplification for microphones, making the use of a separate amplifier unnecessary.
Control Surfaces
Soundtrack Pro supports control surfaces that use the Mackie Control and Logic
Control protocols. For information on connecting and using control surfaces, see
Chapter 15, “Using Control Surfaces with Soundtrack Pro,” on page 391.
Chapter 1 Setting Up Your System 27
External Video Monitors
When you design and edit a video soundtrack, it’s ideal to watch the video on a
monitor similar to the one you will use for the final screening. An external video
monitor can display color, frame rate, and interlaced scanning more accurately than
your computer display. (For information on connecting professional video devices, see
“Connecting Professional Video Devices” on page 498.)
If you are working on an NTSC or a PAL project, you should watch it on an external
video monitor that shows the video interlaced. For more information about external
video monitoring, see the Final Cut Pro User Manual.
Example Hardware Setups
The following sections provide several examples of different hardware setups.
Setting Up a System Using Powered Speakers
With this setup, you can monitor the audio output through a set of connected
powered speakers.
This setup uses the following equipment:
 Your computer and display
 A set of powered speakers, including speaker wire and a power adaptor
Computer
Speakers
Speaker cables
Power cables
28 Chapter 1 Setting Up Your System
Setting Up a System Using a USB Audio Interface
With this setup, you can record audio input from microphones and musical
instruments, and monitor audio output, through a USB audio interface.
This setup uses the following equipment:
 Your computer and display
 USB audio interface (from 2 to 8 channels) with USB cable to connect to your computer
 Microphone
 Musical instruments (guitar, bass, and keyboard)
 Cables to connect microphones and instruments to the audio interface
 Set of monitors or speakers
Monitors
Audio interface
USB
cable
Speaker
cables
Microphone
Computer Instrument
Power cables
Chapter 1 Setting Up Your System 29
Setting Up a System Using a FireWire Interface and a Control Surface
With this setup, you can record audio input from several sources simultaneously and
monitor audio output channels independently, through a mixer connected to a
FireWire audio interface.
This setup uses the following equipment:
 Your computer and display
 FireWire audio interface with FireWire cable to connect to your computer
 Control surface and MIDI interface with USB cable to connect MIDI interface to
your computer
 MIDI cables to connect control surface to MIDI interface
 Set of powered monitors or speakers
 Speaker cables
Monitors
Control surface
Audio interface
FireWire
cable
Speaker cables
Computer
Power cables
Midi interface
30 Chapter 1 Setting Up Your System
Setting Up a System Using a Video Output Device
With this setup, you can play video and audio through an external video output device.
Because using a video output device can result in increased latency, you may want to
combine this setup with an audio-only setup (as shown in the preceding pages), and
switch between the two setups.
This setup uses the following equipment:
 Your computer and display
 Video output device (FireWire device or PCI card)
 High-quality video monitor
 Audio monitors
Computer
Video output device
FireWire
cable
Audio monitors
Speaker
cables
Mixer
Video monitor
Chapter 1 Setting Up Your System 31
Setting Up a System Using a PCI Video Interface Card
with Breakout Box
Many PCI cards aren’t big enough to fit all of the necessary video and audio
connectors. In these situations, a breakout box is connected to the PCI card via a
multipin connector on a long cable, and the connectors are accessible on the breakout
box instead of on the back of the PCI card. A breakout box is also useful because it
allows you to place the connectors somewhere more convenient than the back of your
computer, such as on an equipment rack or a desktop.
This setup uses the following equipment:
 Your computer and display
 Video interface (PCI card with breakout box)
 High-quality video monitor
 Audio speakers
Computer Analog or digital VTR
(with PCI card)
Breakout box
BNC connector
32 Chapter 1 Setting Up Your System
Setting Up a System for Stereo Mixing
By default, Soundtrack Pro is set up for stereo mixing.
Stereo Speaker Placement and Listening Position
Most video editing suites use nearfield monitors, which are speakers designed to be
listened to at fairly close range. Speakers should be at least a foot or two away from
any walls to prevent early reflections of sound that combine with and muddy the
original sound.
Position the speakers as far from your listening position as they are from each other
(forming an equilateral triangle). For example, if the distance between the speakers is
six feet, you should place yourself six feet from each speaker. The apparent width of the
sound stage, or stereo image, increases as the distance between the speakers increases.
However, if the two speakers get too far apart, sound information appearing in the
center (between both speakers) starts to disappear.
Setting Up a System for Surround Mixing
For complete instructions on setting up the surround mixing tools in Soundtrack Pro,
see “Setting Up for Surround” on page 294.
2
33
2 The Soundtrack Pro Interface
In Soundtrack Pro, you work in multiple windows and tabs
that you can arrange to suit your workflow.
Soundtrack Pro is designed to handle every aspect of creating audio for a video or film
project, from multitrack recording to advanced audio processing and mixing. You can
use Soundtrack Pro together with Final Cut Pro as a complete audio post-production
solution that is powerful, yet also elegant and flexible.
Video tab
Details tab
Toolbar
Standard layout
Meters tab
Browser tab
Mixer tab Transport controls
34 Chapter 2 The Soundtrack Pro Interface
Soundtrack Pro Window Organization
The Soundtrack Pro window is arranged into several areas: the project pane and three
surrounding panes: the left pane, the lower pane, and the right pane. The project pane is
reserved as the central “canvas” for the multitrack Timeline and for individual audio file
projects. Use the transport controls at the bottom of the window to play back projects that
you open in the project pane. Task-specific tabs are docked in the left, lower, and right
panes. By default, the tabs are grouped by function and are laid out for a streamlined audio
post-production workflow. Nonetheless, you can easily rearrange the tabs and resize the
panes to suit your needs and then save the custom layouts for future use.
Showing and Hiding the Panes
The tabs are grouped by function to optimize your workflow. For example, the media
I O-related tabs (Meters, Recording, Search, Browser, and Favorites) are located in the
right pane by default. When you are finished with media input, you can close the entire
right pane by choosing Window > Toggle Right Pane, and thereby allow more
horizontal space for the project pane and the lower pane.
Left pane
Project pane
Lower pane
Transport controls (project pane)
Right pane
Chapter 2 The Soundtrack Pro Interface 35
Or, for example, you may wish to work exclusively in the Timeline or the File Editor
project view and dedicate the entire Soundtrack Pro window to that view.
36 Chapter 2 The Soundtrack Pro Interface
Because hiding and showing different panes of the Soundtrack Pro window is so
convenient, you will probably use this feature frequently during the course of a project.
Here are the keyboard shortcuts for hiding and showing the various panes.
Rearranging Tabs
At any time, you can rearrange the layout by tearing off individual tabs and docking
them in other panes, or simply have them float over the Soundtrack Pro window. There
are numerous possible combinations. Mix and match the tabs to suit your particular
workflow needs.
Note: At any time, you can revert to the default layout by choosing Window >
Layouts > Standard, or pressing F1. Also, you can save any custom layouts you create.
For more information on managing layouts, see “Using Project Layouts” on page 68.
Pane Keyboard Shortcut
Left pane
Lower pane
Right pane
control A
control S
control D
The Meters, Search,
and Browser tabs have
been moved from the
right pane and docked
in the left pane.
Chapter 2 The Soundtrack Pro Interface 37
Project Pane
The project pane is the central “canvas” where you work on your projects in either the
multitrack Timeline or the File Editor project view. Use the Timeline (shown below) to
arrange audio clips in multitrack projects. Use the File Editor project view for individual
audio file projects.
 Toolbar: Includes tools for common functions. You can customize which tools appear
in the Toolbar.
 Tabs: You can switch between any projects open in the Timeline or File Editor
project view.
 Transport controls: Control playback and the position of the playhead, and turn
recording on or off. (For more information, see “Transport Controls” on page 38.)
 Monitor Volume slider: Adjusts the overall monitor volume when you play the project.
The volume level defaults to 0 dB when you create a project. Adjusting the Monitor
Volume slider does not affect the mix signal or the export volume.
 Mono Mix button: Click to listen to a temporary mono mix of the project.
 Playhead Location value slider: Displays the current playhead position. You can move
the playhead by clicking the arrows, dragging, or typing a value.
 Selection Length value slider: Displays the length of the current Timeslice (in the
Timeline) or selection (in the File Editor). You can change the Timeslice or selection
length by clicking the arrows, dragging, or typing a value.
Tabs
Playhead Location
value slider
Monitor Volume slider
Mono Mix button Transport
controls
Toolbar
Selection Length
value slider
38 Chapter 2 The Soundtrack Pro Interface
Toolbar
The Toolbar is located at the top of the Soundtrack Pro window. When you first open
Soundtrack Pro, the Toolbar includes buttons for creating a new project, creating a new
audio file, creating a new track, and other common functions. You can customize the
Toolbar, adding buttons for functions you want to access frequently. For information
about customizing the Toolbar, see “Customizing the Toolbar” on page 69.
Transport Controls
You use the transport controls to control playback, set the position of the playhead,
start recording, and activate the cycle region.
 Playhead Location value slider: Displays the current playhead position. You can move
the playhead by clicking the arrows, dragging, or typing a value.
 Record button: Starts and stops the recording process, and arms tracks for recording
when no tracks are pre-armed.
 Play from Beginning button: Starts playback from the beginning of the project.
 Go to Beginning button: Moves the playhead to the beginning of the project or to the
beginning of the cycle region if it is active.
 Play/Pause button: Starts playback at the current playhead position. If the project is
playing, stops playback.
 Go to End button: Moves the playhead to the end of the project or to the end of the
cycle region if it is active.
 Cycle button: Activates the cycle region, if one is set in the Time ruler. If no cycle
region is set, loops the project.
 MIDI Sync button: Synchronizes playback with incoming MIDI Clock and MIDI
Timecode (MTC) signals.
Record Go to End
MIDI Sync
Play from
Beginning
Play
Playhead Location
value slider
Selection Length
value slider
Go to Beginning Cycle
Chapter 2 The Soundtrack Pro Interface 39
 Selection Length value slider: Displays the length of the current Timeslice (in the
Timeline) or selection (in the File Editor). You can change the Timeslice or selection
length by clicking the arrows, dragging, or typing a value.
For information on using the transport controls, see “Controlling Playback with the
Transport Controls” on page 77.
Timeline
The Timeline gives you a visual representation of a multitrack project, showing the
position of clips, the playhead, and other items in time. The Timeline is organized into
three groups of horizontal rows called tracks, busses, and submixes, as well as a video
track, a podcast track, and a Master bus. You can add and arrange audio clips in the
audio tracks, use sends to create auxiliary busses, and route audio to physical output
channels using submixes. You can control the sound of each audio track, bus, and
submix using the controls in its header.
 Previous and Next Selection buttons: Move backward and forward through Timeslice
selections you’ve made in the waveform display.
 Timeline editing tools: Select items using the Selection (arrow) tool, make time-based
selections with the Timeslice tool, split audio clips using the Blade and Blade All
tools, copy and paste attributes with the Lift and Stamp tools, and scrub the Timeline
with the Scrub tool. For more information, see “Using the Timeline Editing Tools” on
page 164.
 Automation Mode pop-up menu: Choose the mode for recording automation using
either the onscreen controls or an external control surface.
Timeline controls
Scroll bar
Audio tracks, busses, and
submixes
Project controls
Track area
Timeline editing tools
Time display
Global Timeline view
Time ruler
Show pop-up menu
Track headers
Automation Mode
pop-up menu
Previous and Next
Selection buttons
40 Chapter 2 The Soundtrack Pro Interface
 Project controls: Set the project’s sample rate and other properties using these controls.
 Show pop-up menu: Choose whether the video track, podcast track, audio tracks,
busses, submixes, and master envelopes are visible in the Timeline.
 Global Timeline view: Shows a miniature view of the entire Timeline and the playhead
position, and lets you move quickly to different parts of a project.
 Time display: Shows the current playhead position in both Time-based and
Beats-based formats. You can set the playhead by typing a new playhead position in
the time display.
 Time ruler: You can precisely position clips, the playhead, and other items to a specific
point in time (minutes, seconds, frames) or to a musical beat using the Time ruler.
 Track area: Includes horizontal rows for tracks, busses, and submixes. Also includes
the playhead, envelopes, and markers.
 Headers: Each track, bus, and submix has a header with an icon, name, volume slider,
and other controls. (For more information, see the next section.)
 Timeline controls: Include controls to show the master envelopes, turn snapping on
or off, set the track height, and zoom in or out. (For more information, see “Timeline
Controls” on page 42.)
 Scroll bar: Moves the Timeline horizontally so you can see different parts of the project.
Headers
Each track, bus, and submix in the Timeline has a header that includes the track name,
track icon, and a set of track controls.
 Color label: Indicates the track color, which is applied to any clips on the track (unless
you choose to override the color for individual clips).
 Icon: You can choose an icon for the track, bus, or submix, making it easy to quickly
distinguish it in a large project.
 Name field: You can type a new name for the track, bus, or submix in the name field.
You cannot rename the Master bus.
 Bypass Effects button: Select this button to hear the track without any of the applied
realtime effects.
Name field
Mute
button
Color label
Submix pop-up menu
Envelopes Solo button
disclosure triangle
Panner
Icon
Arm for Recording
Bypass
Effects
Input Routing buttons
Volume
slider
Input menu
Chapter 2 The Soundtrack Pro Interface 41
 Arm for Recording button: Enables (or disables) the track for recording when you click
the Record button. Only tracks have Arm for Recording buttons, not busses or submixes.
 Mute button: Mutes (or unmutes) the track, bus, or submix.
 Solo button: Solos (or unsolos) the track, bus, or submix. Soundtrack Pro supports
both multiple solo and exclusive solo.
 Envelopes disclosure triangle: Shows the track, bus, or submix envelopes in the area
directly below the track.
 Volume slider: Sets the track, bus, or submix relative volume in the overall mix.
 Submix pop-up menu: Choose a submix for the track or bus from the menu. (Tracks
and busses only.)
 Input Device pop-up menu: Use the Input Device pop-up menu to choose the recording
input device, and its Channels submenu to choose the channel (or set of channels).
 Input Routing buttons: Use the Input Routing buttons to confirm or change recording
input signal routing.
 Output pop-up menu: Choose the physical outputs for the submix from the menu.
Submixes only. (Not shown in the illustration.)
 Panner: Sets the pan position of the track or bus. Has two modes: stereo slider or
surround panner. Appears in track and bus headers only, not in submix headers or
the Master bus header.
Note: The Input Device pop-up menu and Input Routing buttons are visible only when
the track height is set to Medium or Large.
For detailed information on using the track controls, see “Using the Track Controls” on
page 142.
42 Chapter 2 The Soundtrack Pro Interface
Timeline Controls
The lower-left corner of the project pane contains controls for various aspects of
Timeline display and operation.
 Master Envelopes button: In the Timeline, shows or hides the master envelopes. In the
File Editor project view, shows or hides the envelopes for the current audio file project.
 Snapping button: Turns snapping on or off.
 Snap To Value pop-up menu: Sets the value to which items in the Timeline snap.
 Height control: Sets the height of tracks, busses, and submixes to one of four settings,
from Reduced to Large. In the File Editor project view, sets the height of the envelopes
for the current audio file project to one of four settings, from Reduced to Large.
 Zoom control: Click the control or drag the slider to change the zoom level. You can
zoom in to edit clips precisely, or zoom out to display more of the Timeline.
For information about using master envelopes, see “Master Bus” on page 364. For
information about snapping, see “Using Snapping” on page 94. For information about
using the Height control and Zoom control, see “Moving Around in the Timeline” on
page 128.
Master Envelopes button
Height control
Zoom control
Snapping button
Snap to Value
pop-up menu
Chapter 2 The Soundtrack Pro Interface 43
File Editor
You can edit individual audio files in the File Editor using actions. Actions give you a
powerful and flexible way to edit audio files nondestructively using professional audio
processing effects and other operations. You can turn individual actions on or off,
reorder actions, flatten actions, and compare the project with and without actions. You
can also analyze audio files in the File Editor and fix common audio problems, including
clicks and pops, hum, and phase problems. The File Editor can take two forms: the File
Editor project view, for detailed work on individual audio files, and the File Editor tab,
for convenient editing within the context of a multitrack project.
 Waveform editing tools: Include the Selection, Sample Edit, Audio Stretching, and
Zoom tools that you can use to graphically edit audio files.
 Automation Mode pop-up menu: Choose the automation mode from the pop-up menu.
 Previous and Next Selection buttons: Move back and forward through selections
you’ve made in the waveform display.
 Waveform View and Frequency Spectrum View buttons: Change the display between
Waveform view and Frequency Spectrum view.
 Time display: Shows the current position of the playhead.
 Global Waveform view: Shows you a miniature view of the entire waveform and the
playhead position, and lets you move quickly to different parts of an audio file.
 Waveform display (and editing area): Shows the waveform of the audio file (or its
frequency spectrum in Frequency Spectrum view). You can select parts of the audio
file to apply different actions to.
Waveform editing tools
Time display
Playhead Location
value slider
Monitor volume slider
Waveform View and
Frequency Spectrum
View buttons
Global Waveform view
Actions tab
Waveform display
Previous and Next
Selection buttons
Transport controls
Automation mode
pop-up menu
Playhead
44 Chapter 2 The Soundtrack Pro Interface
 Transport controls: Control playback and the position of the playhead, and turn
recording on or off. (For more information, see “Transport Controls” on page 38.)
 Playhead: Shows the part of the audio file currently playing.
 Monitor Volume slider: Adjusts the overall monitor volume when you play the project.
The volume level defaults to 0 dB when you create a project. Adjusting the monitor
volume slider does not affect the mix signal or the export volume.
 Mono Mix button: Click to listen to a temporary mono mix of the project.
 Playhead Location value slider: Displays the current playhead position. You can move
the playhead by clicking the arrows, dragging, or typing a value.
 Actions tab: Displays the currently applied actions.
Mixer
You mix your project in the Mixer. All tracks, busses, and submixes (as well as the
Master bus) have channel strips in the Mixer with volume controls, mute and solo
buttons, slots for adding effects, and other controls. You can view the levels for tracks,
busses, submixes, and the Master bus using level meters in their channel strips. You can
also record audio and automate volume and pan changes in the Mixer.
 Automation Mode pop-up menu: Choose the automation mode from the pop-up menu.
 Channel Strip and Mixer pop-up menus: Show or hide different sections of the channel
strips and of the Mixer window.
 Channel strips: Each track, bus, and submix has a channel strip with controls and
level meters.
Channel strips
Channel Strip and Mixer
pop-up menus
Automation Mode
pop-up menu
Chapter 2 The Soundtrack Pro Interface 45
Each channel strip includes the following controls:
 Color label: Indicates the track color, which is applied to any clips on the track (unless
you choose to override the color for individual clips).
 Name field: You can type a new name for the channel strip.
 Icon: Icons let you visually distinguish channel strips in the Mixer. Double-click an
icon to change it.
 Effects slots: Show the effects and sends for the channel strip, and let you add effects
and sends.
 Panning controls: Set the pan position of a track or bus. In surround mode, drag
anywhere inside the black circle to position the puck. In stereo mode, drag the pan
slider left or right or change the value in the value slider. You can automate pan
changes by setting the appropriate automation mode for the project. These appear
in track and bus channel strips only, not in submix channel strips.
 Volume fader and value slider: Set the channel strip’s volume level by dragging the
fader or changing the value in the value slider. You can automate volume changes by
dragging the slider with the project set to the appropriate automation mode.
 Level meters with peak indicator: Show the volume level of the channel strip in real
time as the project plays. The peak indicator shows the highest level played and
changes color to indicate that clipping has occurred.
 Arm for Recording button: Click to enable the track for recording. When you click a
track’s Arm for Recording button, the Recording tab appears, showing the track’s
current recording settings. The button appears in track channel strips only, not in bus
or submix channel strips.
Icon
Volume fader
Effects slots
Solo button
Panning controls
Level meters and
peak indicator
Color label
Arm for Recording button
Name
Submix pop-up menu
Mute button
Volume value slider
46 Chapter 2 The Soundtrack Pro Interface
 Mute button: Click to mute (or unmute) the channel strip.
 Solo button: Click to solo (or unsolo) the channel strip.
 Submix pop-up menu: Choose a submix for the track or bus from the menu. (Tracks
and busses only.)
 Output pop-up menu: Choose the outputs for the submix from the menu. Submixes
only. (Not shown in the illustration.)
Multitake Editor
Use the Multitake Editor to edit multitake and synced audio that is created by
performing multitake recording (such as in automatic dialogue replacement, or ADR).
This tool allows you to easily mix and match parts of different takes. Once you are done
editing a multitake clip, you can collapse it into a single clip, hiding the constituent
edits that are not relevant to the surrounding multitrack Timeline.
For more information about the Multitake Editor, see Chapter 7, “Using the Multitake
Editor,” on page 251.
Take editing tools
Take tracks
Comp track
Chapter 2 The Soundtrack Pro Interface 47
Conform
The Conform tool helps sound editors handle picture changes. Conforming a sequence
is the act of incorporating changes sent from the picture editor into a different,
changed version of a sequence being used by the sound editor. The sound editor
revisits all of the audio edits, ensuring that they line up with new video footage and
inserting or deleting any added or deleted media. Soundtrack Pro Conform makes this
merging procedure more efficient and less tedious.
For more information about the Conform tool, see Chapter 18, “Using Conform with
Final Cut Pro,” on page 439.
48 Chapter 2 The Soundtrack Pro Interface
Bin
The Bin tab lists information about items in all open projects. The Bin provides a
hierarchical display of projects, their media files, and other information about each
item, including duration, timecode, sample rate, Timeline information, and so on. You
can drag files from the Bin tab to the Timeline. You can add files to the Bin for easy
access at any time. The Bin also features sort and search functions to help you locate an
item in any open project.
For more information about the Bin, see “Using the Bin” on page 87.
 Item list: Displays the files, clips, markers, and podcasts in the currently open projects.
 Items pop-up menu: Choose what types of items (files, clips, markers, or podcasts) to
display in the Bin.
 Columns pop-up menu: Choose what types of columns of information (Timeline
information, audio clip information, file information, metadata tags, or music
information) to display in the Bin.
 Preview controls: Include a Play button, a volume slider, and a “Preview on selection”
button. For information on using the preview controls, see “Using the Preview
Controls” on page 91.
 Media pop-up menu: Choose menu items to Show in Timeline, Spot to Timeline, open
a file in the File Editor, and perform other functions.
Item list
Preview controls Media pop-up menu
Items pop-up menu
Columns pop-up menu
Chapter 2 The Soundtrack Pro Interface 49
Meters Tab
The Meters tab displays mono, stereo, multichannel, and surround level meters that
you can use to observe the volume of all submixes assigned to physical outputs or the
overall output for an audio file project.
 Level meters: Show the output volume of the overall project as the project plays.
 Peaks Value and Location display: Displays the highest (peak) value played for each
jack, and its timecode. Double-click any item in the Peaks Value and Location display
to move the playhead to that point in the Timeline.
 Reset button: Resets all items in the Peaks Value and Location display.
Level meters
Reset button
Peaks Value and
Location display
2-channel meter 6-channel meter
50 Chapter 2 The Soundtrack Pro Interface
Recording Tab
The Recording tab is where you edit a track’s recording settings. When you click a
track’s Arm for Recording button, the Recording tab appears, displaying the track’s
current recording settings.
 Peak indicator: Shows the highest level reached by the recording input signal. If the
level rises above 0 dB, the peak indicator becomes red to indicate clipping.
 Track pop-up menu: Displays the recording settings for the selected track.
 Level meter(s): Show the input volume for the selected track during recording. Adjust
automatically to the number of channels and the channel valence selected in the
Input Channel pop-up menu.
 Input Device pop-up menu: Choose the input device for recording.
 Input Channel pop-up menu: Choose the input channel (or channels) for recording.
 Input Routing buttons: Use the Input Routing buttons to route the input signal to
different channels.
 Configure Device button: Opens the Audio MIDI Setup utility for adjusting the
computer’s audio input and output configuration settings, or setting up software
specific to your audio interface.
 Monitor Device pop-up menu: Choose the output device and output channel (or
channels) for monitoring during recording.
 Mute Project checkbox: Select to mute the project during recording, so you hear only
the sound being recorded.
Level meter
Peak indicator
Input device pop-up menu
Monitor Device pop-up menu
Configure Device button
Input channel pop-up menu
Mute Project checkbox
Input Routing buttons
Track pop-up menu
Chapter 2 The Soundtrack Pro Interface 51
Browser
The Browser tab displays the disks connected to your computer in a view similar to
the Finder’s list view. You can also preview files in the Browser tab and drag them
to the Timeline.
 Back and Forward buttons: Move through previously viewed levels of the folder hierarchy.
 Computer button: Displays your computer’s hard disk and other storage media
connected to your computer.
 Home button: Displays the contents of your home directory.
 Path pop-up menu: Displays the levels of the file path to the current location, letting
you move back to a previous level.
 File list: Displays the files and folders at the current location.
 Preview controls: Include a Play button, a volume slider, and a “Preview on selection”
button. For information on using the Preview controls, see “Using the Preview
Controls” on page 91.
 Media pop-up menu: Choose menu items to add a Favorite, add a file to the Bin,
open a file in the File Editor, and perform other functions.
Preview controls
Path pop-up menu
Media pop-up menu
Tabs
Back and Forward
buttons
Computer and
Home buttons
File list
52 Chapter 2 The Soundtrack Pro Interface
Search Tab
The Search tab lets you locate audio files using a variety of criteria. You can perform
text searches and search for Apple Loops and other tagged file formats using keywords
for instrument, genre, mood descriptors, and other categories. Matching files are
displayed in the Search Results list. Once you locate the files you want to use, you can
preview them in the Search Results list or drag them to the Timeline.
The Search tab has two views, Column view and Button view. Column view features a
Keywords list containing keywords and a Matches list with subcategories you can use
to refine your searches. Button view displays a matrix of keyword buttons you can click
to see matching files.
 Button and Column View buttons: Change the view to either Button or Column view.
 Category pop-up menu: Restricts the available keywords to a particular category.
Search Text field
Matches list
Scale Type pop-up menu
Nearby Keys button
Setup button
Keywords list
Button and Column View
buttons
Search Results list
Preview controls Media pop-up menu
Time Signature
pop-up menu
File Type pop-up menu
Category pop-up menu
Keyword buttons
Chapter 2 The Soundtrack Pro Interface 53
 Setup button: Displays the Search Setup dialog, from which you add items to the
Search database.
 Time Signature pop-up menu: Restricts search results to files with the selected time
signature.
 File Type pop-up menu: Choose whether to display all files, or only looping or
non-looping files.
 Scale Type pop-up menu: Restricts search results to audio files using the selected scale.
 Keyword buttons (Button view only): Displays files matching the keyword in the
Results list.
 Keywords list (Column view only): Displays files matching the keyword in the Results
list, and displays subcategories in the Matches list.
 Matches list (Column view only): Displays subcategories of the selected keywords.
 Search Text field: Type text in the field to display matching files whose filename or
path contains the search text.
 Nearby Keys button: Restricts search results to keys within two semitones above or
below the project key.
 Search Results list: Displays the files matching the selected search criteria, in
alphabetical order. Includes columns displaying the tempo, key, and number of beats
of each file. You can click files to preview them.
 Preview controls: Include a Play button, a volume slider, and a “Preview on selection”
button. For information on using the preview controls, see “Using the Preview
Controls” on page 91.
 Media pop-up menu: Choose menu items to add a Favorite, add a file to the Bin,
open a file in the File Editor, and perform other functions.
54 Chapter 2 The Soundtrack Pro Interface
Favorites Tab
You can store frequently used items in Favorites so that you can easily access them
directly. You can also preview files in Favorites and drag them to the Timeline.
 Back and Forward buttons: Move through previously viewed levels of the folder hierarchy.
 Path pop-up menu: Displays the levels of the file path to the current location, letting
you move back to a previous level.
 Favorites list: Displays the files and folders at the current location.
 Preview controls: Include Play button, a volume slider, and a “Preview on selection”
button. For information on using the preview controls, see “Using the Preview
Controls” on page 91.
 Media pop-up menu: Choose menu items to remove a Favorite, add a file to the Bin,
open a file in the File Editor, and perform other functions.
Favorites list
Preview controls Media pop-up menu
Path pop-up menu
Button and Column View
buttons
Chapter 2 The Soundtrack Pro Interface 55
Video Tab
Use the Video tab to add a video to a project and view the video.
 Video Scale pop-up menu: Choose the scale of the video in the Video tab from the
pop-up menu.
 Video viewing area: You add a video by dragging it into the viewing area, where you
may also watch it play.
Note: You control playback of the video within the project using the transport controls
at the bottom of the Soundtrack Pro window. For more information about the
transport controls, see “Transport Controls” on page 38.
Project Tab
This tab contains controls and information for the currently active project as well as any
metadata (tags) associated with the project.
Video Scale pop-up menu
Video viewing area
56 Chapter 2 The Soundtrack Pro Interface
The Project tab features the following controls and categories of information:
 General project information: This information includes file size, creation and
modification dates, and location on the hard drive.
 Pullup/Pulldown pop-up menus: Use these menus to adjust the video and audio
playback to compensate for film-to-video and video-to-film conversions as well as
international television standards conversions.
 Project properties: Includes project length (duration) and sample rate.
 Initial Timecode value slider: Use this slider to set the timecode for the first frame of
the project. For more information about value sliders, see “About Changing Values
and Timecode Entries” on page 75.
 Ruler Units pop-up menu: Use this menu to set the project ruler to be either Timebased
or Beats-based.
Each multitrack project has a project time format, which can be either Time
(seconds)–based or Beats-based. Setting the time format controls the appearance of
the Time display, Time ruler, Timeline gridlines, and available Snap To values. For
projects set to Time-based format, time is displayed using the Time Ruler units
chosen in the View menu. For projects set to Beats-based format, the time is
displayed in measures, beats, and beat divisions. The default format is Time-based.
For information on setting the project time format, see “Project Time Format” on
page 109.
 Document file management: Use these controls to set project preferences for file
saving and media management. These controls are available for multitrack projects
only. For more information, see “Saving Multitrack Projects” on page 111.
Chapter 2 The Soundtrack Pro Interface 57
 Metadata: Use this area to add metadata to your project or to view your project’s
metadata. If you export this project to certain output formats (such as a podcast),
Soundtrack Pro passes through the metadata to the target output file. Metadata
categories include Name, Copyright, Origination Date, Keywords, and so on.
 Music settings: Use the controls in this area to set music properties (including tempo,
time signature, and key) for the currently active project. Tempo, time signature, and key
are important for projects set to Beats-based format. For projects set to Time-based
format, you can usually leave the tempo, time signature, and key properties at their
default settings. For more information, see “Setting Project Properties” on page 106.
Details Tab
The Details tab shows information about the currently selected media file, clip, marker,
envelope point, cycle region, or Timeslice selection, and gives you a way to edit details
about each. You can also view and edit details for a selection in the File Editor.
File and Clip Details
 Name: Name of the selected clip.
 Position value slider: Sets the position (start point) of the selected clip.
 Duration value slider: Sets the duration (length) of the selected clip.
 Offset value slider: Sets the offset of the selected clip.
 Measure in pop-up menu: Sets the units shown in the Position, Duration, and Offset
value sliders.
 Color pop-up menu: Sets the color of the selected clip.
58 Chapter 2 The Soundtrack Pro Interface
 Enabled checkbox: Enables or disables the selected clip. For more information, see
“Enabling and Disabling Clips” on page 118.
 Locked checkbox: Locks or unlocks the selected clip. For more information, see
“Locking and Unlocking Clips and Tracks” on page 118.
 Transpose pop-up menu: Sets the number of semitones to transpose a looping clip.
 Clip Speed pop-up menu: Sets the playback speed for a looping clip.
 Created: Displays the creation date.
 Modified: Displays the modification date.
 Size: Displays the file size.
 Properties: Displays the following information for the clip or file: duration, sample rate,
the timecode for the first frame of the clip or file, bit depth, and channel valence.
 Metadata: Use this section to view the metadata for a file or a clip. Metadata
categories include Name, Copyright, Origination Date, Keywords, and so on.
 Music: Use to view music information for a clip or file, primarily music loops in the
Search tab. The music information includes tempo, time signature, key, scale type,
looping (yes or no), beats, instrument, and loop genre.
Chapter 2 The Soundtrack Pro Interface 59
Marker Details
 Type buttons: Select whether the marker is a beat marker or a time marker.
 Name field: Enter a name for the marker.
 Position value slider: Sets the time position of the selected marker.
 Duration value slider: Sets the duration for the selected marker.
 Comment: Enter comments or notes for the marker.
Envelope Point Details
 Position value slider: Sets the time position of the selected envelope point.
 Measure in pop-up menu: Sets the units shown in the Position value slider.
 Value value slider: Sets the value of the selected envelope point. In some cases, this
control is a pop-up menu (for envelope types that only allow specific values).
 Minimum and Maximum value: Displays minimum and maximum values for the
selected envelope point.
 Copy from Previous Point button: Sets the value of the selected envelope point to the
value of the preceding one in the envelope.
 Copy from Next Point button: Sets the value of the selected envelope point to the
value of the next one in the envelope.
File Editor Selection Details
 Measure in pop-up menu: Sets the units shown in the Beginning, End, and Duration
value sliders.
 Beginning value slider: Sets the start position of the selection.
 End value slider: Sets the end position of the selection.
 Duration value slider: Sets the duration (length) of the selection.
60 Chapter 2 The Soundtrack Pro Interface
Effects Tab
You add effects and sends to your project and adjust effect parameters in the Effects tab.
When you select a track or a bus in the Timeline or the Mixer, you can add and adjust
the following effects and send settings. You can also apply effects to audio file projects.
 Category list: Lists the categories of available effects. Click a category to see the
effects for that category in the Effect list.
 Effect list: Lists the effects in the selected category. Double-click an effect to add it to
the track, bus, or submix.
 Add Effect (+) button: Adds the selected effect to the current effects chain.
 Remove Effect (–) button: Removes the selected effect from the current effects chain.
 Effect Parameters area: Displays the parameters for effects in the current effects
chain. Click an effect’s disclosure triangle to see its parameters. You can adjust effect
parameters using the controls in the Effect Parameters area.
 Add Send button: Adds a send to the end of the current effects chain for the track.
You can add sends only to tracks, not to busses or submixes.
 Reset Effect button: Resets the selected parameter or group of parameters to the
default value (or values).
Effect Parameters area
Category list Effect list
Reset Effect button
Add Effect button
Remove Effect button
Add Send button
Chapter 2 The Soundtrack Pro Interface 61
Tracks Tab
Use the Tracks tab to easily view, select, and group tracks, busses, and submixes.
Groups provide another layer of organization and a way to easily make changes (such
as volume adjustments) to many tracks, busses, or submixes at once.
 Mixer Objects outline: Displays an outline view of the Timeline.
 Groups outline: Displays an outline view of any grouped tracks, busses, or submixes
in the project. You can use the Groups outline to group Mixer objects, disable or
enable groups, rename groups, delete groups, and delete items from groups.
 Channel strip: The Tracks tab channel strip is a quick way to access the mixing
controls for a particular Mixer object. This channel strip is identical to the
corresponding channel strip in the Mixer in every way, including all controls and
current settings.
Mixer Objects outline
Groups outline
Channel strip
62 Chapter 2 The Soundtrack Pro Interface
Actions Tab
Use the Actions tab to perform edits nondestructively using actions, which include
processing effects and other operations. You can also turn off or completely reorder actions.
 Actions list: You can add, select, and reorder actions in the list.
 Actions pop-up menu: Choose menu items to flatten actions, delete actions, and
perform other operations.
 Actions list: Shows the actions you apply to the project. You can add, select, and
reorder actions in the list.
 Action Insert bar: Shows where new actions will be added in the Actions list and
which actions are heard when you play the project.
Actions list
Actions pop-up menu
Action Insert bar
Chapter 2 The Soundtrack Pro Interface 63
Analysis Tab
Use the Analysis tab to analyze audio files for a range of common audio problems,
including clicks and pops, hum, and phase issues. You can fix the problems detected by
analysis either individually or in a single operation. Selected problems are highlighted
in the File Editor waveform display for easy viewing.
 Analysis Type list: Lists the types of analysis you can select.
 Parameter list: Some analysis types (Click/Pop and Silence) have parameters you can
adjust before analyzing the file. The parameters appear in this list.
 Analyze button: Click to analyze the file for the problems selected in the Analysis
Type list.
 Analysis Results list: Lists items found by analyzing the file.
 Clear Fixed button: Removes fixed items from the Analysis Results list.
 Magnify button: Zooms in on the selected item in the Analysis Results list for as long
as you hold down the button.
 Fix All button: Fixes all items in the Analysis Results list.
 Fix button: Fixes the selected items in the Analysis Results list.
Parameter list
Analysis Results list
Analyze button
Magnify button Fix All button
Clear Fixed button Fix button
Analysis Type list
64 Chapter 2 The Soundtrack Pro Interface
HUDs
A heads-up display (HUD) is a semi-transparent floating window with controls and
displays that you can use to accomplish specific tasks. All of these windows float over the
main Soundtrack Pro window. To open any of these windows, choose Window > HUDs.
Timecode HUD
The resizable Timecode HUD makes reading current timecode very easy, particularly
from a distance. You can also use the Timecode HUD to navigate in the Timeline or the
File Editor by dragging the displayed hours, minutes, seconds, or frames up or down.
Sound Palette
You can use the Sound Palette HUD to lift attributes from selections in the Timeline and
apply them to one or more clips (or regions of clips). For more information on the
Sound Palette HUD, see “Using the Lift and Stamp Tools” on page 179.
Multipoint Video HUD
You can use the resizable Multipoint Video HUD as a visual guide for precisely spotting
(placing) sound effects and other audio clips to specific frames of a video program. For
more information on the Multipoint Video HUD, see “Scrubbing and Spotting with the
Multipoint Video HUD” on page 322.
3
65
3 Setting Up Soundtrack Pro
This chapter describes two kinds of projects you can create
in Soundtrack Pro and how to work with windows, use
layouts, play projects, and set Soundtrack Pro preferences.
Two Kinds of Projects
Soundtrack Pro has two native project file formats to support state-of-the-art multitrack
audio editing and powerful nondestructive audio waveform editing.
Multitrack Projects
Multitrack projects contain multiple audio tracks in the Timeline. As in a Final Cut Pro
project, importing a media file creates a clip in Soundtrack Pro that then refers to the
original media file. You can arrange audio clips within tracks and synchronize them to a
single video clip in the video track.
You can mix a multitrack project using track controls for volume, pan, mute, solo,
effects, and effect parameters. These controls are available both in the Timeline and in
channel strips in the Mixer. You can create additional audio busses for effect sends. You
can group audio track outputs together with submixes. Tracks, busses, and submixes
can be exported to individual audio files, or a mixdown of all the tracks can be
exported to a stereo or multichannel audio file. These exported files can then be
imported into Final Cut Pro.
Project File extension Description
Multitrack project .stmp Similar to a Final Cut Pro project, this file
contains multiple tracks with clips that refer to
media files elsewhere on your disk.
Audio file project .stap Allows nondestructive editing of audio files.
66 Chapter 3 Setting Up Soundtrack Pro
For more information, see:
 “Creating and Opening Multitrack Projects” on page 105
 Chapter 5, “Working in the Timeline,” on page 127
 Chapter 8, “Basic Mixing in Soundtrack Pro,” on page 261
Audio File Projects
Soundtrack Pro allows you to edit individual audio files (sometimes known as waveform
editing) using Soundtrack Pro audio file projects. However, unlike most waveform editing
applications, Soundtrack Pro allows you to edit your audio files nondestructively by
keeping track of the actions you have performed on your audio file.
For more information about Soundtrack Pro audio file projects, see Chapter 6, “Editing
Audio Files,” on page 191.
You can remove, disable, or reorder past actions at any time or save actions as AppleScript
documents that you can use to batch process other audio files. Actions you can perform
include trimming audio, copying and pasting parts of the waveform, normalizing or
amplifying levels, applying effects, and applying noise, pop, and click reduction.
Soundtrack Pro audio file projects are stored in Mac OS X packages (or bundles). A
package appears to be a single file in the Finder but actually contains a collection of
files such as the original audio file, temporary render files, and the list of actions
applied to your audio file.
Important: So that you benefit from nondestructive editing, the default option for
saving edited audio files is as a Soundtrack Pro audio file project. Soundtrack Pro
usually does this automatically any time you apply any command or effect from the
Process menu or the Edit menu to a clip in the Timeline. For more information on when
Soundtrack Pro automatically creates audio file projects, see “How Source Audio File
Editing Works in a Soundtrack Pro Multitrack Project” on page 166.
You can open the following audio file formats in the File Editor:
 Soundtrack Pro audio file project
 AIFF
 WAVE
 Sound Designer II
 NeXT
 QuickTime movie containing audio tracks
 CAF (Apple Core Audio Format)
Chapter 3 Setting Up Soundtrack Pro 67
Compressed formats such as MP3 and AAC files are also supported, although these
must be internally decompressed to a linear PCM format.
Soundtrack Pro supports audio files with any sample rate between 8 kHz and 192 kHz
and any of the following bit depths: 8, 16, 24, 32, and 32-bit floating point. Up to 24
audio channels are supported in a single file. Audio files can be a maximum of 4 hours
in length.
Note: When you set a sample rate and play a file, Soundtrack Pro plays at the nearest
sample rate your hardware can support.
Setting Up Your Workspace
You can choose from several ways to set up the Soundtrack Pro workspace to suit your
display size and workflow, depending on the type of project you are creating. You can
arrange, reorder, and detach tabs throughout Soundtrack Pro and add and reorder
buttons in the Toolbar. You can show and hide different panes (areas) of the
Soundtrack Pro window. You can also create layouts for different tasks and switch
between them.
Basic Window Controls
You can move, resize, or minimize a project’s windows. Most windows feature tabs,
which give you flexibility in arranging the visual elements of a project.
To move a window:
m Drag the window by its title bar to a new location.
To resize the Soundtrack Pro window:
m Drag the resize control in the lower-right corner of the window until the window is the
desired size.
To minimize the Soundtrack Pro window to the Dock:
m Click the minimize button in the window’s title bar.
To close the Soundtrack Pro window:
m Click the window’s close button (or press Command-W with the window active).
68 Chapter 3 Setting Up Soundtrack Pro
Using Tabs
Soundtrack Pro uses tabs so you can quickly access different project views and controls.
You can switch between projects and between different tabs. Clicking the tab you want
makes it active and brings it to the front. You can rearrange and reorder the tabs to
easily access the ones you use frequently.
To reorder tabs:
m Drag a tab left or right in the window’s tab area.
You can also detach a tab from its docked position, which creates a separate resizable
window for the tab that can be dragged or resized. For example, you can drag the
Favorites tab to a new location so that you can easily move items from the Search tab
to the Bin tab.
To detach a tab:
m Drag the tab out of its docked position in the window to create a separate window for
the tab.
To attach (dock) a tab:
m Drag the tab to the top of any pane of the Soundtrack Pro window (except the top-center
project pane, which is reserved for the Timeline and the File Editor project view).
Using Project Layouts
Soundtrack Pro lets you save and recall preset window arrangements called layouts, so
that you can optimize your workspace for different tasks and different display sizes. You
can show, hide, and resize windows, then save each window arrangement as a layout.
To save a project layout:
1 Arrange the application windows as you want them to appear.
2 Choose Window > Save Layout.
3 In the Save dialog, type a name for the layout, then click Save.
The layout is saved, and appears in the Layouts submenu.
Note: By default, layouts are saved to the location /Users/username/Library/Application
Support/Soundtrack Pro/Layouts/. Do not change the location or Soundtrack Pro may
not be able to find and use your saved layouts.
Chapter 3 Setting Up Soundtrack Pro 69
To switch to a saved project layout:
m Choose Window > Layouts, then choose the layout you want to use from the submenu.
To delete a saved layout:
1 Choose Window > Manage Layouts.
2 In the Manage Layouts dialog, select the layout you want to delete.
3 Click the – (minus) button to delete the layout, then click Done.
To transfer a saved project layout file to another computer:
1 Locate the layout file in /Users/username/Library/Application Support/Soundtrack Pro/
Layouts/.
2 Transfer a copy of the file to the corresponding location in the second computer.
Customizing the Toolbar
The Toolbar at the top of the Soundtrack Pro window contains buttons for frequently
used commands. You can customize the Toolbar, adding buttons for the actions you
use most often, and can return to the default set later.
The default set of Toolbar buttons includes buttons for creating new projects, opening
project tabs, adding markers, and other common commands. You can customize the
Toolbar with additional buttons for adding fade-ins and fade-outs, processing an audio
file, playing the current project through a video output device, and other commands.
You can also hide the Toolbar to maximize available screen space. You customize the
Toolbar by dragging items from the Customize dialog to the Toolbar.
70 Chapter 3 Setting Up Soundtrack Pro
To show the Customize dialog, do one of the following:
m Choose View > Customize Toolbar.
m Control-click the Toolbar, then choose Customize Toolbar from the shortcut menu.
The Customize dialog appears, and spaces between buttons in the Toolbar are
outlined in gray.
To add a button to the Toolbar:
m Drag a button from the Customize dialog to the Toolbar.
If you drag a button between two existing buttons, the buttons move to make room
for the new button.
To move a button in the Toolbar:
m Command-drag the button to a new location on the Toolbar.
You can also rearrange the Toolbar using set-width spaces, flexible spaces, and separators.
To add space or a separator to the Toolbar:
m Drag a space, flexible space, or separator from the Customize dialog to the Toolbar.
To return the Toolbar to the default set of buttons:
m Drag the default button set, located at the bottom of the Customize dialog, to the Toolbar.
You can also change the Toolbar so that it shows only icons or only text.
To show only icons in the Toolbar, do one of the following:
m Control-click the Toolbar, then choose Icon Only from the shortcut menu.
m In the Customize dialog, choose Icon Only from the Show pop-up menu.
Chapter 3 Setting Up Soundtrack Pro 71
To show only text in the Toolbar, do one of the following:
m Control-click the Toolbar, then choose Text Only from the shortcut menu.
m In the Customize dialog, choose Text Only from the Show pop-up menu.
To show both icons and text in the Toolbar, do one of the following:
m Control-click the Toolbar, then choose Icon & Text from the shortcut menu.
m In the Customize dialog, choose Icon & Text from the Show pop-up menu.
To dismiss the Customize dialog:
m When you have finished customizing the Toolbar, click Done.
To hide the Toolbar:
m Choose View > Hide Toolbar. When the Toolbar is hidden, the menu item becomes
Show Toolbar.
Using the Shortcut Menu
You can quickly and easily access many Soundtrack Pro features with the shortcut menu
(also known as the contextual menu). Using the shortcut menu by Control-clicking
items in the Soundtrack Pro interface is often more convenient than using the menu
bar at the top of the screen. If you have a three-button mouse connected to your
computer, you can right-click to access the same controls specified by the Control-click
commands in the user documentation (for example, “Control-click the Toolbar, then
choose Customize Toolbar from the shortcut menu”).
Playing Projects
You can play both multitrack and audio file projects as you work, so you can hear the
audio in the project along with the changes you’ve made.
To play the project:
m Click the Play button in the transport controls (or press the Space bar). Click the Play
button (or press the Space bar) again to stop playback.
As the project plays, the playhead shows the point in the project currently playing.
Soundtrack Pro lets you set the playhead and control playback of your projects in
several different ways. You can use the transport controls or keyboard commands to
start and stop playback and set the playhead to different points in time. You can also
set a cycle region to repeat playback of a specific part of the project.
72 Chapter 3 Setting Up Soundtrack Pro
Setting the Playhead Quickly
The playhead appears as a thin black line running vertically through the Timeline in
multitrack projects, and through the waveform display in audio file projects. Where it
crosses the Time ruler, the top of the playhead has a triangular handle that makes it
easier to see its position onscreen and drag the playhead.
To set the playhead, do one of the following:
m Click anywhere in the Timeline (in a multitrack project) or the File Editor (in an audio
file project) to set the playhead to that position.
m Drag the triangular handle at the top of the playhead to the position you want to set it.
As you drag the playhead, you hear the audio at the current playhead position.
When you set the playhead, it snaps to the nearest Snap To position if snapping is
turned on. For information on setting the Snap To value, see “Using Snapping” on
page 94. You can also set the playhead by using the transport controls or the Playhead
Location value slider.
Note: If you click the Time ruler, you may accidentally activate the cycle region. Press
Option-X to remove the cycle region. Press C to turn the cycle region on or off. For
more information about using the cycle region, see “Working with the Cycle Region”
on page 134.
Drag the playhead where
you want it or click in the
Timeline.
Drag the playhead where
you want it or click in the
waveform display.
Chapter 3 Setting Up Soundtrack Pro 73
Setting the Playhead Using the Time Display
When a project is playing, the Time display constantly updates to show the current
position of the playhead in both Time-based and Beats-based formats. You can also set
the playhead to a new position by entering the position in the Time display.
The arrangement of the Time-based and Beats-based positions in the Time display
changes depending on the time format of the project. The position matching the time
format of the project appears in large, white numerals in the upper part of the Time
display, and the other position appears below it in smaller, gray numerals. Each position
is labeled for quick visual recognition.
For information on setting the project time format, see “Setting Project Properties” on
page 106.
To set the playhead using the Time display:
m Select either the Time or Beats position in the Time display, then enter a new position.
You can select the entire position or part of the position.
Entering Time-Based Units
When you set the playhead by entering a Time-based position in the Time display, you
don’t need to enter all of the punctuation. Soundtrack Pro automatically adds the
correct punctuation for the format of the Time display.
For example:
 If you enter 01234321, Soundtrack Pro interprets it as 01:23:43;21. This stands for 1
hour, 23 minutes, 43 seconds, and 21 frames.
If you enter a partial number, Soundtrack Pro formats it with the rightmost pair of
numbers as frames and with each successive pair of numbers to the left as seconds,
minutes, and hours. Numbers omitted from a complete time position are interpreted as
zeros. For best results, always enter delimiters to separate each division of time.
For example:
 If you enter 01.23, Soundtrack Pro interprets it as 00:00:01;23. This stands for 1 second
and 23 frames.
You can select only part of the position in the Time display and enter a new number for
that position. For example, you can select only seconds, or minutes and seconds. The
other categories keep their present values. You can enter a time position in timecode
format, in a way similar to the way you enter timecode in Final Cut Pro.
Enter a time position in
the Time area.
Enter a beat position
in the Beats area.
74 Chapter 3 Setting Up Soundtrack Pro
Entering Beats-Based Units
When you set the playhead by entering a Beats-based position in the Time display, you
enter periods between numbers to separate measures, beats, and beat divisions.
Soundtrack Pro fills out the digits in the beat division category with zeros.
For example:
 If you enter 123, Soundtrack Pro interprets it as 123.1.000. This stands for the 123rd
measure, 1st beat, with no added beat divisions.
 If you enter 12.3, Soundtrack Pro interprets it as 12.3.000. This stands for the 12th
measure, the 3rd beat, with no added beat divisions.
 If you enter 1.2.3, Soundtrack Pro interprets it as 1.2.300. This stands for the 1st measure,
the 2nd beat, and 300/1000ths of a beat (because each beat division is 1/1000 of a beat).
You can select only part of the position in the Time display and enter a new number for
that position. For example, you can select only measures, or measures and beats. The
other categories keep their present values.
Setting the Playhead Using the Playhead Location Value Slider
Below and to the left of the transport controls is the Playhead Location value slider.
When a project is playing, the Playhead Location value slider constantly updates to
show the current position of the playhead. You can set the playhead by entering a new
position in the Playhead Location value slider.
Chapter 3 Setting Up Soundtrack Pro 75
About Changing Values and Timecode Entries
Soundtrack Pro includes several types of value entry methods. Most of them have
features that can make changing the values or timecode fields easy to do.
Using Value Sliders
There are two methods used to enter general numeric values: traditional sliders with
separate numeric entry fields and value sliders that combine the slider with the
numeric entry field.
Value sliders allow you to enter a specific number in the value field or to drag in the
value field to set a value. When using the value sliders, you can use a modifier key to
make normal, small, or large value adjustments. Dragging in the middle area (where
the number is) works the same as an ordinary slider; dragging to the right increases the
value and dragging to the left decreases the value. Additionally, you can click the right
or left arrow to change the value one step at a time. You can also double-click the
number itself and type a new number to enter a specific number in the value field.
To change values in normal increments, do one of the following:
m Drag left or right in the value field.
m Click the left arrow to decrease a value, or click the right arrow to increase a value.
m If you have a three-button mouse with a scrollwheel, click in the value field and use the
scrollwheel on the mouse.
To change values in fine increments, do one of the following:
m Option-drag in the value field.
m Option-click the left arrow to decrease a value, or Option-click the right arrow to
increase a value.
m If you have a mouse with a scrollwheel, Option-scroll in the value field.
Separate slider and
numeric entry field
Value slider with
combined slider and
numeric entry field
76 Chapter 3 Setting Up Soundtrack Pro
To change values in coarse increments, do one of the following:
m Shift-drag in the value field.
m Shift-click the left arrow to decrease a value, or Shift-click the right arrow to increase
a value.
m If you have a mouse with a scrollwheel, Shift-scroll in the value field.
When a value slider or value field is active (highlighted), press Tab to move to the
next field.
Using Timecode Value Sliders
Soundtrack Pro uses timecode value sliders for timecode entry fields. In addition to
being able to enter timecode values directly, you are able to scrub the timecode value
by dragging.
If you place the pointer over a segment of the timecode, small arrows appear above
and below that segment.
You can drag up or to the right to increase the value in that segment (values in
segments to the left also increment if your dragging causes the selected segment to
roll over). Dragging to the left or down decreases the value. You can hold down the
Option key to make the value changes slower or the Shift key to make them faster.
Alternatively, you can click the up and down arrows on each side of the timecode
value or press the keyboard’s Up and Down Arrow keys to increase or decrease the
timecode value.
You can control which segment is affected by the up and down arrows by selecting a
segment so that a caret (^) appears below the segment. You can also use the
keyboard’s Left and Right Arrow keys to select other segments.
Chapter 3 Setting Up Soundtrack Pro 77
Scrubbing Audio
You can scrub a multitrack project in the Timeline or scrub an audio file project in the
File Editor. Scrubbing the project lets you hear the audio at the playhead position as
you drag the playhead, so you can find a particular sound or event in the audio file.
You can scrub audio using either the Scrub tool or the playhead. For information about
scrubbing, see “Scrubbing Audio Files” on page 200.
Scrubbing Video
In projects containing a video file, the video scrubs in the Video tab in sync with the
audio as you scrub in the Timeline or the File Editor tab.
As you drag audio clips, markers, envelope points, or other items in the Timeline or the
File Editor tab, the video scrubs at the start point of the item being dragged. Dragging
multiple items scrubs the video at the start point of the item under the pointer.
You can use the Multipoint Video HUD as a visual tool for precisely positioning sound
effects and other audio clips in a video program. For more information, see “Scrubbing
and Spotting with the Multipoint Video HUD” on page 322.
Controlling Playback with the Transport Controls
You use the transport controls to control playback of your project. The transport
controls let you set the playhead to various points in time, start and stop playback,
activate the cycle region, and start a recording session to record your own audio.
 Record: Starts recording at the playhead position on the track you have enabled for
recording. If no track is enabled, a new track is created when recording starts.
 Play from Beginning: Starts playback from the beginning of the project. Playback
begins immediately, whether the project is playing or is stopped when you click the
button.
 Go to Beginning: Sets the playhead to the beginning of the project. If the cycle
region is active, and the playhead is after the beginning of the cycle region in time,
the playhead is set to the beginning of the cycle region.
 Previous Frame: Moves the playhead backward by one frame.
 Play: Starts playing back the project from the current playhead position. Clicking the
Play button again stops playback at the current playhead position.
MIDI Sync
Go to Beginning
Play
Go to End
Record
Play from Beginning Cycle
Previous Frame
Next Frame
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 Next Frame: Moves the playhead forward by one frame.
 Go to End: Sets the playhead to the end of the project. If the cycle region is active,
and the playhead is before the end of the cycle region in time, the playhead is set to
the end of the cycle region.
 Cycle: If a cycle region is set, clicking the Cycle button toggles whether the cycle
region is active or inactive. If no cycle region is set, clicking the Cycle button sets the
project to repeat from the beginning when the playhead reaches the end of the
project. For information on setting the cycle region, see “Working with the Cycle
Region” on page 134.
 MIDI Sync: Synchronizes playback with incoming MIDI Clock and MIDI Timecode
(MTC) signals.
Controlling Playback Using Keyboard Shortcuts
There are a number of keyboard shortcuts you can use to control playback of your
project. To use keyboard shortcuts, the pointer cannot be in a text field.
 Space bar: Plays back the project from the current playhead position. If the project is
playing, pressing the Space bar sets the playhead back to the point from which the
project started playing. This is equivalent to clicking the Play button.
 Return: Sets the playhead to the beginning of the project. If the cycle region is
active, pressing Return sets the playhead to the beginning of the cycle region. This is
equivalent to clicking the Go to Beginning button.
 Shift-Return: Sets the playhead to the beginning of the project, and starts playback if
it is stopped. This is equivalent to clicking the Start from Beginning button.
 Option–Right/Left Arrow: Moves the playhead forward/backward by one frame.
For more tips on keyboard shortcuts for playback, see “Using the J, K, and L Keys for
Shuttling” on page 130. For a complete list of Soundtrack Pro keyboard shortcuts, see
Appendix A, “Soundtrack Pro Keyboard Shortcuts,” on page 449.
Locating and Adding Audio Files
You can locate audio files to use in a project using the media tabs, or drag files from
the Finder. There are three media tabs for locating audio files: the Browser, Favorites,
and Search tabs. You can also store media files for a project in the Bin for easy
access in a project. The Bin also features a search function to help you locate an
item in any open project.
Chapter 3 Setting Up Soundtrack Pro 79
Supported Audio File Formats
You can add audio files in the following formats: AIFF, WAVE, Broadcast WAVE, Sound
Designer II, NeXT, QuickTime (.mov) audio files, and CAF (Apple Core Audio Format).
Compressed formats such as MP3 and AAC (except protected AAC) files are also
supported, although these must be internally decompressed to a linear PCM format.
You can also add the following types of multichannel files: AIFF, WAV, Broadcast WAVE,
QuickTime, and Single Folder Multi-mono AIFF and WAV. You can import audio files
with any combination of the following sample rates and bit depths:
Sample Rates
 Any sample rate from 8 kHz to 192 kHz
Bit Depths
 8 bit
 16 bit
 24 bit
 32 bit (both integer and floating point)
Note: Files with lower bit depths or sample rates do not have the same playback
quality as formats with higher bit depths or sample rates.
Supported Video File Formats
Soundtrack Pro supports standard QuickTime-compatible file formats. You can import a
QuickTime movie (.mov) file into a Soundtrack Pro project, and you can import an
MPEG-2 (.m2v) file if you have installed the QuickTime MPEG-2 Playback Component.
Video files using NTSC, PAL, HD, and other formats supported by QuickTime can be
imported into Soundtrack Pro. Imported video files can be up to four hours in length.
For more information about importing video files, see Chapter 10, “Working with Video
in Soundtrack Pro,” on page 315.
Looping and Non-Looping Files
Soundtrack Pro supports two types of audio files: looping and non-looping files. Most audio
files are non-looping files unless they contain tags for tempo, key, and other information.
Many of the Apple Loops that come with Soundtrack Pro, as well as other tagged audio
files, can be looping files. Looping files may contain music, rhythmic sounds, or other
repeating patterns. You can resize a looping file to fill any amount of time. Looping files
adjust to the project tempo and key, letting you use loops recorded in different keys
and at different tempos in the same project.
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Non-looping files do not adjust to the project tempo and key. You can shorten or
lengthen a non-looping file, but lengthening it beyond the size of the original file adds
only silence to the lengthened part. You can search for non-looping files in the Search
tab using the Search text field.
Both looping and non-looping files can contain tags with information about the file,
including mood, genre, and musical instrument. Soundtrack Pro recognizes tags in
audio files intended for use with loop-based music applications. You can open an audio
file in Apple Loops Utility and add tags, and can convert a looping file to a non-looping
file, or convert a non-looping file to a looping file. For information about tagging audio
files using Apple Loops Utility, see the Apple Loops Utility User Manual.
Using the Browser to Locate Files
The Browser tab shows the hard disks and other storage media connected to your
computer, and lets you browse through the file hierarchy to find audio files located on disk.
To locate audio files using the Browser:
m Double-click a volume or folder in the Browser to view its contents.
You can move back through the previous locations in the Browser using the Forward and
Back buttons, or through the levels of the file hierarchy using the Path pop-up menu.
Double-click a folder to
view items inside.
Chapter 3 Setting Up Soundtrack Pro 81
Using Favorites to Locate Files
Favorites let you store frequently used file locations, so that you can access them directly.
You can add and remove Favorites from the Media pop-up menu at the lower-right
corner of the Favorites tab.
To locate audio files in Favorites:
m Double-click the disk or folder you want to open.
You can move back through the previous locations in the Favorites tab using the
Forward and Back buttons, or through the levels of the file hierarchy using the Path
pop-up menu.
Using Search to Locate Files
Using Search, you can search for media files to add to your project. Search has two
views: Column view and Button view. You choose which view to display by clicking the
Columns View or Button View button in the upper-left area of the window. In both
views, the files matching your search criteria appear in the Search Results area, along
with columns displaying additional information for tagged files. You can sort these
columns by clicking the heading on top of each column. You can also perform text
searches in both views, and refine your searches.
If you use Apple Loops or other tagged audio files in a project, you can search based
on a variety of criteria, including musical instrument, genre, time signature, mood
descriptor, and scale type. You can also search using specific keywords.
To search for items:
m Click the Search tab.
The Search tab becomes active.
Double-click an
item to open it.
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Searching for Files in Column View
In Column view, the upper area of the Search tab displays two columns: Keywords
shows the categories of files that meet the search criteria, and Matches shows the total
number of matching files and any subcategories containing matching files, with the
number of matching files in each.
Clicking a keyword displays the files matching that keyword in the Search Results area.
You can refine your search results by narrowing the criteria using the subcategories in
the Matches column.
To search for files in Column view:
1 Choose the type of keywords to display in the Keywords list from the Keywords
pop-up menu.
You can use the Time Signature and Scale Type pop-up menus to restrict matches by
those categories.
2 Select a keyword in the Keywords list to display matching files in the Search Results area.
The hints, tempo, key, and number of beats for each matching file are also displayed.
You can also perform text searches, which can be especially helpful for non-tagged
files. When you type text in the Search Text field, any files with the text in their file path
or filename appear in the Search Results list. The number of files appears in the
Matches column under “No Category.”
To search using the Search Text field:
m Enter text in the Search Text field.
As you type, files matching the characters you type appear in the Search Results field.
Select a keyword
to display the
matching files in the
Search Results area.
Search Text field
Chapter 3 Setting Up Soundtrack Pro 83
Refining a Search in Column View
There are several ways you can refine your searches in Column view. You can select
items in the Matches column to add the matching files for each category to the search
results, and you can enter text in the Search Text field to narrow your search to files
that include the text in their file path. Selecting multiple keywords in the Keywords list
narrows the search results to files matching all the selected keywords.
To refine your search using the Matches column:
m Click to select a match category, or Command-click to select multiple match categories.
To refine your search by selecting multiple keywords:
m Shift-click to select adjacent keywords, or Command-click to select nonadjacent keywords.
Searching for Files in Button View
In Button view, the upper area of the Search tab displays a grid of buttons, each of which
is labeled with a keyword. The keywords displayed are determined by the Keywords
pop-up menu; the choices are Music Beds, Instruments, Genre, Descriptors, and Custom.
The keywords for each choice are fixed, and appear whether or not matching files for the
keyword exist. Keywords for which no matching files exist are dimmed.
Click a match category
to refine your search.
These are files that match
the category selected
above.
Search Text field
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To search for files in Button view:
1 Choose the type of keywords to display on the keyword buttons from the Keywords
pop-up menu.
2 You can optionally use the File Type, Time Signature, and Scale Type pop-up menus to
restrict matches by those categories.
3 Click a keyword button to display matching files in the Search Results area.
You can also perform text searches, which can be especially helpful for non-tagged
files. When you type text in the Search Text field, any files with the text in their file path
or filename appear in the Search Results list.
To search by file path or filename:
m Enter text in the Search Text field.
As you type, files matching the characters you type appear in the Search Results field.
Refining a Search in Button View
There are several ways you can refine your searches in Button view. You can select
multiple keyword buttons to narrow your search results to files matching all the
selected keywords, and you can enter text in the Search Text field to narrow your
search to files that include the text in their file path.
Click a button to display
the matching files in the
Search Results area.
Search Text field
Chapter 3 Setting Up Soundtrack Pro 85
To refine your search using multiple keywords:
m Click multiple keyword buttons.
Adding Custom Keywords
You can add custom keywords, which appear in the Keywords list in Column view
and on the keyword buttons in Button view. Custom keywords can be added only in
Button view.
To add a custom keyword:
1 Choose Custom from the Keyword Type pop-up menu.
2 Control-click one of the buttons in the grid, then choose a custom keyword from the
shortcut menu.
These are files that match
both of the keywords
selected above.
Select additional
keywords to refine
your search.
Choose Custom from
this pop-up menu.
Control-click a button,
then choose the desired
keyword from the
submenu.
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Adding a Directory to the Search Database
Search looks through all indexed directories (volumes and folders) for files that match
your search criteria. Before a file can appear in Search, you must add the directory
containing the file to the Search database and index the directory.
Note: The Search database does not update automatically. If you add files to an
indexed directory, you must index the directory again before the files will appear in the
Search tab.
To add a directory to the Search database:
1 Click the Setup button at the top of the Search tab.
2 In the Setup dialog, click the Add Directory button.
3 In the file dialog, navigate to the directory you want to add, then click Open.
The directory appears in the list in the Setup dialog. You can resize the Search dialog if
you need to see more items in the list.
4 Select the directory in the list, then click the Index Now button.
Note: Indexing a large collection of files may take several minutes. The bottom of the
Add Directory dialog displays the progress of the directory being indexed. If you need
to interrupt the indexing process, click the Stop Indexing button. You can re-index the
directory later. You can deselect items you do not wish to re-index.
5 When Soundtrack Pro is finished indexing the directory, click Done to return to the
Search tab.
Click here to display the
Setup dialog.
Click the Add Directory
button, then select a
directory to add.
Click here to index
the directory.
Chapter 3 Setting Up Soundtrack Pro 87
Removing a Directory from the Search Database
If you move or change your collection of audio files, you can remove a folder from the
Search database. Removing unneeded folders from the database can shorten search
times and eliminate extraneous results.
To remove a folder from the Search database:
1 Click the Setup button at the top of the Search tab.
2 In the Setup dialog, select the directory you want to remove, then click the Remove
Directory button.
3 Click Done to return to the Search tab.
Once you have added the folders containing your audio files to the Search database
and indexed them, you can use Search to find the files. In both Column view and
Button view, the audio files that match the search criteria appear in the Search Results
area in alphabetical order. You can preview files in the File list and drag them to the
Timeline. You can also add a folder to your Favorites from the Search tab.
Using the Bin
The Bin is a hierarchical list of all of the items in each open project. You can also add
files to the Bin for easy access at a later time. Files appear in the Bin alphabetically by
project and hierarchically within each project.
Click the Remove
Directory button to
remove the selected
directory.
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The Bin Hierarchy
The items in the Bin are organized by project. In this hierarchy, projects contain media
files, and media files contain clips.
To add a file to the Bin, do one of the following:
m Drag the file from the Finder to the Bin.
m Drag the file from the Browser, Favorites, or Search tab to the Bin.
Viewing and Editing Projects in the Bin
The Bin can display the following categories of information: audio clip information
(looping, transposition, and so on), file information (timecode, sample rate, file size, and
so on), Timeline information (duration, position, and so on), metadata tags (author,
copyright, and so on) and music information (beats, key, and so on).
To control the display of information categories in the Bin:
m Choose a category from the Columns pop-up menu.
Searching Bin Information
You can search across all information displayed in the Bin. Matching text and numbers
from any of the fields causes that item to appear in the list.
To search information categories in the Bin:
1 Click the Bin’s Search field.
2 Enter the search text.
3 Press Return.
Objects Description Contents
Projects Projects make up the top level
of the hierarchy. You can view
multiple projects at once.
Media files
Project markers
Media files Audio and video source files Clips
Markers (File Editor only)
Clips If the source media file is used
ten different times in the
Timeline, it will have ten clips
nested in the Bin.
None
Chapter 3 Setting Up Soundtrack Pro 89
Using the Shortcut Menu and the Media Pop-Up Menu in the Bin
You can use the shortcut menu and the Media pop-up menu in the Bin for a variety of
tasks. One of the most common tasks involves removing unused items from a project.
This simple step will keep the media associated with a project to a minimum. You can
also rename clips, markers, and podcast region markers that you’ve selected in the Bin.
To use the shortcut menu or the Media pop-up menu to affect an entire project:
1 Select a project file in the Bin.
2 Do one of the following:
 Choose Removed Unused from the Media pop-up menu.
 Control-click the item, then choose Removed Unused from the shortcut menu.
To use the shortcut menu or the Media pop-up menu to affect an individual
item in the Bin:
1 Select an item in the Bin.
2 Choose an option from the Media pop-up menu. You can also Control-click the item,
then choose an option from the shortcut menu.
 Show in Timeline: Selects the corresponding clip in the Timeline.
 Spot to Timeline: Spots the clip to the Timeline with the Spot to Timecode dialog.
 Spot to Playhead: Spots the clip to the playhead position in the Timeline.
 Open in Editor: Opens the file in the File Editor project view.
 Reconnect: Allows you to locate and reconnect any offline files.
 Rename: Selects the item in the Bin so that you can enter a new name.
 Reveal in Browser: Selects the item in the Browser tab.
 Show in Finder: Selects the item in the Finder.
 Replace Selected Clips with: Replaces the clip with a clip of your choosing.
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Bin Column Information
The following list describes the contents of the various Bin columns. Many Bin columns
change their display style to match the settings of the dominant ruler (such as drop
frame, non-drop frame, and so on). Much of this information can also be seen in the
Details tab.
 Name: Displays the icon and name for the various objects (projects, files, clips,
markers, and podcast marker regions).
 Position: Displays the position of the object, in the dominant ruler setting. Displays
values for projects, clips, markers, and podcasts. Some items do not have a position.
Others do not always display a position. (For example, a multitrack document only
shows the position when the Initial Timecode value in the Project tab has been
changed from the default 0 value.)
 Duration: Displays the duration information for projects, files, clips, markers, and
podcasts.
 Track name: Lists the current track name for audio clips.
 Offset: Shows the slip offset value: the difference between the start of the original
file and the start of the clip (using the dominant ruler setting). Clips that start from
the beginning show 0; others have a positive time value.
 Sample rate: Shows the native sample rate of the item, in Hz (projects, files, and clips).
 Timecode: This is the embedded timecode of the file, if present (in the dominant
ruler setting). Displays the initial timecode for items (projects, files, clips).
 Channels: The number of channels in the item (files, clips)
 Takes: The number of takes in the item (files, clips)
 File size: The disk size of the item (projects, files)
 Path: The path to the item on disk (projects, files)
 Annotation: Displays annotation metadata (projects, files, clips).
 Author: Displays author metadata (projects, files, clips).
 Copyright: Displays copyright metadata (projects, files, clips).
 Tempo: The tempo of the item, in beats per minute (projects, files, clips)
 Time Signature: Displays time signature data (projects, files, clips).
 Key: Displays the musical key of the item, being the letter (A, A#, B, and so on), or
“None” (projects, files, clips).
 Scale: Displays musical scale type (projects, files, clips).
 Looping: Indicates a looping file (Yes/No) (files, clips).
 Beats: Displays the number of beats in the file (projects, files, clips).
 Instrument: Displays instrument type, from Apple Loop tagged information (files, clips).
 Genre: Displays genre name, from Apple Loop tagged information (files, clips).
 Hint Quality: Displays the quantitative display of the amount of information saved in
the file—keywords, beat information, and transients (files, clips).
Chapter 3 Setting Up Soundtrack Pro 91
Previewing Audio Files
You can preview files in the Bin or any of the media tabs. When you preview files,
Soundtrack Pro matches the sample rate of the file to the project sample rate. When
you preview looping files, Soundtrack Pro matches their tempo and key to the project
tempo and key.
To preview an audio file:
m Select the file in the Bin or any of the media tabs.
The selected file starts playing. If the project is playing when you preview a file,
Soundtrack Pro starts playback of the previewed file on the downbeat of the next
measure of the project. You can turn preview playback on and off by holding down
Option and pressing the Space bar.
Audio files tagged as loops play back repeatedly when previewed. You can control the
playback of the file being previewed using the preview controls. You can only preview
one audio file at a time.
Using the Preview Controls
The preview area at the bottom of the Bin and the media tabs contains controls you
can use when previewing audio files.
Select an audio file in the
Search tab to preview it.
Play button
Preview on selection button
Media pop-up menu
Volume slider
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 Play button: Starts playback of the preview file. If the file is playing, stops playback.
 Volume slider: Sets the playback volume of the preview file.
 Preview on selection button: When activated, triggers immediate playback of the
selected clip.
 Media pop-up menu: Choose whether to add the file to Favorites, open it in the File
Editor or Apple Loops Utility, or reveal it in the Finder.
To preview an audio file with a project:
1 Click the Play button in the transport controls to play the project.
2 When the project reaches the point in time where you want to hear the preview file,
select the file in the Search tab.
To preview a file without the project (solo):
1 If the project is playing, click the Stop button in the transport controls to stop playback
of the project.
2 Select the file in the Search tab to preview the file.
You can also preview a video file using the preview controls. For information about
previewing a video file, see “Playing the Video” on page 317.
Viewing File and Clip Information
You can view information in the Details tab about audio and video files and clips in the
Bin, the media tabs, and the Timeline. When you select a file or clip in the Bin, the
media tabs, or the Timeline, the Details tab displays the file path and other information
about the item.
Chapter 3 Setting Up Soundtrack Pro 93
For a complete description of the items listed in the Details tab, see “Details Tab” on
page 57 and “Viewing and Editing Clip and Track Properties” on page 114.
Note: The information that is displayed depends on whether or not the file is tagged.
Untagged files may not display information for all categories.
Using Undo and Redo
As you edit clips and perform other operations in both multitrack and audio file
projects, you might need to use the Undo and Redo commands. For example, if you
don’t like the last change you’ve made to a project, it can usually be undone. Then, if
you decide you prefer to keep the change you just undid, you can redo the command
immediately after using Undo.
You can also use the Undo and Redo commands as a quick way of trying out changes
to your project. You can make changes to any aspect of the project, then use Undo to
step back through changes you don’t like to the project’s previous state. If you change
your mind after undoing a change or set of changes, you can always use Redo to
recover the changes. At any point, you can save a new version of the project using the
File > Save As command.
You can use the Undo command repeatedly to undo every change made since the
project was last saved.
To undo the last change:
m Choose Edit > Undo [item] (or press Command-Z).
The [item] in the menu changes to show the last command or operation.
You can use the Redo command repeatedly to redo every undone change since the
project was last saved.
To redo the last change:
m Choose Edit > Redo [item] (or press Command-Shift-Z).
The [item] in the menu changes to show the last command or operation.
94 Chapter 3 Setting Up Soundtrack Pro
Using Snapping
When you move and resize clips in the Timeline, or select part of an audio file in the
File Editor, you usually want them to start and end at a specific point in time. To
synchronize clips with a video, you may want to position them in line with a specific
frame. In a music-based project, you may want to align clips with measures and beats.
Soundtrack Pro includes a snapping feature that causes clips, the playhead, and other
items in the Timeline and File Editor to “snap” to the nearest Snap To position.
Snapping applies to the following operations:
 Dragging audio clips to the Timeline
 Moving audio clips
 Resizing audio clips
 Setting the playhead
 Setting the cycle region
 Inserting markers
 Moving markers
 Selecting Timeslices
 Adding envelope points
 Moving envelope points
 Moving crossfade edges
You can use snapping to ensure that audio clips are synchronized to a measure or beat,
that they begin playing back at a precise point in time, and that they are precisely
aligned with other clips in the Timeline.
When you turn on snapping, the item you are moving snaps to the nearest Snap To
position in the Timeline. The available Snap To values depend on the time format of the
project. For projects set to Time-based format, the available Snap To values are:
 Ruler ticks
 Seconds
 Frames
 Clips on Adjacent Tracks
 Markers
Chapter 3 Setting Up Soundtrack Pro 95
For projects set to Beats-based format, the available Snap To values are:
 Ruler ticks
 1/4 notes
 1/8 notes
 1/16 notes
 1/32 notes
 1/64 notes
 Markers
 Clips on Adjacent Tracks
To turn snapping on:
m Choose View > Snap (or press G).
A checkmark next to the menu item indicates that snapping is turned on. Choose
View > Snap again to turn snapping off.
To set the Snap To value:
m Choose View > Snap To, then choose a value from the submenu.
You can temporarily reverse the current snapping state while you work in the Timeline.
When snapping is turned on and Markers is chosen in the Snap To submenu, clips in
the Timeline snap to the playhead as well as to markers.
To temporarily reverse the snapping state:
m Select the item in the Timeline, then hold down the Command key as you drag the item.
If snapping is turned on, Command-dragging lets you move the item without having it
snap to the nearest Snap To position. If snapping is turned off, the item snaps to the
nearest Snap To position. When you release the Command key, items moved in the
Timeline follow the normal snapping state.
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Reconnecting Media Files
Because Soundtrack Pro multitrack projects contain references to media files, and not
the files themselves, a multitrack project cannot play back if the media files it uses are
erased or moved. When you open a multitrack project in Soundtrack Pro, the
application checks to see if the media files it uses exist in the same location as they did
when the project was last opened. If the media files are not in the expected location,
Soundtrack Pro displays a Can’t Find File dialog with three choices:
 Skip All: Opens the project without reconnecting any missing files.
 Skip File: Opens the project without reconnecting the missing file.
 Locate: Presents a dialog that lets you locate the missing file and reconnect it to
the project.
If you choose to open the project without reconnecting its files, you can reconnect
individual audio files from the Timeline or the Bin tab and reconnect a video file in the
video track in the Timeline.
To reconnect an audio file:
1 Do one of the following:
 Select the clip in the Timeline, then choose Clip > Reconnect [filename].
 Control-click the clip in the Timeline, then choose Reconnect [filename] from the
shortcut menu.
 Select the clip in the Bin tab, then choose Reconnect [filename] from the Media popup
menu.
 Control-click the audio file in the Bin tab, then choose Reconnect [filename] from the
shortcut menu.
2 In the dialog that appears, locate the audio file you want to reconnect.
3 Click Open to reconnect the file.
To reconnect a video file:
1 Control-click the video clip in the video track, then choose Reconnect Media Files from
the shortcut menu.
2 In the dialog that appears, locate the video file.
3 Click Open to reconnect the file.
Chapter 3 Setting Up Soundtrack Pro 97
Setting Soundtrack Pro Preferences
You set preferences for various aspects of both the appearance and operation of
Soundtrack Pro in the Preferences window. Some preferences apply to the current
project, and some apply to new projects you create. You may want to specify some
preferences before you begin working in Soundtrack Pro.
To open the Preferences window:
m Choose Soundtrack Pro > Preferences.
General Preferences
The General preferences include program startup behavior, Timeline defaults, and
options for alerts, saving, fades, and handles.
Startup
These preferences let you set the startup behavior when you open Soundtrack Pro.
 Last Project: Reopens the last project on startup.
 New Multitrack Project: Creates a new, blank multitrack project on startup. This is the
default behavior.
 New Audio File Project: Creates a new, blank audio file project on startup.
 Meters Channel Display pop-up menu: Choose whether meters display labeled
channels in surround order (Ls, L, C, R, Rs, LFE) or output order (1, 2, 3, 4, 5, 6).
98 Chapter 3 Setting Up Soundtrack Pro
Timeline
 Move playhead by clicking pop-up menu: Choose whether you can move the playhead
by clicking in both the Timeline and the Time ruler or only in the Time ruler.
 Scrollwheel pop-up menu: Choose whether an attached mouse with a scrollwheel
scrolls the Timeline or zooms in or out at the playhead position.
 Use ellipses(...) in clip names checkbox: When selected, clips in the Timeline with long
names are center-truncated with an ellipsis. “Use ellipses (...) in clip names” is
deselected by default.
Note: Selecting “Use ellipses (...) in clip names” can impact the speed at which the
screen is redrawn during playback.
 Automation Recording Sensitivity slider: Drag to set the level of sensitivity with which
onscreen and control surface movements are recorded. Setting the slider to High
results in all movements being recorded.
Alerts and File Management
 Show Alerts pop-up menu: Choose whether to show the alerts when various
conditions occur (such as disk overload, unsupported sample rates, and so on).
 Save Audio File Project pop-up menu: Choose whether saved audio file projects
include the source audio file in the project or reference it. Note that if you move or
delete the source audio file from a project that references source audio, the project
cannot play.
 Scratch Location button and display: Click this button, then browse to the location of
the disk or folder you want to use as the location for storing temporary files. The
current location is shown in the Scratch Location display.
 Edited Media Location button and display: Click this button, then browse to the
location of the disk or folder you want to use as the location for edited media such as
audio file projects. The current location is shown in the Edited Media Location display.
 New File Handle Length value slider: Enter a handle length (in seconds) for new
files. For more information, see “Modifying a Clip Without Affecting Its Source
Media” on page 197.
Chapter 3 Setting Up Soundtrack Pro 99
Project Preferences
These preferences let you set project properties and other default settings for new
projects you create.
 Tracks pop-up menu: Sets the default number of tracks for a new multitrack project.
 Track Height pop-up menu: Sets the default track height for new multitrack projects.
The choices are Mini, Small, Medium, and Large.
 Snapping: Sets the default snapping mode for a new project.
 Move Envelope Points with Clips checkbox: Sets the default envelope selection mode.
 Overlap Mode pop-up menu: Sets whether overlapped clips are crossfaded or
truncated for new multitrack projects.
 Default Fade Type pop-up menu: Sets default fade type.
 Audio Pulldown pop-up menu: Sets default audio playback compensation.
 Video Pulldown pop-up menu: Sets default video playback compensation.
 Sample Rate pop-up menu: Sets the default sample rate for new projects. The choices
range from 32 kHz to 192 kHz.
 Starting Timecode field: You can set the starting timecode for new projects to a value
other than 00:00:00;00 by entering a timecode value in the Starting Timecode field.
You can only enter positive values in the field. When you open the project, the Time
ruler and time display start from the starting timecode value.
 Timescale pop-up menu: Choose whether the overall project uses Time-based or
Beats-based time format.
 Export Bit Depth pop-up menu: Sets the export bit depth for the current project and
new projects. The choices are 16-bit (CD-quality audio) and 24-bit.
 Video Frames per Second pop-up menu: Choose which video frame rate to use for
new projects.
100 Chapter 3 Setting Up Soundtrack Pro
 Tempo value slider: Sets the default tempo for new projects in beats per minute
(bpm). The range is 60 to 200 bpm.
 Key pop-up menu: Sets the default key for new projects. The range is any key in the
chromatic scale from A to G#, or None.
 Time Signature pop-up menu: Sets the default time signature for new projects. The
choices are 3/4, 4/4, 5/4, 6/8, and 7/8.
Recording Preferences
These preferences let you specify settings for recording audio.
 Input pop-up menu: Displays the available devices for audio input. Choose an input
device from the pop-up menu.
Note: For more information about setting inputs and outputs, see “Setting the Audio
Input and Output” on page 22.
 Channels: Use these buttons to confirm or change default input signal routing settings.
 Monitor pop-up menu: Displays the available devices for monitoring audio output.
Choose an output device from the pop-up menu.
 Latency Compensation slider: Sets the amount of latency compensation in
milliseconds. If recorded audio is late, drag the slider right. If the recorded audio is
early, drag the slider left.
For information on eliminating latency, see “Eliminating Recording Latency” on
page 516.
 Recordings Location display: Displays the default location to which recording sessions
are saved. You can set the save location by clicking the Choose button and
navigating to a new location.
To select an audio interface as the output device:
m Choose Apple menu > System Preferences, click Sound, then click the Output button.
Select the audio interface in the list that appears.
Chapter 3 Setting Up Soundtrack Pro 101
Synchronization Preferences
These preferences let you specify synchronization settings.
Input
 Sync To MIDI Clock checkbox: Sets Soundtrack Pro to receive MIDI Clock signals from a
MIDI application or external device.
 Sync To MIDI Time Code checkbox: Sets Soundtrack Pro to receive MIDI Time Code
(MTC) signals from a MIDI application or external device.
Output
 MIDI Clock pop-up menu: Choose the device to send MIDI Clock to, or choose None.
 MIDI Clock Virtual MIDI Device checkbox: Sets Soundtrack Pro to send MIDI Clock
signals to MIDI applications as “Soundtrack Sync Source.”
 MIDI Time Code pop-up menu: Choose a device to send MTC signals to, or choose None.
 MIDI Time Code Virtual MIDI Device checkbox: Sets Soundtrack Pro to send MTC signals
to MIDI applications as “Soundtrack Sync Source.”
 Frame Rate pop-up menu: Sets the frame rate for outgoing MTC signals. (Note that
Soundtrack Pro automatically detects the frame rate for incoming MTC signals.)
Time Code Offset
 Bar 1 At field: Sets the offset of Measure 1 of your Soundtrack Pro project in SMPTE
format. The offset affects both incoming and outgoing MTC signals. This should be
set to the same value in all applications and devices.
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Control Surfaces Preferences
These preferences let you specify settings for communicating with attached
control surfaces.
 Control Surfaces field: Shows the control surfaces connected to your computer.
Channels and banks are assigned to control surfaces in the order they appear in the
field, starting from the left.
 Add and Delete buttons: Add or delete the selected control surface so that
Soundtrack Pro no longer connects to it.
 Previous and Next buttons: Change the order of the selected control surface in the
Control Surfaces field.
 Summary information: Displays information about the selected control surface
including type, input port, and output port.
 Control Surface Buttons button: Click to show the Control Surface Mapping window,
where you can assign control surface buttons and other controls to specific
commands and operations.
For information about connecting and using control surfaces, see Chapter 15, “Using
Control Surfaces with Soundtrack Pro,” on page 391.
Chapter 3 Setting Up Soundtrack Pro 103
Video Out Preferences
These preferences let you specify settings for video output from Soundtrack Pro.
 Video Output Device pop-up menu: Choose a video output device, or choose None.
 Use Quarter-size Frames checkbox: Select to send video to the output device as
quarter-size frames. Quarter-size frames require less data throughput and can be sent
more efficiently than full-size frames.
4
105
4 Working with Multitrack Projects
You can arrange and mix audio clips in a multitrack project.
Multitrack projects include tracks, busses, and submixes you
can use to create sophisticated signal routing and mixes.
Creating and Opening Multitrack Projects
When you open Soundtrack Pro, a new, blank project appears. You can change the
default startup behavior in the Preferences window. For information about setting
preferences, see “Setting Soundtrack Pro Preferences” on page 97.
To create a new multitrack project:
m Choose File > New > Multitrack Project (or press Command-N).
A new, untitled project appears. You can name the project when you save it. For
information on saving projects, see “Saving Multitrack Projects” on page 111.
To open an existing project:
1 Choose File > Open (or press Command-O).
2 Optionally, to view only multitrack projects in the dialog, choose Multitrack Document
from the File Type pop-up menu.
3 Locate and select the project, then click Open.
You can also open a recently open project by choosing it from the File > Open Recent
menu, or open a project by dragging it onto the Soundtrack Pro icon in the Dock.
You can have multiple projects open in Soundtrack Pro and cut and paste between
them, but you can only play one project at a time. You can open projects created with
earlier versions of Soundtrack and Soundtrack Pro, but you can only save them as
multitrack projects (with the extension .stmp).
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Creating a Multitrack Project from Final Cut Pro
Clips or Sequences
A convenient and powerful audio post-production workflow for any film or video
project is sending a Final Cut Pro sequence or clip to a Soundtrack Pro multitrack
project. For example, when the picture edit in a Final Cut Pro sequence is near
completion, you simply choose File > Send To > Soundtrack Pro Multitrack Project.
Soundtrack Pro opens a new multitrack project with the tracks, clips, and edits from the
Final Cut Pro sequence, including the synchronized video.
For information on sending Final Cut Pro sequences and clips to Soundtrack Pro, see
“Using Soundtrack Pro with Final Cut Pro” on page 421.
Closing Multitrack Projects
At any time while you are working, you can close a multitrack project.
To close a project:
m Select the project’s tab in the project pane, then choose File > Close Project (or press
Command-W).
Setting Project Properties
Each project has a set of project properties that include sample rate, overlap mode,
selection mode, timecode, file management, and music-related properties. You can
change the project properties for a particular project using the multitrack project
controls at the top of the project pane or the Project tab.
Each project property has a default setting. You can also change the default project
properties for new projects in the Project pane of the Preferences window. For information
on setting preferences, see “Setting Soundtrack Pro Preferences” on page 97.
Automation Mode
You can automatically record movements you make to faders, sliders, and other
onscreen controls using the pointer. You record automation in Soundtrack Pro by
selecting either Touch or Latch automation mode in the project controls, then
changing volume, pan, and effects settings as the project plays.
Chapter 4 Working with Multitrack Projects 107
To set the automation mode:
m Choose Read, Latch, or Touch from the Automation Mode pop-up menu.
For more information about the automation mode, see “Recording Automation Data”
on page 365.
Sample Rate
The project sample rate determines the number of samples per second Soundtrack Pro
uses for audio playback and export. When you add audio files to your project, their
sample rate is matched (upsampled or downsampled) on the fly to the project sample
rate with no change to their pitch or file duration. The available sample rates are 32
kHz, 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, and 192 kHz. The default is 48 kHz,
which is the standard for digital video and DVD projects.
Note: When creating a soundtrack for a video, be sure you save and export your
project at the same sample rate the final video project will use.
To set the sample rate:
m Choose the sample rate from the Sample Rate pop-up menu. The choices are:
 32.0
 44.1
 48.0
 88.2
 96.0
 176.4
 192.0
Note: If you open your project on a computer that cannot support the project sample
rate, the project is resampled to the nearest rate the hardware supports for playback.
When you export your project, it is exported at the project sample rate, regardless of
hardware limitations. For more information on hardware sample rates, see Chapter 1,
“Setting Up Your System,” on page 21.
Automation Mode
pop-up menu
Sample Rate
pop-up menu
108 Chapter 4 Working with Multitrack Projects
Overlap Mode
The project overlap mode determines what happens when you move an audio clip so
that it partially or completely overlaps another clip in the Timeline. There are two
overlap modes: crossfade mode and truncate mode.
In crossfade mode, when you drag an audio clip so that it partially overlaps another
audio clip in a track in the Timeline, a crossfade is created for the overlapped part of
the two audio files. You can adjust the boundaries of the crossfade in the Timeline. In
truncate mode, when you drag an audio clip so that it partially overlaps another audio
clip in a track in the Timeline, the overlapped part of the clip is truncated.
To set the project overlap mode:
m Click the Crossfade Mode button to set the project to crossfade mode, or click the
Truncate Mode button to set the project to truncate mode.
Envelope Selection Mode
The project selection envelope mode determines whether, when you select or move a
clip in the Timeline, the associated envelope points are also selected or moved with the
clip. You can set Soundtrack Pro to either the Select Only Clips mode or the Select
Envelope Points With Clips mode.
To select and move clips and envelope points together:
m Click the Select Envelope Points With Clips button at the top of the Timeline.
To select and move clips and envelope points independently of each other:
m Click the Select Only Clips button at the top of the Timeline.
For more information about the envelope selection mode, see “Selecting and Moving
Envelope Points with Clips” on page 359.
Truncate Mode
button
Crossfade Mode
button
Select Only Clips
button
Select Envelope Points
With Clips button
Chapter 4 Working with Multitrack Projects 109
Project Time Format
Each multitrack project has a project time format, which can be either Time
(seconds)–based or Beats-based. Setting the time format controls the appearance of
the Time display, Time ruler, Timeline gridlines, and available Snap To values. For
projects set to Time-based format, time is displayed using the Time Ruler units
chosen in the View menu. For projects set to Beats-based format, the time is
displayed in measures, beats, and beat divisions. The default format is Time-based.
Setting the format to Time-based lets you align clips and other items in the Timeline
with specific points in time, for example, specific frames in a video file. Setting the
format to Beats-based lets you align items in the Timeline with measures, beats, and
other musical units of time, regardless of tempo. You can switch between Time-based
and Beats-based formats while working on a project. You can also set individual tracks
to use a different time format than the project’s time format. For information on setting
a track’s time format, see “Changing Track Time Format” on page 146.
Setting the Project Ruler Units
You can switch the ruler units for a project in the Project tab and define the details for
the ruler units in the View menu.
To choose the ruler units for a project:
m In the Project tab, use the Ruler Units pop-up menu to choose either Seconds or Beats.
When you import a video file into a Soundtrack Pro project, the Time display and Time
ruler adjust to show the timecode format of the video. The Time display and Time ruler
can display time in seconds, frames, drop frames, or non-drop frames. You can choose
the format for timecode display, and you can set the video frame rate for projects not
containing a video file. You can also set the default frame rate for new projects in the
Project Preferences pane.
To specify the details of the units shown in the Time display and Time ruler:
m Choose View > Time Ruler Units, then choose one of the following time formats from
the submenu:
 HH:MM:SS
 Seconds
 Samples (Audio file projects only)
 Frames
 Drop frame (timecode)
 Non-drop frame (timecode)
Additionally, you can specify the following settings for your project if it does not
contain video:
 Set Video Frame Rate: Choose from the following: 23.98, 24, 25, 29.97, 30, 59.94, 60.
 Set Starting Timecode: Enter the timecode for the first frame of your project.
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Time Ruler Units and Grid Lines
The number of grid lines drawn will depend on the dominant ruler type and zoom level.
For example, when the dominant ruler is Seconds and the Timeline is zoomed out, grid
lines appear only on the hour marks. As you zoom in, grid lines are drawn on the minute
mark. Zoom in more, and grid lines are drawn on the second marks, and so on.
Setting the Project Length
By default, the length of a project depends on the media in the project. The project
length is set to the end of the last clip in the project. If the project uses a time-based
effect, and the effect extends past the end of the last clip, the project length extends to
include the effect’s “tail.” Adding a clip to the end of the project, or adding an effect
that produces a “tail,” extends the project length to include the new clip or the effect’s
tail. You can optionally set the project to a definite length.
To set the project length:
m In the Timeline, place the playhead at the point where you want the project to end,
then choose Mark > Set End of Project.
You can move the end-of-project marker to change the length of the project, or delete
it if you decide you no longer want it in the project.
To delete the end-of-project marker:
m Select the marker in the Timeline, then choose Edit > Delete (or press the Delete key.)
End-of-project marker
Chapter 4 Working with Multitrack Projects 111
Saving Multitrack Projects
To save your project:
1 Choose File > Save.
2 In the dialog that appears, enter a name for the project in the Save As field.
3 Navigate to the folder in which you want to save the project.
4 Select any of the following checkboxes:
 Save Compacted: Saves the project without display data, which can save disk space,
but the project may take longer to open.
 Collect Audio Files: Saves a copy of every audio file the project uses to the selected
location. This makes it easy to move projects between computers, and ensures that
all needed audio files are available for playback. When you select this checkbox, the
setting is retained for any subsequent saves. In other words, the File > Save menu
option changes to File > Save (Collected), and any new media you add to the project
is collected the next time you save the project.
Note: To play a project on another computer, you must install the audio files the
project uses on that computer, or on a disk it can access. If you remove the audio files
used in a project so that your computer cannot access them, missing files will not play.
 Collect Unused Audio Files: Includes media files you have deleted from the project but
that remain in the Bin. If you do not want to include these media files, deselect this
checkbox.
Note: Optionally, you can open the Bin, select the audio files you want to remove,
then choose Remove Unused from the Media pop-up menu.
 Collect Video File: Saves the project’s video file in the same folder as the project.
 Save Edited Media Locally: Saves the project’s edited audio files in the same folder as
the project (in a subfolder named Media). If this checkbox is not selected, edited
media is saved to the edited media location defined in Soundtrack Pro preferences.
Note: Multitrack projects are saved as documents with the extension .stmp.
5 You can optionally click the New Folder button to create a new folder for the
collected project.
6 Click Save to save the project.
If the folder already contains any of the media files, an alert appears, asking if you want
to replace the existing files.
Note: Since video files can be very large, if you save a multitrack project
collected (by selecting the Collect Audio Files or Collect Video File checkbox in
the Save As dialog), it may take several minutes and may require a large amount
of disk space to save the project.
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Setting Default Locations for Saving Media Files
During the course of a large sound editing project, you may generate numerous
project files, clips, render files, and audio recordings. Soundtrack Pro helps you manage
all this media by saving the files to default scratch locations. You can change the
scratch locations using Soundtrack Pro preferences.
Edited Media Location
When Soundtrack Pro creates and saves audio file projects, the default location for
those files is: /Users/username/Documents/Soundtrack Pro Documents/Edited Media/
Project Name/.
To change the edited media location, do one of the following:
m Choose Soundtrack Pro > Preferences > General, then click Choose to enter a
new location.
m In the Project tab, choose one of the following in the Create Media section:
 In Edited Media (from Preferences)
 In Media folder with project
Scratch Location
When Soundtrack Pro creates temporary render files, the default location for those files
is: /Users/username/Documents/Soundtrack Pro Documents/Temporary Files/.
To change the scratch location:
m Choose Soundtrack Pro > Preferences > General, then click Choose to enter a new location.
Recordings Location
When you record audio with Soundtrack Pro, the default location for those audio
recordings is: /Users/username/Documents/Soundtrack Pro Documents/Recordings/.
To change the recordings location:
m Choose Soundtrack Pro > Preferences > Recording, then click Choose to enter a
new location.
Collecting Media for a Project
When you save a Soundtrack Pro multitrack project, you have the option to collect the
associated audio and video files in one folder, alongside the multitrack project. You can
make these choices at the time you save a project, or in the Project tab in the Project
File Management section.
For more information on these options, see “Saving Multitrack Projects” on page 111.
Chapter 4 Working with Multitrack Projects 113
Adding Files to a Multitrack Project
Once you’ve located and previewed an audio file you want to add, you drag the file to the
Timeline to add it to the project. When you drag an audio file to the Timeline,
Soundtrack Pro creates an audio clip from the audio file and adds the clip to the project. An
audio clip does not contain the actual audio data; instead, it contains a reference to the file
stored on disk. Editing an audio clip in the Timeline does not change the source audio file.
To add an audio file from the media tabs, do one of the following:
m Drag the file from one of the media tabs to a track in the Timeline.
m Drag the file from the File list to the strip between two existing tracks.
A new track is created and the clip is added to the track.
m Drag the file from the File list to the empty part of the Timeline below the Master bus.
A new track is created and the clip is added to the track.
m Drag a file from the File list to a track or to the part of the Timeline below the
existing tracks.
To spot the clip to the playhead, do one of the following:
m Select the clip and choose Clip > Spot to Playhead (or press Command-\).
m Control-click the clip, then choose Spot to Playhead from the shortcut menu.
To spot the clip to the Timeline, do one of the following:
m Select the clip and choose Clip > Spot to Timeline (or press Command-Shift-\).
m Control-click the clip, then choose Spot to Timeline from the shortcut menu.
For more information, see “Spotting Clips to the Timeline” on page 153.
Drag the file from a media
tab to the Timeline.
114 Chapter 4 Working with Multitrack Projects
To add an audio file from the Finder:
m Drag the file from the Finder to the Timeline (to a track, between two existing tracks, or
to the area below all existing tracks).
When the Bin tab is active, the Bin shows all of the audio clips in the project. You can
drag a clip from the list to the Timeline to add a new clip from the same audio file at a
different point in time, or to a different track.
To add an audio file from the Bin tab:
m Drag the file from the Bin tab to the Timeline, either to a track or to the area below the
existing tracks.
Note: When you drag an audio file to the Timeline, the file snaps to the nearest Snap To
position if snapping is turned on. For information on setting the Snap To value, see
“Using Snapping” on page 94.
Viewing and Editing Clip and Track Properties
In Soundtrack Pro, you can easily view and adjust the specific details about individual
clips and tracks.
Clip Properties
When you create an audio clip by dragging an audio file to the Timeline, the audio clip
has a set of properties. These properties are specific to the clip and can be different for
two clips created from the same source audio file.
Chapter 4 Working with Multitrack Projects 115
The following properties for the selected clip are displayed and can be edited in the
Details tab:
File and Clip Details
 Name: Name of the selected clip.
 Position value slider: Sets the position (start point) of the selected clip.
 Duration value slider: Sets the duration (length) of the selected clip.
 Offset value slider: Sets the offset of the selected clip.
 Measure in pop-up menu: Sets the units shown in the Position, Duration, and Offset
value sliders.
 Color pop-up menu: Sets the color of the selected clip.
 Enabled checkbox: Enables or disables the selected clip.
 Locked checkbox: Locks or unlocks the selected clip.
 Transpose pop-up menu: Sets the number of semitones to transpose a looping clip.
 Clip Speed pop-up menu: Sets the playback speed for a looping clip.
 Created: Displays the creation date.
 Modified: Displays the modification date.
 Size: Displays the file size.
 Properties: Displays the following information for the clip or file: duration, sample rate,
the timecode for the first frame of the clip or file, bit depth, and channel valence.
 Metadata: Use this section to view the metadata for a file or a clip. Metadata
categories include Name, Copyright, Origination Date, Keywords, and so on.
 Music: Use to view music information for a clip or file, primarily music loops in the
Search tab. The music information includes tempo, time signature, key, scale type,
looping (yes or no), beats, instrument, and loop genre.
116 Chapter 4 Working with Multitrack Projects
Some properties can be changed by editing the clip in the Timeline. For detailed
information on editing audio clips, see “Selecting Audio Clips in the Timeline” on
page 147.
The name of an audio clip appears on the clip in the Timeline. By default, the entire
name appears on the clip if the clip is long enough to display it. You can change the
default behavior in the General pane of the Preferences window, so that long clip
names are truncated from the center. For information on setting preferences, see
“Setting Soundtrack Pro Preferences” on page 97.
Setting Clip and Track Colors
Soundtrack Pro allows you to set colors for clips and tracks. Setting a clip or track color
is a useful way to differentiate a set of clips from the rest of the clips or tracks in the
Timeline. For example, you could color-code your clips by category: dialogue, music,
and effects. This helps you organize your project visually. By default, video clips are set
to blue and audio clips are set to green, but you can change the color of audio clips
and tracks at any time.
There are four ways to set the color of a clip or a selection of clips.
You can change the
colors of audio clips
and tracks.
Chapter 4 Working with Multitrack Projects 117
To set the color of a clip, do one of the following:
m Select the clip in the Timeline or the Bin, choose Clip > Color, then choose a color from
the submenu.
m Control-click the clip in the Timeline or the Bin, then choose Color from the shortcut
menu and choose a color from the submenu.
m Select the clip. In the Details tab, choose a color from the Color pop-up menu.
m Drag the clip to a track that already has a color.
The clip takes on the track color.
Note: If you have already applied a color to a clip, the clip does not take on the track color.
You can set the color for a track, so that any clip you add to the track takes on the
track color.
To set a track color, do one of the following:
m Select the track, then choose Multitrack > Track Color, and choose a color from
the submenu.
m Control-click the track, then choose Color from the shortcut menu and choose a color
from the submenu.
Choose a clip color from
the shortcut menu.
118 Chapter 4 Working with Multitrack Projects
Enabling and Disabling Clips
In addition to muting entire tracks, you can disable (mute) individual clips in the
Timeline in Soundtrack Pro.
To disable a clip in the Timeline, do one of the following:
m Select the clip, then choose Clip > Disable Clip.
m Control-click the clip in the Timeline, then choose Disable Clip from the shortcut menu.
m Select the clip. In the Details tab, deselect the Enable checkbox.
To enable a clip in the Timeline, do one of the following:
m Select the clip, then choose Clip > Enable Clip.
m Control-click the clip in the Timeline, then choose Enable Clip from the shortcut menu.
m Select the clip. In the Details tab, select the Enable checkbox.
Locking and Unlocking Clips and Tracks
You can prevent any changes to a clip or a track by locking it.
Locking Clips
A locked clip cannot be moved, resized, or otherwise modified in the Timeline. A
locked clip can be enabled or disabled. A clip can overlap a locked clip. The envelope
points under a locked clip are locked based on the envelope mode: if attached to a
clip, envelope points are locked; if not attached to a clip, envelope points are
unlocked. For more information about attaching envelope points, see “Adding
Envelope Points” on page 357.
Choose Disable Clip from
the shortcut menu.
Chapter 4 Working with Multitrack Projects 119
To lock a clip in the Timeline, do one of the following:
m Select the clip, then choose Clip > Lock Clip.
m Control-click the clip in the Timeline, then choose Lock Clip from the shortcut menu.
m Select the clip. In the Details tab, select the Locked checkbox.
To unlock a clip in the Timeline, do one of the following:
m Select the clip, then choose Clip > Unlock Clip.
m Control-click the clip in the Timeline, then choose Unlock Clip from the shortcut menu.
m Select the clip. In the Details tab, select the Locked checkbox.
Locking Tracks
When an audio track is locked, the clips on the track cannot be moved, resized, or
otherwise modified in the Timeline. Clips and effects cannot be added to or removed
from a locked track. Effects and other parameters (such as pan, gain, and output) are
not editable on a locked track.
Choose Lock Clip from
the shortcut menu.
120 Chapter 4 Working with Multitrack Projects
To lock a track, do one of the following:
m Select the track, then choose Multitrack > Lock Selected Track.
m Control-click the track, then choose Lock Selected Track from the shortcut menu.
To unlock a track, do one of the following:
m Select the track, then choose Multitrack > Unlock Selected Track.
m Control-click the track, then choose Unlock Clip from the shortcut menu.
Making Clip Channel Selections
A production sound recording often results in a stereo file or a multichannel file that
contains distinct data on different channels (for example, a lapel microphone on one
channel and a boom microphone on another channel). In such cases, you may want to
adjust a stereo clip so that it represents just one of its two channels in the Timeline. You
can also adjust a multichannel clip to represent just one of its channels, an adjacent
pair of its channels, or six channels. Soundtrack Pro provides two different ways to
make these channel selections in a clip.
Using the Shortcut Menu to Make a Channel Selection
Once a clip is in the Timeline, you can select (solo) an individual channel of a stereo file.
Or you can select an individual channel or various pairs of channels of a multichannel
file. The clip retains this channel selection throughout the life of the multitrack project. If
you duplicate the clip, the copy also inherits the same channel selection. Changing any
one instance of a clip does not affect any other instance. For stereo files, there are two
options: channel 1 and channel 2. For six-channel files, there are nine different options.
Note: You can change the channel selection at any time by repeating the following steps.
Choose Lock Selected Track
from the shortcut menu.
Chapter 4 Working with Multitrack Projects 121
To use the shortcut menu to make a mono channel selection from a stereo clip:
m Control-click the clip in the Timeline, then choose one of the following options from
the shortcut menu:
 Channel Select > Mono > 1
 Channel Select > Mono > 2
The clip waveform display changes to a single (mono) waveform, and the clip
functions in the project as a mono file.
To use the shortcut menu to make a channel selection from a multichannel clip:
m Control-click the clip in the Timeline, then choose one of the options from the
shortcut menu.
If you choose a mono option, the clip waveform display changes to a single (mono)
waveform, and the clip functions in the project as a mono file. If you pick a stereo
option, the clip waveform display changes to a stereo waveform, and the clip functions
in the project as a stereo file.
Choose a channel from
the shortcut menu.
The clip’s waveform
display updates to a
single (mono) waveform.
122 Chapter 4 Working with Multitrack Projects
Separating Channels by Option-Dragging
You can separate the channels of stereo and multichannel clips into individual clips as
you drag them to the Timeline. When adding a clip to the Timeline from either the
Browser, Bin, or Finder, holding down the Option key while dragging will automatically
generate mono clips from a stereo or multichannel file. The dragged clip becomes a
vertical stack of clips, with the first under the pointer and the rest on subsequent tracks.
To convert the channels of a stereo or multichannel clip into individual clips as you
add it to the Timeline:
1 Option-click the clip in any of the Soundtrack Pro media tabs.
2 Continue to press the Option key as you drag the clip to the Timeline.
The dragged clip becomes a vertical stack of clips, with the top clip under the pointer
and the rest on subsequent tracks. If you dragged a stereo clip, the stack consists of
two clips, one for each channel. If you dragged a six-channel clip, the stack consists of
six clips, one for each channel.
Option-drag a stereo file
from the Browser to the
Timeline.
The stereo file is split into
two mono files–each in
its own track.
Chapter 4 Working with Multitrack Projects 123
Combining Separate Clips to Create Multichannel Clips
In Soundtrack Pro, you can create a single multichannel clip by combining separate clips.
To create a single multichannel clip from separate clips:
1 Select up to 24 separate source clips in any one of the Soundtrack Pro media tabs (Bin,
Browser, Search, or Favorites).
2 Drag the clips to a track in the Timeline.
The clips are combined into a single multichannel clip.
Note: This feature is available for mono source files only.
Drag multiple mono
source files into the
Timeline to create a
multichannel clip.
124 Chapter 4 Working with Multitrack Projects
Tracks, Busses, Submixes, and the Master Bus
Multitrack projects contain tracks, busses, and submixes. Tracks, busses, and submixes
appear as horizontal rows in the Timeline and as vertical channel strips in the Mixer. In
both the Timeline and Mixer, tracks, busses, and submixes are grouped together, with a
separator between each category. You can move each type within its own category but
cannot move it to either of the other categories. Each track, bus, and submix has a
header with its icon, name, and a set of controls. The Master bus represents the final
mix that goes to physical outputs. The Master bus has no icon or editable name.
Tracks
Tracks contain the audio you add to your project in the Timeline. Each track has a color
label, a name, an icon, and a set of controls that appear in the track’s header in the
Timeline and in its channel strip in the Mixer. Track controls include a volume slider, a
pan control, a submix pop-up menu, and buttons to mute or solo the track, bypass
effects, and enable the track for recording. In addition, each channel strip includes level
meters you can use to watch the track’s levels and a set of effects slots where you can
add and order track effects and sends.
Busses
In Soundtrack Pro, a bus is a separate but parallel audio signal created with a send. A
send can tap an audio signal and create a separate signal known as a bus. (Some might
call this an auxiliary bus.) Busses can be processed or combined independently of the
main signal. They can be combined with other signals in a submix or at the final mix, or
they can be routed to altogether separate outputs.
Each bus has a color label, a name, an icon, and a set of controls that appear in the
bus’s header in the Timeline and in its channel strip in the Mixer. Bus controls are the
same as track controls, except that a bus does not have an Arm for Recording button
(because you can’t record audio to a bus). The bus controls affect the audio of every
track sent (routed) to that bus.
Send
Track
Submix bus
Bus
1
Audio clip
Effects
Volume fader
Chapter 4 Working with Multitrack Projects 125
For example, you could route every dialogue track for a particular actor to a bus with
the actor’s name. You could adjust the volume of all the actor’s dialogue using the bus
volume fader and add an EQ effect that brings out the actor’s voice in the mix. You
could then route that audio bus to a particular submix. The main reason to apply
effects this way (rather than directly on the track) is so you can control the amount and
characteristics of the effect on multiple tracks using one set of controls.
For more information about using busses and sends, see “Using Sends and Busses” on
page 270.
Submixes
Submixes let you combine the audio from different tracks and busses and route the
audio to physical outputs. If you are using external audio hardware that supports
multiple physical outputs, you can add submixes to a project and choose the physical
output to which each submix routes its audio. For more information about signal
routing in Soundtrack Pro, see “Basic Signal Routing in Soundtrack Pro” on page 263.
For example, you could route the audio from the dialogue tracks for each actor to a
submix called “Dialogue” and then route all of the dialogue from that submix to a
single output jack. You could route all music tracks to another submix and all effects
tracks to a third submix. Then you could adjust the volume or add effects separately to
each submix. For a final stereo mix, you could route all submixes to the same pair of
physical output channels (channels 1 and 2, for example), or to separate outputs. In the
case of a surround mix, you could route all submixes to channels 1–6. For a detailed
explanation of this example, see “Example: Mixing a Project with Dialogue, Music,
and Effects Submixes” on page 266.
Each submix has a color label, a name, an icon, and a set of controls that appear in the
submix’s header in the Timeline and in its channel strip in the Mixer. Submix controls
include a volume slider, a pop-up menu where you can choose the physical output
channels for the submix, and buttons to mute or solo the submix and add effects. Each
submix channel strip includes level meters you can use to watch the submix’s levels
and a set of effects slots where you can add and order effects and sends. Submixes do
not have pan controls or Arm for Recording buttons.
126 Chapter 4 Working with Multitrack Projects
For information about working with tracks, busses, and submixes in the Timeline, see
“Working with Tracks, Busses, and Submixes in the Timeline” on page 135. For
information about working with tracks, busses, and submixes in the Mixer, see “Using
Sends and Busses” on page 270.
The Master Bus
The Master bus represents the final mix from Soundtrack Pro: what will be heard from
physical output jacks. On a signal routing basis, the Master bus is practically a mirror
image of the connected hardware output device. It has a single volume control but
does not have panners. You can apply effects to the Master bus, but you cannot
automate those effects. Effects applied to the Master bus are placed across all channels.
For more information about the Master bus, see “Using the Master Bus” on page 290.
Tracks, busses, and submixes in the Timeline
Tracks, busses, and submixes in the Mixer
5
127
5 Working in the Timeline
The Timeline is where you arrange audio clips to build your
soundtrack. You can also adjust volume and panning, add
effects, and edit envelopes to control automation.
Note: This chapter covers the mechanics of working with clips, tracks, busses, and
submixes in the Timeline. For strategies on setting up a sound-for-picture
post-production project, see “Example: Mixing a Project with Dialogue, Music,
and Effects Submixes” on page 266. For information on signal routing in
Soundtrack Pro, see “Basic Signal Routing in Soundtrack Pro” on page 263.
Working in the Timeline
The Timeline displays a visual representation of a project, showing the point in time
when audio clips start playing and their duration. You control when and how long clips
play by moving and resizing them in the Timeline.
The Timeline is arranged in three sets of horizontal rows: tracks, busses, and submixes.
You add audio clips to tracks, create submixes using busses, and send audio to physical
output devices using submixes. For information about working with tracks, busses, and
submixes, see “Tracks, Busses, Submixes, and the Master Bus” on page 124.
The Timeline also displays vertical gridlines that make it easy to position clips precisely
in time. The gridlines correspond to the divisions of time in the Time ruler. The units of
time the gridlines display change depending on the Ruler Units setting in the Project
tab and the current zoom level.
128 Chapter 5 Working in the Timeline
Moving Around in the Timeline
Soundtrack Pro provides several controls that let you change the view of the Timeline
and move to different parts of your project. You can zoom in or out for a closer or wider
view of the Timeline, control how many tracks are displayed in the Timeline, and
change which part of the project is currently visible using the scroll bars and project
controls. You can split the Timeline view and use the Global Timeline view to quickly
move to different parts of your project.
Using the Scroll Bars
If the entire project cannot be displayed in the Timeline, you can scroll through the
project using the horizontal scroll bar located at the bottom of the Timeline. Drag the
horizontal scroll bar left or right to move the visible part of the Timeline.
If your project contains more tracks than can be displayed in the Timeline, a vertical
scroll bar appears along the right edge of the Timeline. Drag the vertical scroll bar up
or down to change which tracks are visible.
In the lower left of the project pane are the Timeline controls, including the Track
Height control and Zoom control.
Vertical scroll bar
Horizontal scroll bar
Chapter 5 Working in the Timeline 129
Using the Zoom Control
You can zoom in to make precise edits in the Timeline, or zoom out for a wider view of
your project using the Zoom control.
The Zoom control features a slider on a graduated scale. Moving the slider to the left or
clicking the left side of the control zooms in for a closer view, displaying a smaller area
of the Timeline close up. Moving the slider to the right or clicking the right side of the
control zooms out for a wider view, displaying a wider area of the Timeline.
You can also zoom in and out using menu commands or keyboard shortcuts. If your
mouse has a scrollwheel, you can use it to zoom in and out. You can also fit the entire
project in the visible area of the Timeline.
Timeline zoomed out
Timeline zoomed in
130 Chapter 5 Working in the Timeline
To zoom in, do one of the following:
m Move the Zoom slider to the left.
m Click the left side of the Zoom control.
m Choose View > Zoom In.
m Press Command-plus (+).
m If the mouse connected to your computer has a scrollwheel, position the pointer over
the Zoom control and move the scrollwheel.
To zoom out, do one of the following:
m Move the Zoom slider to the right.
m Click the right side of the Zoom control.
m Choose View > Zoom Out.
m Press the Down Arrow key.
m Press Command-minus (–).
m If your mouse has a scrollwheel, position the pointer over the Zoom control and move
the scrollwheel.
Note: Optionally, you can change the default scrollwheel behavior in the General pane
in Soundtrack Pro preferences to zoom in to the playhead in the Timeline or the File
Editor using the scrollwheel.
To fit the project in the visible area of the Timeline:
m Choose View > Fit in Window (or press Shift-Z).
Using the J, K, and L Keys for Shuttling
You can use the keyboard commands (the J, K, and L keys) to speed playback up to
eight times normal speed. When you use the keyboard shortcuts, the only speed
available under 1x is 1/2x.
{ Moves through
reverse speeds
Pause “ Moves through
forward speeds
Chapter 5 Working in the Timeline 131
To begin forward playback at normal (1x) speed:
m Press L.
To begin reverse playback at normal (1x) speed:
m Press J.
To pause playback:
m Press K.
To double the current playback speed:
m Press L or J again.
You can play back up to eight times normal speed, switching from 1x to 2x to 4x to 8x
normal speed (pressing either key a total of four times).
Pressing the key for playback in the opposite direction halves the playback speed,
slowing down playback in that direction until it reaches 1x playback. Playback then
begins doubling in reverse, starting from 1x.
To immediately reverse the playback direction:
m Press K to pause, then press the key for the direction you want.
To move the playhead one frame at a time:
m Hold down the K key, then press J or L.
To move the playhead at below 1/2x speed:
Hold down the K key, then press and hold down J or L.
Moving the Playhead with Keyboard Shortcuts
Soundtrack Pro provides a variety of keyboard shortcuts to move the playhead.
To move the playhead to the previous edit:
m Press the Up Arrow key.
To move the playhead to the next edit:
m Press the Down Arrow key.
To move the playhead to the previous edit and toggle the clip selection:
m Press Shift–Up Arrow.
To move the playhead to the next edit and toggle the clip selection:
m Press Shift–Down Arrow.
To move the playhead one gridline to the left:
m Press the Left Arrow key.
To move the playhead one gridline to the right:
m Press the Right Arrow key.
132 Chapter 5 Working in the Timeline
For a complete list of Soundtrack Pro keyboard shortcuts, see Appendix A,
“Soundtrack Pro Keyboard Shortcuts,” on page 449.
Note: The gridlines correspond to the divisions of time in the Time ruler. The units of
time the gridlines display change depending on the Ruler Units setting in the Project
tab and the current zoom level.
Setting Track Height
You set the height of tracks, busses, and submixes in the Timeline using the Track
Height control. The Track Height control has four settings. The smallest rectangle sets
the track height to a minimized setting, with each track (and track header) reduced to
half-height, allowing more tracks to be displayed in the Timeline.
To set the height of tracks, busses, and submixes, do one of the following:
m Click one of the four rectangles on the Track Height control.
m Press Command-6, Command-7, Command-8, or Command-9.
Note: Track header controls for setting up recording appear in the two tallest track
heights only.
Reduced track
height
Large track height
Chapter 5 Working in the Timeline 133
Using the Global Timeline View
The Global Timeline view, located above the Time display and Time ruler, shows a
miniature view of the entire project. The playhead appears as a black vertical line with a
triangular handle. The part of the project currently visible in the Timeline is indicated
by a blue rectangle in the Global Timeline view.
To move to a new area of the Timeline using the Global Timeline view:
m Drag the visible area rectangle to a new position.
You can quickly move to different parts of the Timeline by dragging the blue rectangle.
This is especially useful when working on longer projects. You can also drag the
rectangle up or down to move vertically in the Global Timeline view. This is useful if
your project contains more tracks, busses, and submixes than can be displayed in the
project pane.
Using the Time Ruler
The Timeline has a Time ruler that shows the divisions of time in a project. You can set
the playhead to a precise frame, point in time, or sample number using the Time-based
units on the Time ruler, or to a specific musical measure or beat using the Beats-based
units, to synchronize playback of audio clips in the Timeline.
The Time ruler changes depending on the time format of the project and the Time ruler
units. If the project is currently set to Time-based format, Time-based units appear in
the upper part of the ruler. If the project is set to Beats-based format, Beats-based units
appear in the upper half of the ruler.
You can use the Time ruler to position clips or the playhead at a precise point in time,
including synchronizing them to a specific timecode reference in a video file.
To set the playhead to a specific point in the Time ruler:
m Click the Time ruler at the point where you want to set the playhead.
Drag this rectangle
to a new position.
134 Chapter 5 Working in the Timeline
Working with the Cycle Region
You can create a cycle region in a project, an area that plays back repeatedly. This is
sometimes called cycling or looping playback. A project has only one cycle region, but
you can move and resize it as often as you want. Additionally, for selecting, marking,
and exporting purposes, the cycle region functions much like In and Out points in
Final Cut Pro.
You also use the cycle region when recording multiple takes. For information on
recording, see Chapter 13, “Recording Audio in Soundtrack Pro,” on page 367.
To set the cycle region, do one of the following:
m Drag in the Time ruler from the beginning of where you want the cycle region to the end.
m Position the playhead and press I to set the cycle region In point. Position the playhead
and press O to set the cycle region Out point.
m Press X to set the cycle region In and Out points at the boundaries of the clip that
currently intersects the playhead. The clip on the uppermost track is used.
Note: For a complete list of Soundtrack Pro keyboard shortcuts, see Appendix A,
“Soundtrack Pro Keyboard Shortcuts,” on page 449.
The cycle region is lighter in color than the rest of the Time ruler, with triangular
markers indicating its start and end points. If a cycle region already exists, you can drag
anywhere in the Time ruler outside of the current cycle region to set the cycle region to
a new position.
If cycling is turned off, you must turn it on for the cycle region to be active. The Cycle
button darkens to indicate that the cycle region is activated.
To activate or deactivate the cycle region, do one of the following:
m Click the Cycle button in the transport controls.
m Press C.
To move the cycle region:
m Click in the bottom half of the cycle region and drag it to a new position in the Timeline.
Drag in the Time ruler to
set the cycle region.
Chapter 5 Working in the Timeline 135
To resize the cycle region:
m Drag either the In point or Out point handle in the Time ruler to resize the cycle region.
To remove the cycle region, do one of the following:
m Choose Edit > Cycle Region > Remove Cycle Region (or press Option-X).
m Control-click the cycle region, then choose Cycle Region from the shortcut menu and
Remove Cycle Region from the submenu.
Working with Tracks, Busses, and Submixes in the Timeline
The Timeline is arranged sets of horizontal rows: tracks, busses, and submixes. You add
audio to tracks in your project, use busses to create effect sends, and route audio to
physical output channels using submixes.
The tracks in a project appear in the upper part of the Timeline. Busses appear below
tracks, and submixes appear below busses. The Master bus appears below submixes.
The Master bus represents the final mix that will be heard from physical output jacks. It
has a single volume control and no panners or meters. You can apply effects to the
Master bus.
A separator between each set of Timeline rows helps visually distinguish them, and
disclosure triangles on each separator let you show or hide the different sets. Tracks,
busses, and submixes in the Timeline correspond to channel strips in the Mixer. When
you add a track, bus, or submix, adjust its controls, or add effects, the same changes
appear in the corresponding channel strip when you open the Mixer.
Tracks, busses, and submixes are described in greater detail in “Tracks, Busses,
Submixes, and the Master Bus” on page 124.
Adding Tracks, Busses, and Submixes
There are several ways to add tracks, busses, and submixes.
To add a track, do one of the following:
m Choose Multitrack > Add Track (or press Command-T).
m Control-click an open area of the Timeline, then choose Add Track from the
shortcut menu.
m Control-click a track, then choose either Add Track Above or Add Track Below from the
shortcut menu.
To add a bus, do one of the following:
m Choose Multitrack > Add Bus.
m Control-click a bus, then choose either Insert Bus Before or Insert Bus After from the
shortcut menu.
136 Chapter 5 Working in the Timeline
To add a submix, do one of the following:
m Choose Multitrack > Add Submix.
m Control-click a submix, then choose either Insert Submix Before or Insert Submix After
from the shortcut menu.
Selecting Tracks, Busses, and Submixes
You can select a track, bus, or submix in order to move, copy, or remove it, and you can
also select tracks, busses, and submixes to export. The headers of selected tracks,
busses, and submixes appear darker in the Timeline.
To select a track, bus, or submix, do one of the following:
m Click in the header for the track, bus, or submix.
m Click anywhere in the row for the track, bus, or submix in the Timeline.
m Press Control-Up Arrow or Control-Down Arrow.
You can select multiple tracks, busses, or submixes in the Timeline.
To select adjacent tracks, busses, or submixes, do one of the following:
m Shift-click in the header of each track, bus, or submix.
m Press Shift-Control-Up Arrow or Shift-Control-Down Arrow.
To select nonadjacent tracks, busses, or submixes:
m Command-click in the header of each track, bus, or submix.
Grouping Tracks, Busses, and Submixes
You can create groups of tracks, groups of busses, and groups of submixes. Groups
provide a way to easily select and make changes (such as volume, mute, solo, and lock
adjustments) to many tracks, busses, or submixes at once. When Mixer objects are
grouped, selecting one item in the group selects all items in that group.
Note: It is not possible to group Mixer objects from different categories. For example,
you cannot group tracks with busses or tracks with submixes.
The selected track is
highlighted.
Chapter 5 Working in the Timeline 137
To group tracks, busses, or submixes:
1 Confirm that grouping is enabled by choosing Multitrack > Groups Enabled.
2 Do one of the following:
 Select any combination of tracks.
 Select any combination of busses.
 Select any combination of submixes.
3 Choose Multitrack > Group Tracks (or press Command-G).
The selected items are grouped.
Applying Changes to Groups of Selected Tracks, Busses, and Submixes
When multiple tracks, busses, or submixes are selected (whether they are officially
grouped or not) you can apply the following changes to all the selected items at once:
Changes in the track header or the shortcut menu:
 Toggling the envelopes
 Volume
 Effect bypass
 Mute
 Solo
 Setting track color
 Track locking
 Remove track
 Switching between stereo/surround panner
Changes in the Timeline:
 Blade tool
 Creating a Timeslice selection
 Marquee-selecting multiple clips with the Selection tool
138 Chapter 5 Working in the Timeline
Managing Track Selections with the Tracks Tab
The Soundtrack Pro Tracks tab is a convenient tool for selecting and grouping tracks,
busses, and submixes. The Tracks tab consists of three sections: the Mixer Objects
outline, the Groups outline, and a channel strip for the currently selected item.
Mixer Objects Outline
The upper left of the Tracks tab displays an outline view of the Timeline, including all
tracks, busses, and submixes. Use this outline to quickly manage, select, and group
Mixer objects (track, bus, or submix) without having to view the entire Timeline.
To select an individual Mixer object (track, bus, or submix) in the Tracks tab:
m Click the track, bus, or submix in the Mixer Objects outline.
You can also use the Up and Down Arrow keys to navigate through individual
Mixer objects.
To select adjacent Mixer objects in the Tracks tab:
m Shift-click the adjacent tracks, busses, or submixes in the Mixer Objects outline.
To select nonadjacent tracks, busses, or submixes:
m Command-click the nonadjacent tracks, busses, or submixes in the Mixer Objects outline.
Chapter 5 Working in the Timeline 139
Groups Outline
The Groups outline displays an outline view of any grouped tracks, busses, or submixes
in the project. You can use the Groups outline to group Mixer objects, disable or enable
groups, rename groups, delete groups, and delete items from groups.
To group tracks, busses, or submixes in the Groups outline:
1 Confirm that grouping is enabled by choosing Multitrack > Groups Enabled.
2 In the Mixer Objects outline, do one of the following:
 Select any combination of tracks.
 Select any combination of busses.
 Select any combination of submixes.
For more information on selecting, see “Selecting Tracks, Busses, and Submixes” on
page 136.
3 Choose Multitrack > Group Tracks (or press Command-G).
The selected items are grouped and the new group appears in the Groups outline.
To enable or disable groups in the Groups outline:
m Click the checkbox next to the group in the Groups outline to enable or disable it.
Note: Three standard groups (All Tracks, All Busses, and All Submixes) are disabled
by default.
140 Chapter 5 Working in the Timeline
To rename a group in the Groups outline:
1 Double-click the name.
2 Enter the new name.
To delete a group or remove an item from a group:
1 Select the group or item in the Groups outline.
2 Press Delete.
Channel Strip
The right side of the Tracks tab displays a single channel strip for the currently selected
track, bus, or submix. (This channel strip is identical to the corresponding channel strip
in the Mixer in every way, including all controls and current settings.) It is a quick way
to access the mixing controls for a particular Mixer object.
Note: The channel strip is displayed only if a single track, bus, or submix is selected.
For more information about channel strips, see “Working with Channel Strips in the
Mixer” on page 273.
Chapter 5 Working in the Timeline 141
Moving and Copying Tracks, Busses, and Submixes
As you work on your project, you may want to rearrange tracks, busses, and submixes. You
can move and copy them to change their vertical arrangement in the track, bus, or submix
section of the Timeline. You cannot move one to the area for another (as indicated by the
rows labeled “Tracks,” “Busses,” “Submixes,” and “Master” in the Timeline).
You can only move or copy one track, bus, or submix at a time.
To move a track, bus, or submix:
m Drag the track, bus, or submix header up or down to a new vertical position.
A light blue horizontal line in the header area indicates the place the track, bus, or
submix is moved to when you release the mouse button.
To copy a track, bus, or submix:
m Option-click in the header for the track, bus, or submix, then drag it up or down.
A copy of the track, bus, or submix appears when you release the mouse button.
Renaming Tracks, Busses, and Submixes
By default, tracks are numbered when created and take the name of the first audio clip
you add to them. Busses and submixes are numbered starting from 1 (Bus 1, Submix 1,
and so on). You can rename a track, bus, or submix and use the names to distinguish
the type of audio it contains (for example, dialogue, voiceovers, music, or sound
effects), its part in the overall project, or to identify it in some other way.
To rename a track, bus, or submix:
m Click the name field in the header for the track, bus, or submix and type a new name.
Note: You cannot rename the Master bus.
Changing a Track, Bus, or Submix Icon
You can choose a new icon from the icon grid or add your own image to the grid.
To change the icon for a track, bus, or submix, do one of the following:
m Double-click the icon, then select a new icon from the icon grid that appears.
m Drag a graphics file from the Finder to the icon.
142 Chapter 5 Working in the Timeline
Using the Track Controls
Tracks, busses, and submixes have headers, located along the left side of the
Timeline. Each header contains track controls that you can use to mute or solo the
track, bus, or submix, adjust its volume level and pan position, add effects, and show
or hide its envelopes.
Adjusting Volume
The volume slider controls the volume (the loudness relative to other tracks) of the
track, bus, or submix.
To adjust the volume level of a track, bus, or submix:
m Drag the volume slider left or right.
The range is –96 dB to +6 dB, with the default at 0 dB. Double-clicking the slider resets
it to the 0 dB position.
Adjusting Pan Position
Tracks and busses also include panning controls. The stereo pan slider controls the
stereo pan position (the left-to-right placement in the stereo field) of the track. The
surround panner controls the surround pan position, placing sounds in a
multidimensional space defined by 5.1-surround speaker systems.
To adjust the pan position of a track or bus, do one of the following:
m In stereo mode, drag the pan slider left or right.
The range is –100 (full left) to +100 (full right), with the default at 0 (center position).
Double-clicking the slider resets it to the center position.
Drag the volume slider
left or right.
Drag the slider to pan
the sound.
Chapter 5 Working in the Timeline 143
m In surround mode, drag anywhere inside the black circle to position the puck.
For finer panning adjustments and other surround controls, double-click the surround
panner to open the Surround Panner HUD.
For more information about using surround panners, see “Using Surround Panners to
Create a Surround Mix” on page 299. For more information about the Surround Panner
HUD, see “The Surround Panner HUD” on page 300.
Muting and Soloing Tracks, Busses, and Submixes
The Mute button mutes (silences) the track, bus, or submix. You can mute multiple
tracks, busses, and submixes, which allows you to hear only the remaining, unmuted
ones. Muting lets you compare the sound of the project using different combinations
of tracks, busses, and submixes, and hear the result of changes you make to them.
To mute a track, bus, or submix:
m Click the Mute button. Click the Mute button again to unmute the track, bus, or submix.
Muted tracks, busses, and submixes appear darker in the Timeline and their clips
appear translucent, making it easy to identify which tracks are currently audible.
The Solo button solos the track, bus, or submix, muting all others. Soloing a track, bus,
or submix lets you quickly isolate it from the rest of the project, so you can adjust the
sound of the soloed track, bus, or submix and make changes.
Drag the puck to pan
the sound.
Click the Mute button to
mute the track, bus, or
submix.
muted track
144 Chapter 5 Working in the Timeline
Soundtrack Pro supports multiple solo and exclusive solo. Clicking the Solo button for
multiple tracks, busses, or submixes solos them and mutes all others. When you exclusively
solo a track, bus, or submix, all others are muted, regardless of whether they are soloed.
To solo a track, bus, or submix (multiple solo):
m Click the Solo button. Click the Solo button again to unsolo the track, bus, or submix.
To exclusively solo a track, bus, or submix:
m Option-click the Solo button. Click the Solo button again to unsolo the track, bus, or submix.
When you solo tracks, busses, or submixes, the ones not soloed appear darker in
the Timeline, and their clips appear translucent.
Adding Effects to a Track, Bus, or Submix
You can use the Effects tab, which you use to add effects. The Effects tab also displays
any effects currently assigned to the track, bus, or submix.
To add effects to a track, bus, or submix:
1 Do one of the following:
 Control-click the header for the track, bus, or submix, then choose Show (Track, Bus,
or Submix) Effects from the shortcut menu.
This activates the Effects tab.
 Click the header for the track, bus, or submix to select it. If it is not already active,
click the Effects tab to activate it.
Click the Solo button to
solo the track, bus, or
submix.
soloed track
Chapter 5 Working in the Timeline 145
2 Select a category in the Category list to display the effects for that category in the
Effect list.
3 In the Effect list, do one of the following:
 Double-click the effect you want to add.
 Select the effect name, then click the Add Effect button.
 Drag the effect to the Effect Parameters area.
The effect’s advanced settings window appears, and the effect name appears in the
Effect Parameters area with its checkbox selected.
For detailed information about adding and adjusting effects, see Chapter 11, “Working
with Audio Effects,” on page 327.
Showing and Hiding Track, Bus, and Submix Envelopes
Clicking the automation disclosure triangle for a track or bus shows the volume and
pan envelopes, which you can use to automate changes to pan position and volume
level over the course of the project. Clicking the triangle for a submix shows the
submix’s volume envelope. The envelopes appear in the Timeline below the track, bus,
or submix. You can also add envelopes for effect parameters, which appear below the
other envelopes. For information on adding envelopes for effect parameters, see
Chapter 11, “Working with Audio Effects,” on page 327.
Select the category
of effects you want to
use from this list.
...to the Effect
Parameters area.
Drag the effect from
the Effect list...
146 Chapter 5 Working in the Timeline
To show or hide the envelopes for a track, bus, or submix, do one of the following:
m Click the envelopes disclosure triangle in the header for a track, bus, or submix. Click
the disclosure triangle again to hide the envelopes.
m Press E to show envelopes for any selected tracks. Press E again to hide the envelopes.
Note: If you automate controls or effects using envelopes, you hear the results whether
or not the envelopes are visible.
For information on automating changes to volume, pan, and other settings, see
Chapter 12, “Working with Automation,” on page 355.
Changing Track Time Format
By default, tracks use the same time format as the project (Time-based or Beats-based).
You can change the time format of a track, which changes the behavior of tagged clips
when you change the project tempo.
When the track time format is Time-based, clips remain at the same time position (the
same second or frame) when you change the project tempo. When the track time
format is Beats-based, clips remain at the same beat position (the same measure, beat,
and beat division) when you change the project tempo.
When you set a track to Beats-based time format, a metronome appears in the corner
of the track icon.
To change a track’s time format:
1 Select the track.
2 Choose Multitrack > Track Time Base, then choose a format from the submenu.
Click the envelopes
disclosure triangle.
The envelopes appear
below the track in the
Timeline.
Chapter 5 Working in the Timeline 147
Removing Tracks, Busses, and Submixes
You can remove a track, bus, or submix if you decide you no longer want it in a project.
To remove a track, bus, or submix, do one of the following:
m Select the track, bus, or submix, then choose Multitrack > Remove [item] (or press
Command-Shift-T).
m Control-click the track, bus, or submix, then choose Remove [item] from the shortcut menu.
The [item] changes depending on whether a track, bus, or submix is selected.
Selecting Audio Clips in the Timeline
You select the audio clips you want to edit. You can select a single clip or multiple clips,
including clips in different tracks. When you select a clip, it appears darker than
unselected clips, and it has a white border. Selecting individual clips is as straightforward
as clicking, as long as you are clicking with the right tool. Also included here are the tricks
you need to know for selecting multiple contiguous and noncontiguous clips quickly.
To select an individual clip:
1 Click the Selection tool at the top of the Timeline (or press A).
2 In the Timeline, click anywhere in a clip.
To select multiple audio clips in the same track:
1 Click the Selection tool at the top of the Timeline (or press A).
2 Do one of the following:
 Hold down the Command key while selecting the desired clips using the Selection tool.
 Drag from a point in the track before the first clip you want to select to a point after
the last clip you want to select, encompassing the clips.
 If the clips are adjacent, select a clip item, then hold down the Shift key and select
another clip item farther down on the Timeline. All of the clips between the two
are selected.
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To select multiple audio clips in different tracks, do one of the following:
m Shift-click the clips in the Timeline.
All clips between those two tracks are selected as well.
m Command-click the clips in the Timeline.
m Drag across multiple tracks to select the clips.
Note: If there is no track background available because the tracks in your project are
too dense, you can also make the selection by dragging in the track separator.
To deselect an individual clip item within a selection:
1 Select the Selection tool in the Tool palette (or press A).
2 Command-click the item you want to deselect.
To select all clips using the same source audio file, do one of the following:
m Select the clip in the Timeline or the Bin tab, then choose Clip > Select All Occurrences
of [filename].
m Control-click the source audio file in the Bin tab, then choose Show in Timeline from
the shortcut menu.
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Selecting the Entire Contents of a Track
Sometimes you may find that you want to select all of the clips on a track in order to
drag them to close a gap or to create space to accommodate new clips in your project.
After selecting a track’s contents, you can perform different operations on all the track’s
items at once, such as moving, copying, or deleting them. This feature also works with
multiple tracks.
To select all the clips on selected tracks:
1 Select one or more tracks.
For more information on selecting tracks, see “Selecting Tracks, Busses, and Submixes”
on page 136.
2 Choose Edit > Select > Across Tracks (or press Shift-T).
All clips in the track are selected.
If you make this selection in Selection tool mode, all clips on currently selected tracks
are selected. Any clips that were selected before choosing the menu item are included
in the new selection.
Note: Double-clicking a track in Selection tool mode selects all clips in that track. Any
previously selected clips are not included in the new selection. Triple-clicking a track
selects all clips in the Timeline.
If you make this selection in Timeslice tool mode, any existing Timeslice selection is
extended horizontally to cover the entire duration of the project. If there is no existing
Timeslice, Soundtrack Pro creates a Timeslice across the entire length of all selected
tracks (or all tracks if none are selected).
Note: Double-clicking a track in Timeslice tool mode creates a timeslice over the
double-clicked area (either a clip or the gap between two clips). Triple-clicking a track
creates a Timeslice across the entire track.
150 Chapter 5 Working in the Timeline
Selecting Partial Contents of One or More Tracks
When there are many clips in a multitrack project, it’s difficult to see and select many of
them at once, especially if you don’t want to zoom in and out frequently. The Select
Forward and Select Backward commands let you easily select all clips before or after
the playhead.
To select all the clips to the right or the left of the playhead on selected tracks:
1 Select one or more tracks.
For more information on selecting tracks, see “Selecting Tracks, Busses, and Submixes”
on page 136.
2 Position the playhead in the Timeline.
3 Do one of the following:
 To select everything to the right of the playhead in the selected tracks, choose Edit >
Select > Forward (or press Shift-End).
 To select everything to the right of the playhead in the selected tracks, choose Edit >
Select > Backward (or press Shift-Home).
If you make this selection in Selection tool mode, all clips to the right (Forward) or left
(Backward) of the playhead in the selected tracks are selected. Any clips that were
selected before choosing the menu item are included in the new selection.
The clips at and
to the right of
the playhead are
selected.
Chapter 5 Working in the Timeline 151
If you make this selection in Timeslice tool mode, any existing Timeslice selection is
extended to the end of the project (for the Forward option) and to the beginning of
the project (for the Backward option). If there is not an existing Timeslice,
Soundtrack Pro creates a Timeslice across selected tracks starting at the playhead and
extending to the end of the project (for the Forward option) and to the beginning of
the project (for the Backward option).
Note: If you hold down the Option key, the menu items read Select > All Forward and
Select > All Backward and behave the same as described above except the selection is
across all tracks instead of just the selected tracks.
Cutting, Copying, and Pasting Audio Clips
You can cut, copy, and paste audio clips in the Timeline. You can also paste multiple
copies of a clip.
To cut an audio clip:
m Select the clip in the Timeline, then choose Edit > Cut (or press Command-X).
The clip is removed from the Timeline and placed on the Clipboard.
To copy an audio clip, do one of the following:
m Select the clip in the Timeline, then choose Edit > Copy (or press Command-C).
m Option-drag the clip to the position where you want to copy it.
To paste an audio clip:
m Set the playhead at the position where you want to paste the clip, then choose Edit >
Paste (or press Command-V).
The clip is pasted in the currently selected track, starting at the current playhead position.
If no track is selected, the clip is pasted in the track from which it was cut or copied.
When pasting clips cut or copied from different positions in the Timeline or from
multiple tracks, the following conditions apply:
 Pasting clips from different Timeline positions: The clip closest to the beginning of the
project is pasted at the current playhead position, and the remaining clips are pasted
at the same positions in time relative to the first clip as when they were cut or copied.
 Pasting clips from multiple tracks: The clip from the topmost track is pasted in the
currently selected track, and the remaining clips are pasted at the same positions
relative to the first clip as when they were cut or copied. If there are not enough
tracks to accommodate the clips being pasted, a dialog appears asking if you want to
create new tracks for the clips. If you choose not to create new tracks, only the clips
for which tracks already exist are pasted.
152 Chapter 5 Working in the Timeline
When pasting audio clips, you can choose to paste multiple copies of the clip in
succession. Using the Paste Repeat command, you can paste any number of copies of a
clip in the selected track.
To paste multiple copies of a clip:
1 Cut or copy the clip.
2 Set the playhead to the point where you want to paste the first copy of the clip.
3 If you want to paste the copies in a different track, select the track.
4 Choose Edit > Paste Special > Paste Repeat (or press Option-Command-V).
5 In the Paste Repeat dialog, enter the number of times you want to paste the clip.
The copies are pasted in the selected track, starting at the current playhead position. If
no track is selected, the copies are pasted in the same track as the cut or copied clip.
Removing Audio Clips
As you work on a project, you may decide that a clip that sounded great on its own no
longer fits with the overall composition. You can remove clips from a project by
deleting them from the Timeline.
To remove an audio clip:
m Select the clip, then choose Edit > Delete (or press the Delete key).
Type the number of
times you want to
paste the clip in the
Paste Repeat dialog.
The copies are pasted in the
selected track, starting at the
current playhead position.
Chapter 5 Working in the Timeline 153
Spotting Clips to the Timeline
Soundtrack Pro allows you to easily spot clips to the Timeline. You can spot clips to the
playhead location or you can spot clips to the Timeline based on timecode information
inherent in the clip or that you enter in the Spot to Timecode dialog.
To spot a clip to the playhead:
1 Position the playhead where you would like to spot the clip.
2 Select the track on which you would like to spot the clip.
3 Do one of the following:
 Select the clip in one of the Soundtrack Pro media tabs (such as the Bin, Browser,
Favorites, or Search tab), then choose Clip > Spot to Playhead (or press Command-\).
 Control-click the clip in one of the Soundtrack Pro media tabs (such as the Bin, Browser,
Favorites, or Search tab), then choose Spot to Playhead from the shortcut menu.
The clip is added to the Timeline at the specified playhead location.
To spot a clip to the Timeline using timecode:
1 Select the track on which you would like to spot the clip.
2 Do one of the following:
 Select the clip in one of the Soundtrack Pro media tabs (such as the Bin, Browser,
Favorites, or Search tab), then choose Clip > Spot to Timeline (or press
Command-Shift-\).
 Control-click the clip in one of the Soundtrack Pro media tabs (such as the Bin, Browser,
Favorites, or Search tab), then choose Spot to Timeline from the shortcut menu.
3 Do one of the following:
 Select Use Embedded Timecode if the clip contains timecode intended to place it in
the proper location in the Timeline.
 Enter the target Timeline timecode location.
4 Click Spot.
The clip is added to the Timeline at the specified timecode location.
The Spot to Timeline
dialog appears.
154 Chapter 5 Working in the Timeline
Moving Clips
As you work in Soundtrack Pro, you may want to move tracks to new positions. There
are several ways to do this: dragging clips, entering timecode values, and using
keyboard shortcuts.
Moving Audio Clips
You can move an audio clip in the Timeline by dragging the clip to a new position. You
can also move the clip to a different track.
To move an audio clip to a new time position:
m Drag the clip left or right to a new position in the Timeline.
To move an audio clip to a new track:
m Drag the clip up or down to a different track.
You can also move an audio clip using the Left and Right Arrow keys with various
modifier keys. Using the Option key with the arrow keys moves the clip by one pixel at
a time; using the Option and Shift keys with the arrow keys moves the clip to the next
gridline in the Timeline.
When you move a clip by one pixel, the amount the clip moves in time depends on the
current zoom setting.
You can lock the horizontal (time) position of an audio clip when moving the clip
between tracks in the Timeline. This makes it easy to keep the clip’s start point when
moving the clip or copying it by Option-dragging.
To lock the time position of a clip as you move it between tracks:
m Hold down the Shift key while dragging the clip up or down to a different track.
Drag a clip up or down
to move it to a different
track.
Drag a clip left or
right to move it to a
new position.
Chapter 5 Working in the Timeline 155
Moving Clips Numerically
When you want to move clips precisely, you can move them by entering positive or
negative timecode values.
To move an item by entering a timecode value:
1 In the Timeline, select the clip item or items you want to move.
2 Type a relative timecode value for where you want the clip to be positioned.
For example, type +48 (or simply 48) to move the item 48 frames forward. To move 48
frames backward in time, type –48. When you type a number, a Move field appears at
the top of the Timeline.
Note: Don’t click in the Current Timecode field before you do this, or you’ll move the
playhead instead.
Moving Clips with Keyboard Shortcuts
Soundtrack Pro provides a variety of keyboard shortcuts to move selected clips.
To move a selected clip up one track:
m Press Command-Option-Up Arrow.
To move a selected clip down one track:
m Press Command-Option-Down Arrow.
To nudge a selected clip one video frame to the left:
m Press Command-Option-Left Arrow.
To nudge a selected clip one video frame to the right:
m Press Command-Option-Right Arrow.
To nudge a selected clip one gridline to the left:
m Press Command-Left Arrow.
To nudge a selected clip one gridline to the right:
m Press Command-Right Arrow.
To move a selected clip one edit point to the left:
m Press Command-Up Arrow.
To move a selected clip one edit point to the right:
m Press Command-Down Arrow.
Note: These commands are also available as menu commands by choosing Edit >
Move Selection.
For a complete list of Soundtrack Pro keyboard shortcuts, see Appendix A,
“Soundtrack Pro Keyboard Shortcuts,” on page 449.
156 Chapter 5 Working in the Timeline
Snapping Clips to Clips on Adjacent Tracks
If snapping is turned on, you can snap a clip to the edges of a clip in an adjacent track
(the track either directly above or directly below the track containing the clip). This is
especially useful when the start and end points of clips do not fall on the current
Snap To value.
To snap a clip to adjacent clips:
m Choose View > Snap To > Adjacent Tracks.
Resizing Audio Clips
You control the duration of an audio clip (the amount of time the clip plays back) by
resizing the clip. When you add a clip to the Timeline, the clip has the same duration as
the source audio file. You can shorten clips to play back only a part of the source file.
When you lengthen a clip with looping playback mode, it repeats the source file
multiple times.
To resize an audio clip:
1 Place the pointer at either the left or right edge of the audio clip.
The pointer changes to a Clip Resize pointer.
2 Click the edge of the clip and drag left or right to resize it.
When you lengthen a regular, nonlooping clip beyond its original length,
Soundtrack Pro adds blank space at the end of the clip.
When you lengthen a clip with looping playback mode, the notches at the top and
bottom of the clip indicate the end of each repetition of the source audio file.
A blank space appears
when a nonlooping clip
is lengthened beyond its
original length.
Notches indicate the
points where a looping
clip repeats.
Drag the clip to the left
or right to resize it.
Chapter 5 Working in the Timeline 157
When you resize a clip by shortening its left edge, you change the point in the source
audio file at which the clip starts playing, making the earlier part of the source audio
inaudible. When you resize a clip by shortening its right edge, the part you shorten
becomes inaudible. You cannot lengthen the left edge of a clip with non-looping
playback mode beyond the beginning of the source audio file.
When you resize a clip, the edge being resized jumps to the nearest Snap To position if
snapping is turned on. If you want to resize the clip independently of the Snap To
value, change the Snap To value or turn off snapping before you resize the clip. For
information about snapping, see “Using Snapping” on page 94.
Changing the Offset of an Audio Clip
When you add an audio clip to the Timeline, the clip plays back from the beginning of
the source audio file. The point in the audio file where the clip starts playing is called
the offset. By default, a clip’s offset is zero, the beginning of the source audio file. You
can change the offset so that the clip starts playing from a later point in the source
audio file. (In Final Cut Pro, this is known as a slip.) This allows you to use the audio from
a later part of the source file without splitting the clip.
To slip (change the offset of) a clip:
m Select the clip, then Command-Option-drag left (toward the beginning of the project).
Once you have changed the offset by dragging to the left, you can also drag to the
right to change the offset.
Note: You can only drag the offset to a later part of the clip’s source audio file, not to a
point before the beginning of the file.
When you change the offset of a clip, the waveform moves inside the clip’s boundary to
indicate the change in offset. The length of the clip stays the same. If the clip has not
been resized, it will reach the end of the source audio file and start looping. As you
move the offset by dragging, the clip’s notches move to show the point at which the
clip will start looping.
Command-Option-drag
left to change the clip’s
offset.
The waveform moves
inside the clip’s boundary
to indicate the change in
offset.
158 Chapter 5 Working in the Timeline
Creating Fades and Crossfades in the Timeline
One of the most common tasks of a sound editor is adding fade-ins and fade-outs to
individual clips and crossfades between clips to smooth the overall sound of a video or
motion picture soundtrack.
Creating Fade-Ins and Fade-Outs in the Timeline
Soundtrack Pro lets you easily add fades and crossfades and adjust the fade type
directly in the multitrack Timeline.
To create a fade-in or fade-out on a clip in the Timeline:
1 Move the pointer Over the top-left edge of the clip (for a fade-in) or top-right edge of
the clip (for a fade-out).
The pointer becomes a fade pointer.
2 Drag from the corner toward the center of the clip.
A fade is superimposed over the clip.
3 Drag the edge of the fade left or right to adjust the fade duration.
Chapter 5 Working in the Timeline 159
To adjust the fade type:
1 Double-click the fade in the Timeline.
The Fade Selector window appears.
2 Click one of the four buttons on the left side of the Fade Selector to select a fade type.
 Linear: The rate of attenuation stays constant over the length of the fade.
 Logarithmic: Starts quickly, then slowly tapers off toward the end.
 Exponential: Starts slowly, then moves quickly toward the end.
 S-curve: Eases in and out of the fade, with the midpoint at 0 dB.
Note: This list describes the different types of fade-ins. The reverse behavior is true for
fade-outs in the logarithmic and exponential cases.
The fade in the Timeline is updated to reflect your choice of fade type.
Note: The default fade type is +3 dB. Choose Soundtrack Pro > Preferences > General
to change the default fade type.
Linear
Logarithmic
Exponential
S-curve
160 Chapter 5 Working in the Timeline
Creating Crossfades Between Audio Clips
Crossfades let you create smooth transitions between one audio clip and the next and
avoid clicks or sudden changes in loudness that can result when placing audio files one
after another.
To create a crossfade between audio clips, you set the project to crossfade mode, then
drag an audio clip so that it overlaps another clip. A crossfade is created for the length
of the overlapped area.
To set the project to crossfade mode:
m Click the Crossfade Mode button, located above the Global Timeline view.
In crossfade mode, when you drag an audio clip so that it partially overlaps another
audio clip in a track in the Timeline, a crossfade is created for the overlapped part of
the two audio files. You can adjust the boundaries of the crossfade in the Timeline.
To create a crossfade:
m In the Timeline, drag an audio clip so that it overlaps another audio clip.
The crossfade appears in the overlapped area of the two clips.
You can adjust crossfades in several ways. You can change the edges of the crossfaded
clips or move the position of the crossfade without changing its length.
To adjust crossfade boundaries:
1 Move the pointer over the left or right edge of the crossfade.
The pointer becomes a crossfade pointer.
2 Drag the edge of the crossfade to adjust the crossfade boundary.
To move the crossfade without changing its length:
m Drag the lower area of the crossfade left or right.
As with other edits you make in the Timeline, creating a crossfade between two audio
clips does not change the source audio files.
Crossfade Mode button
Crossfade
Chapter 5 Working in the Timeline 161
To adjust the crossfade type:
1 Double-click the crossfade.
The Fade Selector window appears with two columns of the four fade type choices.
Note: For descriptions of the four fade types, see “To adjust the fade type:” on
page 159.
2 Click one of the four buttons in the column on the left to select a fade-out type for the
left clip.
The crossfade in the Timeline is updated to reflect your choice of fade type.
3 Click one of the four buttons in the column on the right to select a fade-in type for the
right clip.
The crossfade in the Timeline is updated to reflect your choice of fade type.
Π Tip: Fades and crossfades can be applied using keyboard shortcuts. For a complete list
of Soundtrack Pro keyboard shortcuts, see Appendix A, “Soundtrack Pro
Keyboard Shortcuts,” on page 449.
162 Chapter 5 Working in the Timeline
Truncating Overlapping Audio Clips
You can have Soundtrack Pro truncate the overlapping part of audio clips in the
Timeline instead of crossfading them. To truncate audio clips, you set the project to
truncate mode, then drag an audio clip so that it overlaps another clip.
To set the project to truncate mode:
m Click the Overlap Mode button, located above the Global Timeline view.
In truncate mode, when you drag an audio clip so that it partially overlaps another
audio clip in a track in the Timeline, the overlapped part of the clip is truncated.
To truncate an audio clip:
m In the Timeline, drag another audio clip over part of the clip.
Editing Audio Clips in the Multitrack Timeline
Most audio applications focus on multitrack editing or waveform editing, but not both.
Furthermore, most waveform editing applications handle media destructively—making
permanent changes to your media files. Soundtrack Pro provides the best of both
worlds: nondestructive waveform editing while working in a multitrack project.
You can edit audio clips in a variety of ways in the Timeline. You can select, cut, copy,
and paste clips, move, resize, transpose, split and join them, and edit them in other
ways. You can also apply any actions and process menu operations to any clip directly
in the Timeline.
You can view and modify a clip’s media file in the File Editor tab without losing the
context of your multitrack timeline. This is called editing in place. Simply select a clip in
the Timeline and it appears in the File Editor tab below. The playhead in the Timeline
and the File Editor tab are synchronized so you can play the media file within the
context of your whole multitrack project. Any changes you make to the media file are
updated in the Timeline immediately. You can also solo any item in the File Editor tab.
Chapter 5 Working in the Timeline 163
If you prefer, you can also double-click a clip in your multitrack project and its media
file opens in the File Editor project view, ready for waveform editing. Changes you
make to the file are instantly reflected in the multitrack project.
164 Chapter 5 Working in the Timeline
Using the Timeline Editing Tools
The Timeline includes editing tools you can use to edit and adjust clips in the Timeline.
Selection Tool
When you open the Timeline, the pointer is a selection pointer (arrow). You can use the
Selection tool to select clips and tracks by clicking them and use it to make marquee
selections across multiple tracks. When you are done using another Timeline editing
tool, you can return the pointer to a selection pointer by clicking the Selection Tool
button or by pressing A.
Timeslice Tool
You can use the Timeslice tool to make time-based selections. Timeslice tool selections
are entirely time-based, so you can use the Timeslice tool to select portions of clips or
portions of multiple clips. (This is unlike selections across multiple tracks with the
default Selection tool, which can only select whole clips.) Timeslice selections in the
Timeline will also appear as selections in the File Editor tab. For more information
about the Timeslice tool, see “Editing with the Timeslice Tool” on page 174.
Blade and Blade All Tools
Using the Blade tool, you can perform many splits consecutively without moving the
playhead each time. Use the Blade All tool to split across all tracks. For more
information about the Blade and Blade All tools, see “Splitting and Joining Audio Clips”
on page 170.
Selection tool
Timeslice tool
Blade tool Blade All tool
Chapter 5 Working in the Timeline 165
Lift and Stamp Tools
The Lift and Stamp tools provide an efficient way to transfer properties from one clip to
one or more other clips. Use the Lift tool to copy properties from selected clips and
create a processing template in the Sound Palette that can be applied to other clips.
Use the Stamp tool to apply those properties to the other clips. For more information
about the Lift and Stamp tools, see “Using the Lift and Stamp Tools” on page 179.
Scrub Tool
The Soundtrack Pro Scrub tool provides detailed scrubbing that realistically
approximates the “rock-the-reels” scrubbing on analog tape decks. For more
information about the Scrub Tool, see “Scrubbing Audio Files” on page 200.
Timeline Editing Tools HUD
The Timeline includes a handy HUD that provides all of the graphical Timeline editing
tools at the stroke of a single keyboard shortcut. This saves you the time and effort of
having to move the pointer up to the top of the Timeline whenever you need to select
(or deselect) a Timeline editing tool.
To use the Timeline Editing Tools HUD:
1 Press the grave accent key ( ` ).
The Timeline Editing Tools HUD appears at the pointer location.
2 In the HUD, do one of the following to choose the Timeline editing tool that you want
to use:
 Click the tool’s icon.
 Press the corresponding number key (1–7, left to right).
 Use the Left and Right Arrow keys and press Enter.
When you have finished using a Timeline editing tool, it is a good idea to immediately
return to the default Selection tool.
Lift tool Stamp tool
Scrub tool
166 Chapter 5 Working in the Timeline
Editing in Place
Editing a clip’s media file in place (directly in the Timeline) is nearly identical to editing
any other media file in the Soundtrack Pro File Editor. All of the same effects, editing
tools, and waveform views are available. However, there are a few differences:
 Timeline and File Editor playhead synchronization: When you edit a clip’s media file in
place, the Timeline and File Editor playhead are synchronized so you can work with
the media file within the context of your multitrack project.
 Multiple region markers: Because a media file may be referred to by multiple clips in a
multitrack project, you may see multiple region markers above a media file in the File
Editor. Each region marker shows the In and Out points of a clip in the Timeline that
refers to this media file. This alerts you to the fact that changes you make to this
media file may affect multiple clips.
How Clips Are Affected by Media File Editing
When you modify a media file in a multitrack project, all clips that refer to that media
file are updated simultaneously. For example, if you have ten clips referring to the same
media file and you double-click one of the clips to modify its underlying media file, any
changes you make to the media file affect all ten clips.
How Source Audio File Editing Works in a Soundtrack Pro
Multitrack Project
When you edit a clip in place or open a clip in the File Editor tab, the way the source
audio file is handled depends on its file format.
 If the clip’s audio file format is a native Soundtrack Pro audio file project: The audio file
project is opened directly in the File Editor tab, allowing you to make nondestructive
changes to the media.
Multiple In and Out
points
Chapter 5 Working in the Timeline 167
 If the clip’s audio file format is a flat file such as an AIFF or WAVE file: Soundtrack Pro
automatically creates a Soundtrack Pro audio file project for the flat file and relinks all
clips in the project to the new audio file project. This allows you to work with this
media nondestructively. Each time you save your multitrack project, any newly
created audio file project media files are saved to the Edited Media Location on your
hard disk. (You can change this location by choosing Soundtrack Pro > Preferences
and then clicking General.)
Modifying a Clip Without Affecting Its Source Media
Any time you use multiple instances of the same clip in a multitrack project, the clip
refers to the same source media file. This means that any time you modify the media
file, all of the clips that refer to the media file are affected. How do you edit just one clip
without editing its source media? In cases where you only want to make changes to a
single clip, you can make a new copy of the clip’s media file in a new audio file project
and link this clip to the new audio file project.
To create a copy of a clip’s media file and link the clip to the new audio file project:
1 Select the clip whose source media file you want to copy.
2 Control-click the clip in the Timeline, then choose Replace with Independent Audio File
Project from the shortcut menu.
A new Soundtrack Pro audio file project is created that includes a copy of the original
audio file. Only media between the clip’s In and Out points is copied, plus handles on
either side for later trimming, if necessary.
The new audio file project opens in the File Editor tab and the clip now links to the
new audio file project.
Note: The default handle duration is 5 seconds. To adjust the handle duration, go to
Soundtrack Pro > Preferences > General.
168 Chapter 5 Working in the Timeline
Using the Multitrack Timeline and the File Editor Together
One of the unique advantages of Soundtrack Pro is the combination of nondestructive
waveform editing in the context of a multitrack Timeline. This section focuses on how
you can exploit this powerful toolset in your sound editing project.
Making Changes in the File Editor and Hearing Them in the Timeline
When you arrange a multitrack project, you frequently need to edit and adjust
individual audio files, and immediately hear the results in the context of the larger
multitrack Timeline. You can do this by using the Timeline and File Editor in tandem.
To make changes in the File Editor and hear the results in the Timeline:
1 With the File Editor tab active, select a clip in the Timeline that you would like to adjust.
The waveform for the clip appears in the File Editor.
2 Make adjustments and edits to the clip in the File Editor.
Chapter 5 Working in the Timeline 169
For information on making basic edits, see “Editing Audio Files in the File Editor” on
page 198. For information on processing effects, see “Processing Audio Files” on
page 219. For information on analyzing files, see “Analyzing an Audio File” on page 236.
3 As you make changes to the clip in the File Editor, the Actions tab records the changes.
You can adjust, edit, and reorder the actions as needed.
For information on using actions, see “Working with Actions” on page 230.
Note: Any time you apply a command from either the Edit menu or the Process menu,
Soundtrack Pro creates an audio file project (.stap) for the source audio file if one
doesn’t exist already. Clips that reference the audio source file all have their audio
source replaced with that audio file project.
4 Play the clip.
Soundtrack Pro plays the clip together with any other active tracks in the Timeline.
5 Make any other adjustments and edits to the clip in the File Editor (or to the actions in
the Actions tab) and play the clip again. Repeat as necessary.
170 Chapter 5 Working in the Timeline
Spotting Sound Effects from the File Editor to the Timeline
A common task for sound editors is adding sound effects or ambient clips to a
multitrack project. Often you will use one or more small sections from a longer source
file. You can make quick work of this by using the File Editor tab in conjunction with
the Timeline.
To add small sections of a longer audio file to a multitrack project:
1 Open the multitrack project in the Timeline.
2 Drag an audio file to the File Editor tab.
3 Select a portion of the audio file in the File Editor tab.
4 Drag it to a track in the Timeline.
5 Select another portion of the audio file in the File Editor tab.
6 Drag it to a track in the Timeline.
Optionally, you can open the Multipoint Video HUD to give you visual context for
spotting the sound effects to the Timeline. For more information about the Multipoint
Video HUD, see “Scrubbing and Spotting with the Multipoint Video HUD” on page 322.
‘
Splitting and Joining Audio Clips
You may want to use only part of the source audio file in an audio clip. Soundtrack Pro
lets you split the clip into segments and use the segments in the Timeline as
independent clips. You can move the segments, edit them, and split each one into
additional segments. You can also easily (re)join clips.
You can split clips by using the Split command or by using the Blade (razor) and Blade
All tools. Each method has advantages, depending on the situation.
Chapter 5 Working in the Timeline 171
Splitting Clips with the Blade Tool
Using the Blade tool, you can perform many splits consecutively without moving the
playhead each time.
To split audio clips with the Blade tool:
1 Click the Blade Tool button above the Timeline.
The pointer changes to the Blade All pointer.
2 Click a clip at the point where you want to split it.
The clip is split at the point where you clicked.
Splitting Clips Across All Tracks with the Blade All Tool
Use the Blade All tool to split across all tracks.
To split audio clips on all tracks with the Blade All tool:
1 Click the Blade All Tool button above the Timeline.
The pointer changes to the Blade All pointer.
Note: To toggle between the Blade and the Blade All tools, hold down the Shift key
while either tool is selected.
2 Click anywhere in the Timeline where you want to split clips on all tracks.
Blade Tool button
Click the clip with the
Blade tool to split it.
Blade All Tool button
172 Chapter 5 Working in the Timeline
Note: If you use the Blade All tool in the podcast track, it cuts the podcast track as well
as any audio clips that are also under the Blade All tool. However, if you use the Blade
All tool in an audio track, it does not make a cut in the podcast track.
Splitting Clips with the Playhead
Using the playhead, you can split clips while a project is playing, split clips on selected
tracks, and split clips without having to use the mouse.
To split selected audio clips with the playhead:
1 Set the playhead at the point where you want to split the clip, then select the clip or
clips you want to split.
You can split multiple clips in the same operation.
2 Choose Clip > Split (or press S).
Every selected clip under the playhead is split into two segments. The first segment ends
at the playhead position, and the second segment begins at the playhead position.
Use the Blade All tool to
split clips across all tracks.
Move the playhead to
where you want to split
the selected clip.
The clip is split into
two segments, each of
which plays part of the
source audio file.
Chapter 5 Working in the Timeline 173
You can split an audio clip into three segments with the Timeslice tool by making a
selection in the middle of the audio clip (any part not including either the beginning or
the end), and then pressing the S key. The clip is split into three segments, defined by
the beginning and end of the selection. For more information about the Timeslice tool,
see “Editing with the Timeslice Tool” on page 174.
To split audio clips on selected tracks:
1 Set the playhead at the point where you want to split the clip or clips.
2 Select the track or tracks containing the clip or clips you want to split.
3 Choose Clip > Split (or press S).
Every clip under the playhead on the selected tracks is split into two segments. The first
segment ends at the playhead position, and the second segment begins at the
playhead position.
Note: Any clip selections will supersede track selections: if both clips and tracks are
selected under the playhead, Soundtrack Pro will split only the clips.
To split audio clips while playing a project:
1 Do one the following:
 Select the clip or clips you want to split.
 Select the track or tracks containing the clip or clips you want to split.
2 Play the section of the Timeline containing the clip or clips you want to split.
3 While the project is playing, press S as often as you like.
The clip or clips are split at the playhead each time you press S.
Joining Audio Clips
You can join clips from the same original audio file, including segments of split clips.
Clips being joined must be adjacent to each other and in the same track.
To join audio clips:
1 Place the clips next to each other in the same track.
2 Select the clips, then choose Clip > Join (or press Option-S).
When you join looping files or segments of looping files, the joined file plays to the end
of the source audio file before looping. The notches in the joined file indicate the end
of the source audio file.
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Editing with the Timeslice Tool
You can use the Timeslice Tool to make time-based selections. Unlike selections of
multiple clips with the default Selection tool (which can only select whole clips),
Timeslice tool selections are entirely time-based. This means you can use the Timeslice
tool to select portions of clips or portions of multiple clips. You can also easily move
and adjust the size of a Timeslice tool selection and add or remove entire tracks from
the selection. This is most important for processing effects.
Use the Timeslice tool to select any combination of the following:
 One or more clips or tracks and their envelopes
 Portions of one or more clips or tracks and their envelopes
To make a selection with the Timeslice tool:
1 Click the Timeslice tool at the top of the Timeline (or press W).
2 Drag across any portion of the Timeline to make a Timeslice selection.
A Timeslice selection rectangle appears over the area. By default, the selection includes
all of the clips within the rectangle and their envelopes.
To select a portion of a clip with the Timeslice tool:
1 Click the Timeslice tool at the top of the Timeline (or press W).
2 Drag across any portion of the clip with the Timeslice tool.
Chapter 5 Working in the Timeline 175
A Timeslice selection rectangle appears over the portion of the clip and the File Editor
tab displays the same selection in its waveform view. By default, the selection includes
all of the clip’s envelopes.
To adjust the size of a Timeslice selection, do one of the following:
m Drag any of the four edges of the selection to extend or shorten that side of the
selection rectangle.
m Shift-click any track you want to include in the Timeslice at the opposite end of the
area you want to select.
Timeslice selection
File Editor selection
176 Chapter 5 Working in the Timeline
To move a Timeslice selection:
m Click the center of the Timeslice selection, then drag it to a new location in the Timeline.
To add a noncontiguous track, bus, or submix to a Timeslice selection:
m Command-click anywhere in the track, bus, or submix.
Note: You can add tracks, busses, and submixes that are not adjacent to or contiguous
with the selection.
To remove a track, bus, or submix from a Timeslice selection:
m Command-click anywhere in the track.
You can select a master Timeslice that includes the audio content and the envelopes of
all tracks, busses, and submixes, including the video’s audio track. (Only a master
Timeslice contains busses and submixes.)
To make a master Timeslice selection:
m Using the Timeslice tool, drag in the selection bar of the video track, located above the
Time ruler.
Drag in the
selection bar
of the video
track to create
a master
Timeslice.
Chapter 5 Working in the Timeline 177
Cutting, Copying, and Pasting Timeslices
You can cut or copy a Timeslice and paste it at a different position in the Timeline.
To cut a Timeslice:
m Select the Timeslice, then choose Edit > Cut (or press Command-X).
To copy a Timeslice:
m Select the Timeslice, then choose Edit > Copy (or press Command-C).
To paste a Timeslice:
m Set the playhead at the position where you want to paste the Timeslice, then choose
Edit > Paste (or press Command-V).
If the Timeslice is from a single track, it is pasted in the same track at the current
playhead position. If the Timeslice includes multiple tracks, the topmost track of the
Timeslice is pasted in the currently selected track, and the remaining tracks are pasted
in the tracks below the selected track. If not enough tracks exist for the number of
tracks in the Timeslice, a dialog appears asking if you want to create additional tracks.
Deleting the Contents of Timeslices
To delete the contents of a Timeslice selection:
m Select the Timeslice, then choose Edit > Delete (or press the Delete key).
Changing the Timeslice Selection Area
You can change the height or the length of a Timeslice selection area to include more
of the Timeline, either graphically or numerically.
To extend the Timeslice selection area graphically:
m Shift-click any track at the point to which you want to extend it.
Shift-click
the Timeline
to extend a
Timeslice.
178 Chapter 5 Working in the Timeline
To change the In point, Out point, or duration of a Timeslice numerically:
1 Make a Timeslice selection in the Timeline.
The Details tab displays Timeslice controls.
2 In the Details tab, type a new value in the In value slider, the Out value slider, or the
Duration value slider.
3 Press Tab or Enter to confirm the new value.
Note: To the right of the Timeline transport controls is the Selection Length value
slider. When a Timeslice is active, the Selection Length value slider shows the length
(duration) of the active Timeslice. You can use this value slider the same way you use
the Duration value slider in the Timeslice section of the Details tab.
For more information on how to use value sliders, see “About Changing Values and
Timecode Entries” on page 75.
Using the Timeslice Tool with Keyboard Shortcuts
Soundtrack Pro provides a variety of keyboard shortcuts to adjust Timeslice selections.
To extend the left edge of the Timeslice selection by one gridline:
m Press Shift-Left Arrow.
To extend the right edge of the Timeslice selection by one gridline:
m Press Shift-Right Arrow.
For a complete list of Soundtrack Pro keyboard shortcuts, see Appendix A,
“Soundtrack Pro Keyboard Shortcuts,” on page 449.
Chapter 5 Working in the Timeline 179
Using the Lift and Stamp Tools
The Lift and Stamp tools provide a time-saving way to apply work you have done on
one clip to one or more other clips. Use the Lift tool to copy properties from selected
clips and create a processing template in the Sound Palette that can be applied to
other clips. Use the Stamp tool to apply those properties to the other clips.
You can use the Sound Palette to customize the processing template by enabling and
disabling various properties, naming the template, and saving it as a preset. You can also
add a thumbnail image to represent the preset. Presets are saved in the Sound Palette
so that you can select and edit them and apply them in multiple multitrack projects.
To lift properties from a clip in the Timeline:
1 Click the Lift tool at the top of the Timeline (or press UU).
The Sound Palette appears. As you move the pointer over clips in the Timeline, it
changes into the Lift pointer.
2 If you want to limit the type of properties lifted, deselect either of the two checkboxes
at the top of the Sound Palette:
 Lift Analysis Items: These include Clicks and Pops, Power Line Hum, DC Offset, Phase,
Clipped Signal, and Silence.
 Lift Process Items: These include processing effects in these categories: Dynamics,
Distortion, EQ and Filter, Modulation, Reverb/Delay, Miscellaneous, and Mac OS.
3 Click a clip in the Timeline whose properties you want to lift.
Soundtrack Pro creates a temporary template named Lifted Data (Track Name) with
Track Name being the track holding the source clip. The clip properties appear in the
list on the right of the Sound Palette HUD. The pointer immediately changes to the
Stamp pointer, ready for you to stamp the template of lifted properties to another clip.
The properties in the Sound Palette template appear in the same order they appear in
the Actions tab for the source clip.
180 Chapter 5 Working in the Timeline
To stamp properties on one or more clips in the Timeline:
1 If you are stamping on more than one clip, select the target clips in the Timeline.
2 In the Sound Palette, select the template or preset containing the properties you want
to stamp. (This is only necessary if there are already presets on the left side of the
Sound Palette.)
3 Choose one of the following from the pop-up menu at the center-bottom of the
Sound Palette:
 Add: Adds the properties selected in the Sound Palette to the list of actions in the
target clip’s Actions tab.
 Replace: Replaces the actions in the target clip’s Actions tab with the properties
selected in the Sound Palette.
4 Do one of the following:
 Click the Stamp tool at the top of the Timeline (or press U), then click the target clip
or clips in the Timeline.
 If the target clip is already selected in the Timeline, click Stamp in the lower-right
corner of the Sound Palette.
Choose Add or Replace
from the pop-up menu
Chapter 5 Working in the Timeline 181
Actions appear in the target clip’s Actions tab for each property listed in the selected
template or preset in the Sound Palette. They appear in the same order as they appear
in the Sound Palette.
Note: By default, Soundtrack Pro applies equalization every time you use the Lift and
Stamp feature. This equalization automates the Match EQ effect, which matches the
average frequency spectrum of the target clip to that of the source clip.
When you first lift properties with the Lift tool, Soundtrack Pro creates a temporary
template in the Sound Palette named Lifted Data (Track Name), with Track Name being
the track holding the source clip.
To save a Sound Palette preset:
m With a template loaded on the right of the Sound Palette, click Save as Preset in the
lower-right corner.
The template is listed as a preset on the left of the Sound Palette.
To enable or disable properties in a Sound Palette preset:
1 If there are already presets on the left of the Sound Palette, click the template or a
preset to edit it.
2 In the Enabled column, click the checkbox next to the property you want to enable or
disable.
182 Chapter 5 Working in the Timeline
To name or rename a Sound Palette preset:
1 If there are already presets on the left of the Sound Palette, click the template name or
a preset name that you want to name or rename.
The template or preset details are loaded on the right of the Sound Palette.
2 Click the name field at the top-right corner of the Sound Palette.
3 Enter the new name.
4 Press Return or Tab to confirm the new name.
To attach a thumbnail image to a Sound Palette preset:
1 Click the preset name in the list on the left of the Sound Palette.
2 Do one of the following:
 Drag a still image from the Finder or from iPhoto to the image well at the top of the
Sound Palette.
 Copy an image in an image editing application and paste it into the image well at
the top of the Sound Palette.
The image appears in the image well each time you select the preset.
To delete a Sound Palette preset:
m Control-click the preset name in the list on the left of the Sound Palette, then choose
Delete from the shortcut menu.
Chapter 5 Working in the Timeline 183
Working with Markers
Markers have a variety of uses in the Timeline and the File Editor. For example, you can
use markers to:
 Mark the start and end points of major sections in your project
 Indicate places you want to come back to and work on later
 Mark points where you want to synchronize the audio with the picture in a video
 Indicate where particular sounds begin and end in an audio file
Markers extend vertically through the Timeline, like the playhead. Each marker has a
handle in the area above the Time ruler, letting you position the marker precisely in
the Timeline.
Types of Markers
Soundtrack Pro displays Final Cut Pro scoring markers, and lets you add your own
markers to a project. You can add two kinds of markers: time markers and beat
markers. The two types can be distinguished by their handles: Time markers have
green handles, and beat markers have purple handles. Final Cut Pro scoring markers
have orange handles. By default, time and beat markers can only occupy a single frame
of time, but their duration can be extended to any length.
This section discusses how to work with time markers and beat markers in a project.
For information about working with Final Cut Pro scoring markers, see “Using
Final Cut Pro Scoring Markers” on page 185.
Inserting Markers
You can insert a beat marker or time marker at any point in the Timeline.
To insert a time marker:
m Set the playhead to the point where you want to add the marker, then choose
Project > Insert Time Marker (or press the M key).
To insert a beat marker:
m Set the playhead to the point where you want to add the marker, then choose
Project > Insert Beat Marker (or press Option-B).
End-of-project marker
(red)
Time marker
(green)
Final Cut Pro scoring
marker (orange)
Beat marker
(purple)
184 Chapter 5 Working in the Timeline
Naming Markers
You can name time markers and beat markers, so that each marker can provide a
unique visual cue to a specific point in the Timeline or File Editor. For example, you can
name markers to define sections of your project (Introduction, Verse, or Chorus), to
reflect what’s happening in the music (Latin Rhythm or Fast Groove), or to serve as
reminders for your workflow (Add Horns Here, Transpose to D, Insert Delay Effect).
To name a time marker or beat marker:
m Make the Details tab active, select the marker, then type a name in the Name field of
the Details tab.
To view marker titles in the Timeline:
m Choose View > Show Marker Titles.
Moving Markers
You can move a marker either by dragging the marker’s handle, or by entering a new
position for the marker in the Details tab.
To move either a beat marker or time marker, do one of the following:
m Drag the marker by its handle, located in the area above the Time ruler, to a new
position in the Timeline.
m Show the Details tab, click the marker you want to move, then enter a new position in
the Position field.
You can also select and drag multiple markers. When you move a marker by dragging,
the marker’s position snaps to the nearest Snap To position if snap is turned on. For
information on setting the Snap To value, see “Creating Fades and Crossfades in the
Timeline” on page 158.
Type a name in the
Marker Name field.
Enter a time position
here to move the marker
to that position.
Chapter 5 Working in the Timeline 185
Adjusting a Marker’s Duration
By default, Time markers and Beat markers have a duration of zero, but you can create
Time or Beat region markers by changing the duration of any marker. You adjust a
marker’s duration either by entering a new duration for the marker in the Details tab,
or, if it is already a region marker, by dragging the ends of a marker handle.
To adjust a marker’s duration, do one of the following:
m Show the Details tab, click the marker you want to adjust, then enter a new duration in
the Duration field.
m Adjust a region marker by dragging the end of its handle.
Deleting Markers
If you decide you don’t want a time or beat marker that you’ve added, you can delete it
at any time.
To delete a marker:
m Click the marker handle to select the marker, then choose Edit > Delete (or press Delete).
Note: You cannot delete Final Cut Pro scoring markers in Soundtrack Pro.
Using Markers with Video
Soundtrack Pro displays Final Cut Pro scoring markers included in a video file imported
from Final Cut Pro. You can add time markers at points in time corresponding to
specific timecode positions in the video clip, and align audio clips with markers using
the snapping feature. When you add a marker to a project containing a video, the
video clip displays the frame of the video that occurs at the marker’s position in time.
For more information about adding and moving markers, see “Working with Markers”
on page 183.
You can score both Final Cut Pro scoring markers and time markers to the playhead,
letting you synchronize the audio with specific points in the video.
Using Final Cut Pro Scoring Markers
When you import a video file from Final Cut Pro or Final Cut Express HD,
Soundtrack Pro displays any Final Cut Pro scoring markers included in the video file in
the Timeline. Scoring markers have an orange handle in the area above the Time ruler.
You cannot move or edit Final Cut Pro scoring markers in Soundtrack Pro.
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Using Markers to Align Audio Clips to Timecode
You can add a time marker at a specific timecode position in a video clip, and align
audio clips with the time marker or with a Final Cut Pro scoring marker.
To add a time marker at a specific timecode position in a video clip,
do one of the following:
m Type the timecode position where you want to add the marker in the Time display,
press Return, then choose Mark > Insert Time Marker (or press M).
m Make the Details tab active, add a time marker, select the marker handle, then enter a
new position in the Position value slider in the Details tab.
In order to add a marker at a specific timecode position, the Time ruler units must be
set to the timecode format of the video in your project.
To align an audio clip with a marker:
m Make sure that snapping is turned on and that Markers is selected in the View > Snap
to menu, then drag the clip to the position of the marker in the Timeline.
Note: You can momentarily toggle snapping by pressing N.
Scoring a Marker to the Playhead
For tracks set to Beats-based time format, you can score a time marker or Final Cut Pro
scoring marker to the playhead, so that you can synchronize the audio with the video.
Scoring a marker to the playhead adjusts the tempo so that the required number of
beats exactly fills the amount of time between the last tempo change and the marker’s
position in the Time ruler.
When you score a marker to the playhead, a set of special envelope points is created in
the project’s tempo envelope, from the previous envelope point (or the beginning of
the tempo envelope, if no previous envelope point exists) to the position of the marker.
These special envelope points are locked and cannot be moved (but can be deleted).
The locked envelope points, and the segment of the tempo envelope between them,
appear red.
With Markers selected,
you can align a clip
with a marker.
Chapter 5 Working in the Timeline 187
The tempo change created when you score a marker to the playhead is always
instantaneous; that is, the tempo changes from the previous tempo immediately, without
ramping. The distance between the two envelope points determines whether the
resulting tempo change can be heard easily. If the resulting change in tempo sounds too
abrupt, you can edit the tempo envelope to make the tempo change less noticeable.
To score a marker to the playhead:
1 Select the marker’s handle at the top of the Timeline, above the Time ruler.
2 Choose Mark > Score Marker to Playhead.
You can also adjust the tempo relative to a marker’s position by Option-dragging the
marker in the Timeline. As you drag, the red segment of the tempo envelope moves
vertically as the tempo changes. By Option-dragging a marker, you can synchronize the
marker’s position with the Beats-based units.
Note: If you score a marker to the playhead, and the tempo change resulting from the
scoring operation sounds too noticeable or extreme, you can undo the scoring
operation. After undoing the scoring operation, add an envelope point to the tempo
envelope at a point after any audio clips you do not want to be affected by the tempo
change, but before the marker to be scored, then repeat the scoring operation.
Click the marker handle at
the top of the Timeline.
The marker is scored
to the playhead.
188 Chapter 5 Working in the Timeline
Working with Tagged and Looping Clips
Soundtrack Pro includes a large selection of Apple Loops that you can use to add Foley
effects, background ambience, sound effects, and music transitions to your projects. Apple
Loops tagged as looping files automatically match the tempo and key of the project.
Transposing Tagged Audio Clips
When you drag an audio file tagged with key information to the Timeline,
Soundtrack Pro transposes the clip to the project key. You can transpose tagged clips to
another key to create chord progressions from the same audio file or to achieve other
musical effects. You can transpose a tagged clip to any interval from one octave above
(+12 semitones) to one octave below (–12 semitones) its current key.
Note: Soundtrack Pro uses the key tag in the audio file to transpose it. In order to be
correctly transposed, the file must be tagged.
To transpose a tagged audio clip, do one of the following:
m Select the clip, choose Clip > Transpose, then choose the number of semitones by
which you want to transpose the clip up or down.
m Select the clip, open the Details tab, then use the Transpose pop-up menu to choose
the number of semitones by which you want to transpose the clip up or down.
Changing a Clip’s Playback Mode
Audio files you add to the Timeline can be either looping or non-looping. Looping files
are special audio files that can be used to create repeating patterns, and include
musical phrases useful for creating music beds. Audio files containing discrete,
non-rhythmic sounds, sound effects, and other non-musical sounds such as dialogue or
sound effects should be used as non-looping files in most cases.
When you add an audio file to the Timeline, the audio file is added as a clip with
non-looping playback mode unless the audio file is tagged as a looping file. You can
change the playback mode of a clip after you add it to the Timeline.
To convert the playback mode to looping, do one of the following:
m Select the clip, then choose Clip > Convert to Looping.
m Control-click the clip in the Timeline, then choose Convert to Looping from the
shortcut menu.
To convert the playback mode to non-looping, do one of the following:
m Select the clip, then choose Clip > Convert to Non-Looping.
m Control-click the clip in the Timeline, then choose Convert to Non-looping from the
shortcut menu.
Chapter 5 Working in the Timeline 189
Replacing the Source Audio in a Clip
Each audio clip in the Timeline has a set of properties specific to the clip, including
duration, speed, and transposition. You can replace the source audio in the clip while
preserving the clip’s properties. This feature has a variety of uses, such as letting you try
out similar audio files (for example, music beds or sound effects) while maintaining the
clip’s duration, position in the Timeline, and transposition.
For information about properties of audio clips, see “Reconnecting Media Files” on
page 96.
To replace the source audio file for a clip:
1 In the Timeline, select the clip for which you want to replace the source audio.
2 In any media tab, Control-click the audio file that will replace the selected clip’s audio,
then choose Replace Selected Clips With [filename] from the shortcut menu.
When you replace the source audio in a clip, the clip’s duration and offset stay the
same. Only the portion of the new source audio file equal to the clip’s length plays. If
the new source audio file is a music loop and it is shorter than the clip’s length, the clip
loops when it reaches the end of the new source audio file. Notches appear on the clip
to indicate the point at which the clip starts looping.
You can replace the source audio in all clips using the same source audio file with
another source audio file by using the Select All Occurrences and Replace Selected
Loops commands together.
Select a clip,
Control-click the audio
file that will replace the
original audio...
...then choose the
Replace option from the
shortcut menu.
190 Chapter 5 Working in the Timeline
To replace the source audio file in all clips using the same source file:
1 Select all occurrences of the clip for which you want to replace the source audio file,
following the steps described in “Selecting Audio Clips in the Timeline” on page 147.
Every clip using the same source audio file is selected.
2 In the Timeline, select the clip for which you want to replace the source audio.
3 In any media tab, Control-click the audio file that will replace the selected clip’s audio,
then choose Replace Selected Clips With [filename] from the shortcut menu.
6
191
6 Editing Audio Files
In Soundtrack Pro, you can edit audio files nondestructively,
analyze and fix common audio problems, and create
AppleScript documents to batch process other audio files.
The Soundtrack Pro File Editor gives you extensive audio file editing capabilities. You
can open and edit an audio file with up to 24 channels in the File Editor, view it in
Waveform or Frequency Spectrum view, process the file using actions, analyze it for
common audio problems, fix analyzed problems individually or together, and then save
the edited file as an audio file project or as a standard audio file.
Waveform view
192 Chapter 6 Editing Audio Files
And you can do all this while working interactively with same audio file in the
multitrack Timeline and while hearing (and seeing) the file in the context of other
audio files in a multitrack project.
In addition, the File Editor project view includes realtime effects and effects automation,
AppleScript droplet creation, and other useful features. For more information about the
File Editor project view, see “Using the File Editor Project View” on page 240.
Important: In order to edit nondestructively and save a file with actions, you need to
convert standard audio files (such as AIFF or WAVE files) to Soundtrack Pro audio file
projects (with the .stap file extension). You can easily do this by opening an AIFF or a
WAVE file in Soundtrack Pro and then saving it as a Soundtrack Pro audio file project.
You can open the following audio file formats in the File Editor:
 Soundtrack Pro audio file project
 AIFF (including Apple Loops)
 WAVE
 Sound Designer II
 NeXT
 QuickTime movie containing audio tracks
 CAF (Apple Core Audio Format)
Spectrum view
Chapter 6 Editing Audio Files 193
Compressed formats such as MP3 and AAC files are also supported, although these
must be internally decompressed to a linear PCM format.
Soundtrack Pro supports audio files with any sample rate between 8 kHz and 192 kHz
and any of the following bit depths: 8, 16, 24, 32, and 32-bit floating point. You can edit
up to 24 tracks in a single file. You can play back up to six channels in a single file in the
multitrack Timeline. Audio files can be a maximum of 4 hours in length.
Note: When you play the file, Soundtrack Pro plays at the nearest sample rate your
hardware can support.
Audio File Projects
Soundtrack Pro allows you to edit individual audio files (sometimes known as waveform
editing) using Soundtrack Pro audio file projects. However, unlike most waveform editing
applications, Soundtrack Pro allows you to edit your audio files nondestructively by
keeping track of the actions you have performed on your audio file.
You can remove, disable, or reorder past actions at any time or save actions as AppleScript
documents that you can use to batch process other audio files. Actions you can perform
include trimming audio, copying and pasting parts of the waveform, normalizing or
amplifying levels, applying effects, and applying noise, pop, and click reduction.
Editing Audio Files Directly in a Multitrack Project
Most audio applications focus on multitrack editing or waveform editing, but not both.
Furthermore, most waveform editing applications handle media destructively—making
permanent changes to your media files. Soundtrack Pro provides the best of both
worlds: nondestructive waveform editing while working in a multitrack project.
194 Chapter 6 Editing Audio Files
You can view and modify a clip’s media file in the File Editor tab without losing the
context of your multitrack Timeline. This is called editing in place. Simply select a clip in
the Timeline and it appears in the File Editor tab below. The playheads in the Timeline
and the File Editor tab are synchronized so you can play the media file within the
context of your whole multitrack project. Any changes you make to the media file are
updated in the Timeline immediately.
If you prefer, you can also double-click a clip in your multitrack project and its media
file opens in a new File Editor project view, ready for waveform editing. Changes you
make to the file are instantly reflected in the multitrack project.
Chapter 6 Editing Audio Files 195
Editing in Place
Editing an audio file directly in the multitrack Timeline is nearly identical to editing any
other audio file in the Soundtrack Pro File Editor. All of the same effects, editing tools,
and waveform views are available. However, there are several differences:
 Timeline and File Editor playhead synchronization: When you edit a clip’s media file in
place, the Timeline and File Editor playheads are synchronized so you can work with
the media file within the context of your multitrack project.
 Multiple region markers: Because a media file may be referred to by multiple clips in a
multitrack project, you may see multiple region markers above the ruler in the File
Editor tab. Each region marker shows the In and Out points of a clip in the Timeline
that refers to this media file. In addition, the display of the name of the file in the File
Editor tab changes to reflect the number of clips that refer to this media file; for
example, “Scene8.aiff (1 of 4).” These indications alert you to the fact that changes
you make to this media file may affect multiple clips.
How Clips Are Affected by Media File Editing
When you modify a media file in a multitrack project, all clips that refer to that media
file are updated simultaneously. For example, if you have ten clips referring to the same
media file and you double-click one of the clips to modify its underlying media file, any
changes you make to the media file affect all ten clips.
Multiple In and Out
points
196 Chapter 6 Editing Audio Files
How Media File Editing Works in a Multitrack Project
When you edit a clip in place or open a clip in a new File Editor tab, the way the media
file is handled depends on its file format.
 If the clip’s audio file format is a native Soundtrack Pro audio file project: The audio file
project is opened directly in the File Editor tab, allowing you to make nondestructive
changes to the media. When you save the multitrack project, Soundtrack Pro
automatically saves all of the associated audio file projects.
 If the clip refers to a standard-format audio file (such as AIFF or WAVE): Soundtrack Pro
automatically creates a Soundtrack Pro audio file project for the file and relinks all
clips in the project to the new audio file project. This allows you to work with this
media nondestructively. Each time you save your multitrack project, any newly
created audio file project media files are saved to the Edited Media Location on your
hard disk. (You can change this location by choosing Soundtrack Pro > Preferences,
and then clicking General.)
How Source Audio File Editing Works in an Audio File Project
When you edit an audio file in the File Editor project view, the source audio file is
handled as follows:
 If the clip’s audio file format is a native Soundtrack Pro audio file project: Any changes
you make are saved to the audio file project, allowing you to make nondestructive
changes to the media.
 If the clip refers to a standard-format audio file (such as AIFF or WAVE): Soundtrack Pro
automatically creates a Soundtrack Pro audio file project for the flat file. When you
attempt to save the changes to the audio file project, the default File Type is Audio
File Project, which retains the nondestructive changes in the form of an Actions list. If
you change the File Type in the Save dialog to a flat file format (such as AIFF or
WAVE), you lose the nondestructive characteristics of a Soundtrack Pro audio file
project. For more information about the File Editor project view, see “Using the File
Editor Project View” on page 240.
Chapter 6 Editing Audio Files 197
Modifying a Clip Without Affecting Its Source Media
Any time you use multiple instances of the same clip in a multitrack project, the clip
refers to the same source media file. This means that any time you modify the media
file, all of the clips that refer to the media file are affected. How do you edit just one clip
without editing its source media? In cases where you only want to make changes to a
single clip, you can make a new copy of the clip’s media file in a new audio file project
and link this clip to the new audio file project.
To create a copy of a clip’s media file and link the clip to the new audio file project:
1 Select the clip whose source media file you want to copy.
2 Control-click the clip in the Timeline, then choose Replace with Independent Audio File
Project from the shortcut menu.
A new Soundtrack Pro audio file project is created that includes a copy of the original
audio file. Only media between the clip’s In and Out points is copied, plus handles on
either side for later trimming if necessary.
The new audio file project opens in the File Editor tab and the clip now links to the
new audio file project.
Note: The default handle duration is 5 seconds. To adjust the handle duration, choose
Soundtrack Pro > Preferences > General.
198 Chapter 6 Editing Audio Files
Editing Audio Files in the File Editor
You can edit audio files in many different ways in the File Editor tab and File Editor project
view. You can edit the entire file or select part of the file to edit. You can cut, copy, and
paste audio, and graphically edit audio files using a variety of tools in the File Editor.
Opening Audio Files in the File Editor Tab
You can play an audio file in the File Editor so you can hear the file and any changes
you make to it.
To open an audio file in the File Editor tab, do one of the following:
m With the File Editor tab active, select a clip in the Timeline.
The waveform for the clip appears in the File Editor tab.
m Drag a clip into the File Editor tab from one of the media tabs.
The waveform for the clip appears in the File Editor.
Note: You can drag from the Bin, Browser, Search, and Favorites tabs. If there is already
a clip in the File Editor, it is replaced by the new clip.
Select a clip in the
Timeline...
...to work with it in the
File Editor.
Chapter 6 Editing Audio Files 199
Playing Audio Files in the File Editor
You can play an audio file in the File Editor so you can hear the file and any changes
you make to it.
To play an audio file:
m Click the Play button in the transport controls (or press the Space bar). Click the Play
button (or press the Space bar) again to stop playback.
You can set the playhead in the File Editor in the same way you set it in the Timeline, by
clicking in the waveform display or in the Time ruler, using the transport controls, or
using the Playhead Location value slider. For more information, see “Setting the
Playhead Quickly” on page 72.
Soloing an Audio File in the File Editor
You can use the Solo button in the File Editor tab to mute all other tracks so that you
can hear the audio file outside the context of the multitrack project.
To solo an audio file in the File Editor tab:
1 With the File Editor tab active, select a clip in the Timeline.
The waveform for the clip appears in the File Editor tab.
2 Click the Solo button in the File Editor tab.
All other tracks in the Timeline are muted and the Preview Volume slider next to the
Solo button becomes active.
3 Play the file and adjust the volume using the Preview Volume slider, as needed.
Solo button
Preview Volume slider
Link button
200 Chapter 6 Editing Audio Files
Linking the File Editor Selection and the Cycle Region
You can link the File Editor tab to the Cycle Region so that when you make selections in
the File Editor tab (or selections of clips in the Timeline with the Timeslice tool),
Soundtrack Pro automatically adjusts the Cycle Region to match the selection.
To link the Cycle Region to File Editor and Timeslice selections:
1 Click the Link button in the File Editor tab.
2 Make one of the following kinds of selections:
 Make a selection in the File Editor tab.
 Using the Timeslice tool, select a portion of a clip in the Timeline.
The Cycle Region adjusts accordingly.
Scrubbing Audio Files
Scrubbing an audio file lets you hear the audio at the playhead position as you drag the
playhead so you can quickly find a particular sound or event in the audio file.
The Soundtrack Pro Scrub tool provides detailed scrubbing that realistically
approximates the “rock-the-reels” scrubbing on analog tape decks.
To scrub an audio file with the Scrub tool:
1 In the Timeline or the File Editor, click the Scrub tool or press H.
2 Drag the Scrub tool left or right across a clip in the Timeline or across the File Editor.
When you use the Scrub tool in the multitrack Timeline, you can only scrub one clip at
a time. To scrub multiple tracks at once, scrub with the playhead.
Scrub tool
Use the Scrub tool to
scrub through an audio
file.
Chapter 6 Editing Audio Files 201
To scrub an audio file with the playhead:
1 Press and hold the triangular part of the playhead.
2 While holding the playhead, drag left or right at the speed you want to scrub the
audio file.
Scrubbing is useful to help identify the part of an audio file that you want to edit.
While you are scrubbing an audio file, you can also select the part of the file that you
want to edit.
To make a selection while scrubbing with the playhead:
m As you move the playhead, press and hold the Shift key.
For projects containing a video file, dragging to create a selection scrubs the video at
the selection point.
To scrub using keyboard shortcuts:
m As you move the playhead, press and hold the Shift key.
For projects containing a video file, dragging to create a selection scrubs the video at
the selection point.
Shift-drag to create
a selection with the
Scrub tool.
202 Chapter 6 Editing Audio Files
Selecting Part of an Audio File
When you apply an action to an audio file in the File Editor, the action is applied to the
entire file unless you select part of the file. You can select different parts of the audio
file and apply different actions to each selection.
To select part of an audio file:
m In the waveform display, drag horizontally across the part of the waveform you want
to select.
Some actions can only be applied to a selection. The selection can contain the entire
audio file.
To select the entire audio file:
m Choose Edit > Select All.
You can select one channel (left or right) of a stereo audio file and apply actions to only
the selected channel. You can also select only part of one channel.
To select the left channel of an audio file:
1 Move the pointer near the upper edge of the waveform display.
The pointer changes to the letter “L.”
Selected area
Chapter 6 Editing Audio Files 203
2 Drag the pointer to select the part of the left channel you want to work with.
As you drag, the right (lower) channel of the audio file becomes darker in the waveform
display. You can also double-click in the upper part of the waveform display to select
the entire left channel.
To select the right channel of an audio file:
1 Move the pointer near the lower edge of the waveform display.
The pointer changes to the letter “R.”
2 Drag the pointer to select the part of the right channel with which you want to work.
As you drag, the left (upper) channel of the audio file becomes darker in the waveform
display. You can also double-click in the lower part of the waveform display to select
the entire right channel.
Left channel selected
Right channel
selected
204 Chapter 6 Editing Audio Files
If you have added markers to an audio file project, you can select the area between
two markers.
To select the area between two markers in the File Editor project view:
m Double-click the waveform display in the area between the two markers. If there are
additional markers, you can expand the selection by dragging toward them.
To select the entire contents of one or more channels:
1 Click the File Editor tab or the File Editor project view to make it the active window.
2 Choose Edit > Select > Across Channels (or press Shift-T).
If there is an existing selection, it is extended across the entire duration of the file (but
only for the currently selected channels). If there is not an existing selection,
Soundtrack Pro creates a new selection across active channels for the entire length of
the file.
To select the partial contents of one or more channels:
1 Click the File Editor tab or the File Editor project view to make it the active window.
2 Position the playhead.
3 Do one of the following:
 To select everything to the right of the playhead in the active channels, choose
Edit > Select > Forward (or press Shift-End).
 To select everything to the right of the playhead in the active channels, choose
Edit > Select > Backward (or press Shift-Home).
If there is an existing selection, the selection is extended to the end of the audio file
(for Forward) or to the beginning of the audio file (for Backward).
If there is no existing selection, Soundtrack Pro creates a new selection across active
channels from the end of the audio file (for Forward) or from the beginning of the
audio file (for Backward).
Note: If you hold down the Option key, the menu items will read Select > All Forward
and Select > All Backward, and behave the same as described earlier except the
selection will be across all channels instead of just the selected channels.
Chapter 6 Editing Audio Files 205
Adjusting Selections to a Zero Crossing
A zero crossing is a point in an audio file where the amplitude is zero. When you edit an
audio file in the File Editor, if the beginning or end points of your edit do not occur at a
zero crossing, the edited audio file can have unwanted noise at the beginning and/or
end of the edited area. Subsequent editing of the file, such as normalizing or increasing
the gain, can increase this unwanted noise.
Once you have made a selection in the File Editor, you can fine-tune the selection so
that it begins or ends at the nearest zero-crossing point.
To adjust a selection to the zero crossing:
1 Make a selection in the File Editor.
2 Choose Edit > Adjust Selection to Zero Crossing and choose one of the following from
the submenu:
 Inward
 Outward
 In Point to Left
 In Point to Right
 Out Point to Left
 Out Point to Right
The edit point is adjusted to occur at the specified zero-crossing.
Moving Between Selections
You can select different areas of the audio file to apply different actions or to play different
areas. Any selection can include the same part of an audio file as another selection. As you
work on the audio file, you can move back and forth between selections.
To move to the previous selection:
m Click the Previous Selection button above the waveform display.
The previous selection becomes the current selection. The selection area appears
darker than the rest of the waveform.
To move to the next selection:
m Click the Next Selection button above the waveform display.
The next selection becomes the current selection. The selection area appears darker
than the rest of the waveform.
Previous Selection button Next Selection button
206 Chapter 6 Editing Audio Files
Cutting, Copying, and Pasting in the File Editor
You can cut, copy, and paste audio in the File Editor. Cutting, copying, and pasting can
change the length of an audio file.
To cut part of an audio file in the File Editor:
1 Select the part of the file you want to cut.
2 Choose Edit > Cut (or press Command-X).
The selected part of the file is removed, and the file shortens by the cut amount.
To copy audio in the File Editor:
1 Select the part of the file you want to copy.
2 Choose Edit > Copy (or press Command-C).
You can paste audio in the File Editor. You can paste at the playhead position, paste
mix, or paste repeat.
To paste audio in the File Editor:
1 Set the playhead to the point where you want to paste the audio.
2 Choose Edit > Paste (or press Command-V).
The cut or copied audio is pasted starting at the playhead position. The audio after the
playhead in the file moves to accommodate the pasted audio, and the file lengthens by
the pasted amount.
You can also paste mix in the File Editor. When you paste mix, the pasted audio is
mixed (or blended) with the existing audio in the audio file. You can control the mix of
the pasted audio and existing audio and can crossfade the pasted audio.
To paste mix audio in the File Editor:
1 Set the playhead to the point where you want to paste the audio.
2 Choose Edit > Paste Special > Paste Mix.
3 In the Paste Mix dialog, drag the Original Material Level slider to set the mix level of the
existing audio in the pasted area.
4 Drag the Clipboard Level slider to set the mix level of the pasted audio.
5 Optionally, you can crossfade the pasted audio by selecting the Crossfade In and Out
Points checkbox and typing crossfade values (in milliseconds) in the Fade In Length
and Fade Out Length fields.
Chapter 6 Editing Audio Files 207
6 Click OK.
The cut or copied audio is mixed with the existing audio.
You can also paste repeat in the File Editor. When you paste repeat, the cut or copied
audio is pasted the number of times you specify in succession, so that each copy starts
at the end of the previous one.
To paste repeat in the File Editor:
1 Set the playhead to the point where you want to paste the audio.
2 Choose Edit > Paste Special > Paste Repeat.
3 In the Paste Repeat dialog, type the number of copies you want to paste in the field.
4 Click OK.
The copies are pasted starting at the playhead position. The audio after the playhead
in the file moves to accommodate the pasted audio, and the file lengthens by the
pasted amount.
Zooming In and Out in the File Editor
You can zoom in on a specific part of an audio file to make precise edits and perform
other tasks.
To zoom in or out, do one of the following:
m Drag the Zoom control left to zoom in for a closer view, or drag right to zoom out for a
wider view.
m Choose View > Zoom In to zoom in one level.
m Choose View > Zoom Out to zoom out one level.
If you have a mouse with a scrollwheel connected to your computer, you can set
Soundtrack Pro to zoom in or out when you move the scrollwheel. You can select part
of the audio file and zoom in on the selected area, zoom in to see individual samples in
the waveform, or zoom out to peaks.
To set Soundtrack Pro to zoom the waveform display when you move the scrollwheel:
1 Choose Soundtrack Pro > Preferences.
2 If the General preferences pane is not visible, click the General button.
3 In the Timeline section of the General preferences pane, choose “Zooms at playhead”
from the Scrollwheel pop-up menu.
To zoom in or out using a scrollwheel:
m Move the scrollwheel up to zoom in, or move it down to zoom out.
208 Chapter 6 Editing Audio Files
To zoom in on a selection:
1 In the waveform display, select the area you want to zoom in on.
2 Choose View > Zoom to Selection.
To zoom in to see individual samples:
m Choose View > Zoom to Samples.
Note: If you have previously zoomed in to a level where individual samples are visible
in the waveform display, choosing Zoom to Samples zooms in to the same zoom level.
To zoom out to see the entire waveform:
m Choose View > Fit to Window.
To return to the original zoom level:
m Choose View > Zoom Normal.
You can also zoom in on a selected area using the Zoom tool. For information about
using the Zoom tool, see “Zoom Tool” on page 211.
Editing Audio Files Graphically with Waveform Editing Tools
The File Editor includes waveform editing tools you can use to graphically edit the
audio file in the waveform display.
Selection Tool
You can use the Selection tool to select part of an audio file, as described in “Selecting
Part of an Audio File” on page 202. When you open the File Editor, the pointer is a
selection pointer (arrow). When you are done using another waveform editing tool, you
can return the pointer to a selection pointer by clicking the Selection Tool button.
Frequency Selection Tool
You can use the Frequency Selection tool to make selections in Frequency Spectrum
View not just of time ranges but also of frequency ranges. You can copy, paste, and delete
frequency selections as well as adjust the amplitude of frequency selections. For more
information, see “Viewing an Audio File in Frequency Spectrum View” on page 214.
Selection Tool button
Chapter 6 Editing Audio Files 209
Sample Edit Tool
You can graphically edit samples in the audio file using the Sample Edit tool. To use the
Sample Edit tool, the waveform display must be zoomed in enough to see individual
samples, which appear as small squares connected by a thin line.
To edit samples using the Sample Edit tool:
1 Click the Sample Edit Tool button above the time display.
The pointer becomes a Sample Edit pointer.
2 Zoom in on the part of the waveform you want to edit.
3 To graphically edit samples, do one of the following:
 Drag a sample up or down to a new value.
 Click directly above or below a sample.
 Drag left or right to reshape the waveform.
You can also edit samples numerically in the waveform display.
To edit samples numerically:
1 Control-click a sample, then choose Set Value from the shortcut menu.
2 In the dialog that appears, type a new value for the sample.
3 Click OK.
Sample Edit Tool button
Use the Sample Edit tool
to reshape the waveform.
210 Chapter 6 Editing Audio Files
Audio Stretching Tool
You can time stretch all or part of an audio file to change the amount of time it
occupies. When you stretch an audio file, the length of time changes but not the pitch
(letting you fill dialogue, music, or other audio to a specific amount of time). For audio
files with music or other repeating patterns, stretching the file changes the tempo of
the music without changing the key. The range of the Audio Stretching tool is limited
to between 25% to 400% of the length of the original audio.
To graphically time stretch an audio file:
1 Click the Audio Stretching Tool button above the time display.
2 In the waveform display, drag horizontally across the waveform to select the part you
want to time stretch.
3 Move the pointer over the right edge of the selection.
The pointer becomes a Stretch pointer.
4 Drag the right edge of the selection left to shorten the selected area, or drag it right to
lengthen the selected area.
When you shorten a selection of an audio file using the Audio Stretching tool in the
File Editor, the empty part of the selection area is filled with ambient noise if an
ambient noise print exists. If no ambient noise print exists, the empty part of the
selection area is filled with silence. Shortening a selection using the Audio Stretching
tool does not change the length of the audio file.
Audio Stretching Tool
button
Use the Audio Stretching
tool to shorten or
lengthen the selected
area of the waveform.
Chapter 6 Editing Audio Files 211
When you lengthen the selection using the Audio Stretching tool, any audio
overlapped by the lengthened selection area is deleted. Lengthening the selection past
the end of the file changes the length of the audio file.
If you hold down the Option key while dragging the selection with the Audio
Stretching tool, the audio following the selection area ripples forward when you
lengthen the selection and ripples backward when you shorten the selection. In both
cases, using the Option key changes the length of the audio file.
Note: Stretching an audio file by a large amount can degrade the sound quality of the
audio file.
For information about stretching an audio file numerically using the Process menu, see
“Time Stretch” on page 224.
Zoom Tool
You can zoom in on a specific part of the waveform display to make precise edits.
To zoom in using the Zoom tool:
1 Click the Zoom Tool button above the time display.
The pointer changes to a Zoom pointer.
2 In the waveform display, do one of the following:
 Click to zoom in.
 Option-click to zoom out.
 Drag horizontally to select the part of the waveform you want to zoom in on.
The waveform display zooms in on the selected area.
For information on other ways to zoom in and out in the waveform display, see
“Zooming In and Out in the File Editor” on page 207.
Zoom Tool button
212 Chapter 6 Editing Audio Files
Choosing the Sample Units in the File Editor
Along the left edge of the File Editor is a scale of sample units for the audio file. You can
set this scale to any of the following sample units:
 Sample Value
 Normalized
 Percent
 Decibels
To set the sample units in the waveform display, do one of the following:
m Choose View > Sample Ruler Units, then choose a format from the submenu.
m Control-click along the left edge of the waveform display where the sample units
appear, then choose the sample units you want from the shortcut menu.
Editing Multichannel Files
In Soundtrack Pro, you can edit multichannel files with up to 24 channels, including the
following types of multichannel files: AIFF, WAV, Broadcast Wave, QuickTime, and single
folder/multi-mono file AIFF.
Each channel row is identified by a number.
Chapter 6 Editing Audio Files 213
Selecting and Editing Channels in Multichannel Files
Editing multichannel files in the File Editor is similar to editing in a multitrack Timeline.
To make a selection across all channels:
m Drag in the bottom 90 percent of any channel.
To make a selection in an individual channel:
1 Move the pointer to the top 10 percent of a channel row.
The pointer changes to indicate the channel name or number.
2 Drag in the channel row over the area you want to select.
To make a selection in multiple, adjacent channels:
1 Move the pointer to the top 10 percent of a channel row.
The pointer changes to indicate the channel name or number.
2 Drag in the channel row to the area you want to select.
3 Continue dragging up or down to include the adjacent channels.
To make a selection in multiple, nonadjacent channels:
1 Move the pointer to the top 10 percent of a channel row.
The pointer changes to indicate the channel name or number.
2 Drag in the channel row over the area you want to select.
3 Command-click in the bottom 10 percent of any nonadjacent channels.
Note: Nonadjacent selections must be within the same time range.
To disable or enable an individual channel:
m Control-click a channel, then choose Enabled from the shortcut menu to toggle it on or off.
To enable all channels:
m Control-click a channel, then choose Enable All from the shortcut menu.
To disable all channels:
m Control-click a channel, then choose Disable All from the shortcut menu.
To reorder channels:
m Choose Process > Reorder Channels, then use the dialog that appears to rearrange the
channel order.
For more information, see “Reorder Channels” on page 229.
214 Chapter 6 Editing Audio Files
Creating a New Multichannel Audio File
You can create a new multichannel file and specify the number of channels and the
sample rate.
To open a new multichannel audio file:
1 Do one of the following:
 Choose File > New > Audio File (or press Command-Shift-N).
 Click New Audio File in the Toolbar.
2 Choose an option from the Channels pop-up menu:
 Mono
 Stereo
 Surround (5.1)
 Other
Note: If you choose Other, use the value slider to enter the number of channels for
the new audio file.
3 Enter a sample rate in the Sample Rate field or choose one from the pop-up menu.
4 Click OK.
Using Frequency Spectrum View
When you first open the File Editor, it shows the audio file in Waveform view. You can also
view and edit an audio file in Frequency Spectrum view. Frequency Spectrum view gives
you a way to find areas of significant frequency change that aren’t visible in a waveform.
Viewing an Audio File in Frequency Spectrum View
In Frequency Spectrum view, the display shows the frequency spectrum of each
channel of a stereo audio file on a scale from 0 Hertz (Hz) to half the sample rate of the
file. For example, for a 48 kHz audio file, the scale progresses from 0 Hz to 24 kHz.
Chapter 6 Editing Audio Files 215
To view an audio file in Frequency Spectrum view, do one the following:
m Choose View > File Editor Display > Show Spectrum.
m Click the Frequency Spectrum View button in the upper-right corner of the File Editor
tab or the File Editor project view.
The display changes to show the audio file’s frequency spectrum.
You can select parts of the audio file, apply actions, and edit the audio file in Frequency
Spectrum view in the same way as in Waveform view. In addition, you can make
selections of frequency ranges as well as copy, paste, delete, and adjust the amplitude
of frequency selections. You can also change the Frequency Spectrum view display to
show the frequency spectrum linearly or logarithmically, use different analysis
windows, and change the number of samples used to calculate the view.
To return to Waveform view, do one the following:
m Choose View > File Editor Display > Show Waveform.
m Click the Waveform View button.
Frequency Spectrum
View button
Waveform View button
216 Chapter 6 Editing Audio Files
Using the Spectrum View HUD
The Spectrum View HUD is a floating window that provides extensive controls for
Frequency Spectrum view.
 Preemphasis: Applies gain per octave. Drag the slider to the right to emphasize high
frequency content.
 Minimum Frequency: Allows you to view a subset of the frequency range (for
example, only the frequencies over 1 kHz).
 Maximum Frequency: Allows you to view a subset of the frequency range (for
example, only the frequencies under 9 kHz).
 Minimum Power: Defines the bottom of the scale (where the blue portion of the
gradient starts).
 Maximum Power: Defines the top of the scale (where the red portion of the
gradient ends).
 Analysis Window: To display the audio file in Frequency Spectrum view, part of the
audio data for each given point in time is analyzed. Each method of analysis
represents a slightly different compromise between frequency resolution and spectral
leakage. You can choose between several different analysis methods, called analysis
windows, used to display the frequency spectrum in Frequency Spectrum view.
 Window Size: The number of samples used for Frequency Spectrum view. This
parameter trades off frequency resolution for time resolution. Smaller window sizes
are more accurate timewise, but smear frequency information across adjacent
frequencies (vertical lines, or transients, appear sharper). Larger window sizes provide
a more accurate frequency display, but will smear things horizontally (horizontal lines
appear sharper, but transients are smeared).
 Frequency Scale: Use Frequency Scale to switch between linear display (in which
harmonics appear evenly spaced) and logarithmic display (in which octaves appear
evenly spaced).
Chapter 6 Editing Audio Files 217
 Color pop-up menu and gradient slider: Use the menu and slider to customize the
gradient for Frequency Spectrum view.
 Reset button: Resets all controls to their default values.
To open the Spectrum View HUD:
1 Turn on Frequency Spectrum view.
2 Do one of the following:
 Choose View > File Editor Display > Show Spectrum Controls.
 Control-click the spectrum display, then choose Show Spectrum Controls from the
shortcut menu.
Adjusting the Frequency Spectrum View with the Shortcut Menu
You can also Control-click the Frequency Spectrum view to change the settings.
To show the frequency spectrum on a logarithmic scale:
m Control-click the Sample ruler along the left edge of the display, then choose
Logarithmic from the shortcut menu.
To show the frequency spectrum on a linear scale:
m Control-click the Sample ruler along the left edge of the display, then choose Linear
from the shortcut menu.
To display the audio file in Frequency Spectrum view, part of the audio data for each
given point in time is analyzed. Each method of analysis represents a slightly different
compromise between frequency resolution and spectral leakage. You can choose
among several different analysis methods, called analysis windows, used to display the
frequency spectrum in Frequency Spectrum view.
To choose an analysis window for Frequency Spectrum view:
m Control-click the spectrum display, then choose an analysis window from the upper
part of the shortcut menu.
Frequency Spectrum view changes the display using the analysis window you selected.
Experiment with these options to see which one shows the data the best.
218 Chapter 6 Editing Audio Files
You can also choose the number of samples used to calculate the spectrum display.
To choose the window size (number of samples used) for Frequency Spectrum view:
m Control-click the spectrum display, then choose a number from the lower part of the
shortcut menu.
Editing in Frequency Spectrum View
Use the Frequency Spectrum view and the Frequency Selection tool to select
frequency ranges as well as to copy, paste, delete, and adjust the amplitude of
frequency selections. You can also select parts of the audio file, apply actions, and edit
the audio file in Frequency Spectrum view in the same way as in Waveform view.
To select a frequency range:
1 Turn on Frequency Spectrum view.
2 Click the Frequency Selection Tool button at the top of the File Editor tab or the top of
the File Editor project view.
In general, editing in Frequency Spectrum view uses the same conventions as editing
in Waveform view. For more information about editing in Waveform view, see “Using
the Global Waveform View” on page 249.
Frequency Selection Tool
button
Frequency Spectrum
view selection
Chapter 6 Editing Audio Files 219
Frequency Selection Tool Guidelines
Here are some further guidelines for editing in Frequency Spectrum view with the
Frequency Selection tool:
 All paste edits, including paste, paste mix, and paste repeat, are supported for
frequency selections.
 Pasting to an ordinary (full frequency range) selection follows the same conventions
as in the Waveform view.
 Pasting to a narrow frequency range causes the contents of the Clipboard to be
filtered before being pasted. This filtered result is added to the result of applying the
complementary filter to the original audio with any necessary truncation or
zero-padding if the length of the selection is greater than or less than, respectively,
the length of the Clipboard audio data.
 When you switch between Frequency Spectrum view and Waveform view, ordinary
(full frequency range) selections are preserved, but any narrow frequency range
selections are reset.
Processing Audio Files
You can process audio files in the File Editor in a variety of ways. You can choose
processing effects and other operations from the Process menu and apply them to an
entire file, or select part of the file and apply the effect to the selection. When you
choose an item from the Process menu, the item appears as an action in the Actions
list. The Process menu contains the items described in the following sections.
Choosing Processing Effects
The Effects submenu contains an extensive set of professional audio effects you can
apply to an audio file or a selection. The audio effects in the Effects submenu are the
same as the realtime effects you can apply to tracks, busses, and submixes in the
Timeline. For information about individual effects in the Effects submenu, see “Audio
Effects Included with Soundtrack Pro” on page 331 and the Soundtrack Pro Effects
Reference document, available in the Help menu.
The effects included with Soundtrack Pro are categorized by type in the Effects
submenu. Below these effect categories is a submenu for Mac OS effects. If you have
installed third-party Audio Units effects on your computer, additional submenus for the
third-party effects appear at the bottom of the Effects submenu.
When you apply a processing effect from the Effects submenu, the floating advanced
settings window for the effect appears. Processing effects windows are nonmodal,
allowing you to click a window behind the effects window (for instance, the Timeline or
File Editor window) to move the playhead or adjust the selection range.
220 Chapter 6 Editing Audio Files
The advanced settings window contains controls for previewing the effect in the File
Editor, bypassing, applying, or canceling the effect, resetting effect parameters, and
applying effect presets.
 Play button: Plays the audio file or selection with the effect.
 Volume slider: Controls the volume of the audio file or selection as you play it.
 Bypass button: Bypasses the effect so you can hear the difference in the sound of the
audio file or selection with and without the effect.
 Reset button: Resets all effect parameters to their default values.
 Cancel button: Closes the advanced settings window without applying the effect.
 Apply button: Applies the effect to the audio file or selection and closes the
advanced settings window.
 Show/Hide Presets button: Shows or hides the Presets drawer so you can apply
effect presets.
For information about applying effect presets in the File Editor, see “Working with
Effect Presets” on page 330.
For information about the effects in the Effects submenu, see Chapter 11, “Working with
Audio Effects,” on page 327.
Fade In
Choosing this command fades in the audio file or selection. The fade-in progresses in
linear fashion from the beginning to the end of the audio file or selection.
Fade Out
Choosing this command fades out the audio file or selection. The fade-out progresses
in linear fashion from the beginning to the end of the audio file or selection.
Show/Hide Presets button
Bypass button
Reset button
Chapter 6 Editing Audio Files 221
Normalize
Choosing this command normalizes (adjusts the gain of ) the audio file or selection to
the decibel level shown in the Normalization Level field. The highest peak in the file is
raised or lowered to the level you set, and the rest of the audio file is raised or lowered
by the same amount. When you choose Process > Normalize, the level is set to 0 dB.
To set the normalization level:
1 Choose Process > Normalize.
2 In the Normalize dialog, drag the Normalization Level slider or select the value in the
Normalization Level field and type a new value.
3 Click OK.
You can preview the audio file at the normalization level before closing the Normalize
dialog. This makes it easy to set the level before normalizing the file.
To preview the file at the normalization level:
m In the Normalize dialog, select the Preview checkbox.
Adjust Amplitude
Choosing this command raises or lowers the gain of the audio file or selection by the
amount shown in the Amplitude Level field. When you choose Process > Adjust
Amplitude, the level shown in the field is zero (0) dB, or unity gain.
To set the amplitude level:
1 Choose Process > Adjust Amplitude.
2 In the Adjust Amplitude dialog, drag the Amplitude Level slider or select the value in
the Amplitude Level field and type a new value.
3 Click OK.
Silence
Choosing this command replaces the audio file or selection with complete silence.
Invert
Choosing this command inverts the phase of each sample in the audio file or selection.
Each sample’s amplitude is unchanged, but the phase is inverted. In the waveform
display, the wave’s crests become troughs and vice versa.
Reverse
Choosing this command reverses the order of the samples in the audio file or selection
so that the first sample becomes the last and vice versa.
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Insert
You can insert silence, noise, or a waveform in an audio file or selection. When you
choose Process > Insert, then choose one of the three items from the Insert submenu,
the silence, noise, or waveform is inserted at the current playhead position. The
remainder of the audio file ripples so that it continues after the inserted silence, noise,
or waveform.
Inserting Silence
When you choose Process > Insert, then choose Silence from the Insert submenu, the
Insert Silence sheet appears. You can set the length of silence to insert, and choose the
format for setting the length of the silence (any of the Time Ruler Units formats).
To set the length of the inserted silence:
1 In the Insert Silence sheet, choose the format you want to use from the Format
pop-up menu.
2 In the “Length of silence to insert” value slider, do one of the following:
 Click the left arrow to shorten the length of the inserted silence, or click the right
arrow to increase the length.
 Click the center of the value slider, then drag the slider that appears left or right to
change the length of inserted silence.
 Click the value in the value slider, then type a new value.
3 Click OK.
Inserting Noise
When you choose Process > Insert, then choose Noise from the Insert submenu, the
Noise Generator dialog appears. You can set the type of noise to insert, set the length
of the inserted noise, choose the format for setting the noise length (any of the Time
Ruler Units formats), and set the volume of the inserted noise.
The inserted noise can be white noise (emphasizing higher frequencies) or pink noise
(equal distribution of frequencies).
Chapter 6 Editing Audio Files 223
To choose the type of noise to insert:
m In the Noise Generator dialog, choose the type of noise from the Waveform Type
pop-up menu.
To set the length of the inserted noise:
1 In the Noise Generator dialog, choose the format you want to use from the Duration
pop-up menu.
2 In the Duration value slider, do one of the following:
 Click the left arrow to shorten the length of the inserted noise, or click the right
arrow to increase the length.
 Click the center of the value slider, then drag the slider that appears left or right to
change the length of inserted noise.
 Click the value in the value slider, then type a new value.
3 Click OK.
To set the volume level of the inserted noise:
m In the Noise Generator dialog, drag the Volume slider left or right to set the noise level.
You can also type a level (in decibels) in the Volume field.
Inserting a Waveform
When you choose Process > Insert, then choose Waveform from the Insert submenu,
the Wave Generator dialog appears. You can set the type of waveform to insert, set the
length of the inserted waveform, choose the format for setting the waveform length
(any of the Time Ruler Units formats), and set the volume of the inserted waveform.
The inserted waveform can be a sine, sawtooth, square, or triangle wave.
To choose the type of waveform to insert:
m In the Wave Generator dialog, choose the type of waveform from the Waveform Type
pop-up menu.
To set the frequency of the inserted waveform:
m In the Wave Generator dialog, drag the Frequency slider left or right to set the
frequency. You can also type a frequency (in Hertz) in the Frequency field.
224 Chapter 6 Editing Audio Files
To set the length of the inserted waveform:
1 In the Wave Generator dialog, choose the format you want to use from the Duration
pop-up menu.
2 In the Duration value slider, do one of the following:
 Click the left arrow to shorten the length of the inserted waveform, or click the right
arrow to increase the length.
 Click the center of the value slider, then drag the slider that appears left or right to
change the length of the inserted waveform.
 Click the value in the value slider, then type a new value.
3 Click OK.
Time Stretch
You can time stretch an audio file or selection. When you time stretch an audio file, you
change the duration (length) of the file without changing the frequency (pitch) of the
file. For example, for a file containing music, the tempo of the music is changed, but
not the pitch. When you time stretch an audio file, you can choose the format for time
values you enter.
To time stretch an audio file:
1 Select the part of the file you want to time stretch (it can be the entire file).
2 Choose Process > Time Stretch.
The Time Stretch sheet appears.
3 In the Time Stretch sheet, choose the format for setting the amount to time stretch the
file from the Format pop-up menu.
4 In the “Length of selection” value slider, do one of the following:
 Click the left arrow to shorten the length, or click the right arrow to increase the length.
 Click the center of the value slider, then drag the slider that appears left or right to
change the length.
 Click the value in the value slider, then type a new value.
5 Click OK.
For information on stretching a file graphically using the Audio Stretching tool, see
“Audio Stretching Tool” on page 210.
Chapter 6 Editing Audio Files 225
Noise Reduction
Some audio files contain unwanted noise, making it difficult to hear the voices, music, or
other content of the file. Soundtrack Pro features two commands, Set Noise Print and
Reduce Noise, that you can use together to reduce noise in an audio file or selection.
Set Noise Print
The Set Noise Print command lets you select part of an audio file containing only the
noise that you want to remove as a “noise print.” The noise print provides a signature of
the frequencies to reduce or remove from the file.
Setting the noise print before reducing noise is optional. If you do not set a noise print
before using the Reduce Noise command, Soundtrack Pro extracts a noise print from
the selected part of the audio file. If there is an existing noise print, it will be used, even
if it is from a different audio file, unless you set a new noise print.
To set part of an audio file as a noise print:
1 In the waveform display, select the part of the audio file containing only the noise you
want to reduce.
2 Choose Process > Noise Reduction > Set Noise Print.
The selected noise is stored as a noise print.
Reduce Noise
The Reduce Noise command uses the frequency content of the noise print to reduce
noise in the audio file or selection.
To reduce noise using the noise print:
1 In the waveform display, select the part of the audio file in which you want to reduce noise.
2 Choose Process > Noise Reduction > Reduce Noise.
The Reduce Noise dialog appears. In the Reduce Noise dialog, you can optionally set
the noise threshold and tone for noise reduction. You can also preview the noise
reduction with the dialog open.
The noise threshold determines the level below which audio in the noise print is
considered to be noise. Lowering the threshold results in only very low signals being
reduced, while raising the threshold results in more high-level signals being reduced.
226 Chapter 6 Editing Audio Files
To set the threshold of the noise reduction:
m In the Reduce Noise dialog, drag the Noise Threshold slider left to lower the threshold,
or drag it right to raise the threshold. You can also type a value (in decibels) in the
Noise Threshold field.
To set the amount of noise reduction:
m Drag the Reduction slider left to decrease the amount of noise reduction, or drag it
right to increase the amount of noise reduction.
To change the tone of the noise reduction:
m In the Reduce Noise dialog, drag the Tone Control slider left to preserve more
low-frequency content (bass), or drag it right to preserve high-frequency content
(treble) during noise reduction.
You can preview noise reduction with the Reduce Noise dialog open and adjust the
threshold and tone of noise reduction. You can also hear the audio file or selection with
and without noise reduction, or hear only the noise to be removed.
To preview the file with noise reduction:
m Click the Play button in the lower part of the Reduce Noise dialog.
To set the preview volume level:
m Drag the Volume slider in the lower part of the Reduce Noise dialog left to lower the
volume or right to raise the volume.
To compare the file with and without noise reduction:
m Click the Bypass button to hear the file without noise reduction. Click the button again
to hear the file with noise reduction.
To hear only the noise to be removed:
m Select the Noise Only checkbox.
To use a noise reduction preset:
1 In the Reduce Noise dialog, click Show Presets.
The Presets drawer appears.
2 In the Presets drawer, select a preset from either the Factory Presets or User Presets list.
3 Click Apply.
Chapter 6 Editing Audio Files 227
Adding Ambient Noise
When editing an audio file, you may want to remove some sounds from the file while
preserving the room tone or other ambient background noise in the file. Soundtrack Pro
features commands you can use to set a selection as an ambient noise print and add the
noise print to existing audio or replace the audio with the noise print.
Set Ambient Noise Print
The Set Ambient Noise Print command lets you copy part of an audio file containing
only ambient noise that you want to add to another part of the file (or another file).
To set part of an audio file as an ambient noise print:
1 In the waveform display, select the part of the audio file containing only ambient noise.
2 Choose Process > Set Ambient Noise Print.
The ambient noise is stored in a special buffer separate from the Clipboard, and is
saved to the project.
If you have copied audio to the Clipboard, you can set the contents of the Clipboard as
an ambient noise print.
To set the contents of the Clipboard as an ambient noise print:
m Choose Process > Set Ambient Noise From Clipboard.
Add Ambient Noise
The Add Ambient Noise command adds the ambient noise stored in the ambient noise
buffer to the audio file or selection.
To add ambient noise to an audio file:
1 In the waveform display, select the part of the audio file to which you want to add the
ambient noise.
2 Choose Process > Add Ambient Noise.
The ambient noise is added to the selected audio. If the selection is longer than the
copied ambient noise, the ambient noise repeats to fill the selection.
Replace With Ambient Noise
The Replace With Ambient Noise command replaces the selected audio with the
ambient noise stored in the ambient noise buffer.
To replace existing audio with ambient noise:
1 In the waveform display, select the part of the audio file you want to replace with
ambient noise.
2 Choose Process > Replace With Ambient Noise.
The ambient noise replaces the selected audio. If the selection is longer than the
copied ambient noise, the ambient noise repeats to fill the selection.
228 Chapter 6 Editing Audio Files
Equalization Matching
Equalization matching matches the average frequency spectrum of the target clip to
that of the source clip.
Set Equalization Print
The Set Equalization Print command lets you select part of an audio file and create an
equalization print from it. The equalization print provides an equalization signature that
you can apply to other files.
To set an equalization print:
1 Select the audio file (or part of the audio file) containing the equalization you want to
match.
2 Choose Process > Equalization Matching > Set Equalization Print.
The selection is stored as a equalization print.
Apply Equalization
The Apply Equalization command uses the average frequency spectrum of the
equalization print to match the equalization in the audio file or selection.
To match equalization using the equalization print:
1 Select the audio file (or part of the audio file) in which you want to match the
equalization.
2 Choose Process > Equalization Matching > Apply Equalization.
The equalization print is applied to the target file.
Convert to Mono
Choosing this command converts a stereo audio file to mono. You can choose whether
to convert the file to mono by using only the left channel, using only the right channel,
or combining the two channels. Combining the left and right channels sums them as
an equal gain mix.
To select how a stereo file is converted to mono:
1 Choose Process > Convert to Mono.
2 In the Convert to Mono dialog, select the button corresponding to the method by
which you want to convert the file to mono.
3 Click OK.
The Convert to Mono action converts the entire stereo file to mono. You cannot
convert only a selection of a file to mono. The Convert to Mono action flattens the file,
removing existing actions from the Actions list. For information about flattening
actions, see “Flattening Actions” on page 233.
Chapter 6 Editing Audio Files 229
Resample
Choosing this command resamples the audio file to a new sample rate.
To choose the new sample rate:
1 Choose Process > Resample.
2 In the Resample sheet, choose a sample rate from the Sample Rate pop-up menu. You
can also type a sample rate (in Hertz) in the Sample Rate field.
3 Click OK.
The Resample action flattens the file, removing existing actions from the Actions list.
For information about flattening actions, see “Flattening Actions” on page 233.
Swap Channels
Choosing this command swaps the left and right channel of a stereo audio file or
selection. If the file is mono or multichannel (more than two channels), Swap Channels
is disabled.
Reorder Channels
This command opens a dialog that allows you to rearrange the order of channels in a
multichannel file. If the file is mono, Reorder Channels is disabled.
To reorder channels in an audio file:
1 Choose Process > Reorder Channels.
2 Drag the name of the channel to a different location in the channel list.
3 Click OK.
Render to Action
This command renders realtime effects to actions. It is available in the File Editor project
view only. For more information, see “Rendering Realtime Effects to Actions” on
page 243.
Applying Realtime Effects to Individual Audio Files
In addition to processing effects, you can apply realtime effects to an audio file project.
You can apply realtime effects in the Effects tab, and you can automate realtime effect
parameters in the File Editor project view. For more information, see “Applying Realtime
Effects in the File Editor Project View” on page 242.
230 Chapter 6 Editing Audio Files
Working with Actions
Actions give you an extremely flexible and powerful way to edit audio files in the File
Editor. You can apply an action to an entire file or a selected part of the file, including
applying an action to only one channel of a stereo audio file. You can turn individual
actions on or off and reorder actions in the Actions list, changing the sequence in
which the actions change the audio file. You can adjust action settings after applying
the action, and can flatten actions.
Applying Actions
You start working with actions by applying an action to the audio file or the currently
selected part of the file.
To apply an action:
1 With the file open in the File Editor, choose an item from the Process menu.
The item appears in the Actions list.
2 Some actions have a dialog that appears when you choose the item from the Process
menu. Adjust the settings in the dialog, then click Apply.
The action is added to the Actions list, and the waveform display updates to show the
change to the audio file. You can hear the change when you play the project. Some
actions may take a moment to apply. In this case, a progress bar appears, indicating
that the action is being applied.
Some effects, including reverb and delay, add audio that extends past the end of the
file. This is called an effect tail. When you apply a processing effect that produces an
effect tail to an audio file in the File Editor, the file is lengthened to include the tail until
the point at which the tail falls below –96 dB. If you apply a processing effect that
produces a tail to a selection, the tail is mixed with the audio following the selection. If
the tail extends past the end of the file, the file is lengthened to include the effect tail
until the point at which the tail falls below –96 dB.
When you apply an action that adds a short (0.1 second or less) tail to an Apple Loop,
the tail is shortened to preserve the overall length of the loop.
Action Insert bar
Actions
Resulting waveform
Actions tab
Chapter 6 Editing Audio Files 231
Editing Actions
Many actions have settings that you can edit. When you apply an action that has
editable settings, a dialog appears, letting you edit the action’s settings. You can edit an
action’s settings any time you are working in the File Editor.
To show an action’s settings, do one of the following:
m In the Actions list, Control-click the action you want to edit, then choose “Edit Settings
For [action name]” from the shortcut menu.
m Double-click the action in the Actions list.
m In the Actions list, select the action you want to edit, then choose “Edit Settings For
[action name]” from the Actions pop-up menu.
If the action has no editable settings, the Edit Settings menu item appears dimmed.
Adjusting and Applying Action Selections
You can adjust the selection for an action or set the current selection in the File Editor
to an action’s selection.
To adjust an action’s selection, do one of the following:
m Make a selection in the File Editor, then in the Actions list, Control-click the action, then
choose “Set Selection For [action name]” from the shortcut menu.
m Make a selection in the File Editor, then in the Actions list, choose “Set Selection For
[action name]” from the Actions pop-up menu.
The action is shifted to the selected region.
To set the File Editor’s current selection to the action’s selection,
do one of the following:
m In the Actions list, Control-click the action, then choose “Selection For [action name]”
from the shortcut menu.
m In the Actions list, choose “Selection For [action name]” from the Actions pop-up menu.
The action’s selection becomes the current selection in the File Editor.
Turning Actions On and Off
You can turn individual actions on and off in the Actions list and hear the result when
you play the audio file. The waveform display updates to show the change to the audio
file. Depending on the length of the file, turning actions on and off can take time.
To turn an action off:
m In the Actions list, deselect the checkbox next to the action name.
To turn an action on:
m In the Actions list, select the checkbox next to the action name.
232 Chapter 6 Editing Audio Files
Reordering Actions
You can reorder actions after applying them to an audio file. The order in which effects
and other actions occur can drastically change the resulting sound of the audio file.
Depending on the length of the file, reordering actions can take time.
To reorder actions:
m In the Actions list, drag the actions you want to reorder up or down to new positions.
You hear the change when you play the audio file. The waveform display updates to
show the change to the audio file.
Using the Action Insert Bar
The Action Insert bar appears as a purple marker along the left side of the Actions list
with an associated bar that extends across the list. As you apply actions, the Action
Insert bar moves below the last action applied.
You can move the Action Insert bar up or down to a new position in the Actions list.
Only actions before the Action Insert bar are heard when you play the project, so you
can control which actions are heard by moving the bar. The purple strip to the left of
the checkboxes in the Actions list indicates the actions that are heard when you play
the project.
When you choose an item from the Process menu, it is applied directly following the
Action Insert bar. By moving the bar, you set where in the list the next action is applied.
To set the position of the next applied action:
m Drag the Action Insert bar up or down in the Actions list to the position you want.
Action Insert bar
Drag the Action Insert bar
to the position you want.
Chapter 6 Editing Audio Files 233
Reversing the Order of the Actions List
You can reverse the order in which actions are shown in the Actions list, so the last
action applied appears at the top of the list. This is useful when your project has a large
number of actions.
To reverse the order of the Actions list:
m Click the triangle at the upper-right corner of the Actions list. Click the triangle again to
return the list to its default order.
When you reverse the order of the Actions list, the Action Insert bar appears at the top
of the list instead of at the bottom. You hear actions below the Action Insert bar in the
list, rather than above it. When you choose an item from the Process menu, it is applied
directly above the position of the Action Insert bar.
Reversing the order of the Actions list affects only the visual appearance of the list. The
order in which actions are applied to the audio file is unchanged.
Flattening Actions
You can flatten the actions in a project to a single action. Flattening actions renders the
actions into the file, reducing the complexity of the file and the file size. When you flatten
actions, all existing actions are removed from the Actions list, and you can no longer
reorder the actions or edit their action settings, unless you undo flattening the actions.
Some items in the Process menu, including Convert to Mono and Resample, flatten all
actions in the project.
To flatten all audible actions:
1 Move the Action Insert bar directly below the last action you want to flatten.
2 Do one of the following:
 Choose Process > Flatten Audible Actions.
 Choose “Flatten audible actions” from the Actions pop-up menu.
To flatten all actions, do one of the following:
m Choose Process > Flatten All Actions.
m Choose “Flatten all actions” from the Actions pop-up menu.
Click the triangle to
reverse the order of the
Actions list.
234 Chapter 6 Editing Audio Files
Comparing the Project With and Without Actions
When you are adding and adjusting actions, you may want to compare the results of
your changes to the original file.
To hear the file without actions:
1 Choose “Play without actions” from the Actions pop-up menu.
2 Click Play or press the Space bar.
To hear the file with all actions:
1 Choose “Play with all actions” from the Actions pop-up menu.
2 Click Play or press the Space bar.
To hear the file with only selected actions:
1 In the Actions list, deselect the checkboxes for the actions you do not want to hear.
2 Click Play or press the Space bar.
When you deselect an action, its settings are saved and are available when you select
the action again.
Comparing the Last Two Actions
You can quickly compare the last two actions applied to an audio file or selection.
This is helpful when you want to try out two similar actions, and hear which one you
like better.
To compare the last two actions:
1 Do one of the following:
 Choose Process > A/B Last Two Actions.
 Choose A/B from the Actions pop-up menu (or press Command-F1).
2 Click Play or press the Space bar.
You hear the first of the two actions. The checkbox of the second action appears
deselected in the Actions list.
3 Do one of the following:
 Choose Process > A/B Last Two Actions again.
 Choose A/B from the Actions pop-up menu (or press Command-F1) again.
You hear the second of the two actions. The checkbox of the first action appears
deselected in the Actions list.
Chapter 6 Editing Audio Files 235
Deleting Actions
You can delete an action if you decide you no longer want it in the project.
To delete an action:
m Select the action in the Actions list, then press Delete.
Limitations of Actions That Change the File’s Length
Some actions change the overall length of the audio file by inserting or deleting audio.
These include inserting silence, noise, or a waveform, time stretching, and deleting part
of a file. Recording audio, pasting, and adding an effect with a “tail” can also change the
file’s length. In the Actions list, the selection checkbox for each action that changes the
file’s length appears red, making it easy to visually distinguish those actions.
Each selection you make in the File Editor applies to a specific range of time, and each
action applies to a range of time defined by the selection at the time the action is
applied. Because selections and actions apply to a range of time, changing the file’s
length can change the audio to which a selection or action applies. In the File Editor,
you see the selection remain in the same place (the same range of time as shown in
the Time ruler) and see the waveform under the selection change.
When you apply an action that changes the file’s length, any existing selections apply
to the same range of time, but the audio occupying that range of time may be different
than when you applied the action. For example, if you select a range of time beginning
five seconds after the start of an audio file, then insert one second of silence at the
beginning of the file, the selection still begins five seconds after the start of the file, but
the audio at the beginning of the selection corresponds to what was previously four
seconds after the start of the file.
If a project includes an action that increases the file’s length, and you turn off or reorder
that action, any selection that includes audio added by the length-changing action
may extend past the end of the shortened file. In this case, the selection applies to the
remaining audio in the selected range of time, but has no effect past the end of the file.
For example, if you have a five-second project that includes a one-second Insert Silence
action at the beginning of the project, and you select the last half-second of the
project, then turn off the Insert Silence action, the selection applies to the last halfsecond
of the project. However, the remaining half-second of the selection is empty.
236 Chapter 6 Editing Audio Files
Analyzing an Audio File
Soundtrack Pro includes a set of audio analysis tools. You can analyze an audio file for
common problems such as clicks and pops, hum, phase issues, and clipping, and fix
them individually or in a single operation. When you analyze an audio file, you can
select which types of analysis to perform.
To show the analysis lists and tools:
m In the File Editor, click the Analysis button.
The Analysis Type list, Parameter list, and Analysis Results list replace the Actions list in
the window.
To analyze an audio file:
m Click the Analyze button, located below the Parameter list.
Types of Audio Analysis
The following types of analysis can be performed in the File Editor:
Clicks and Pops
Sudden, short peaks in the audio file can result from a variety of causes, including
mechanical defects in analog recordings. You can set the threshold above which
Soundtrack Pro considers peaks to be clicks or pops.
(Power Line) Hum
Power lines and other electrical equipment can produce a steady hum, often at 50 or
60 Hz. The hum can also include low-order harmonics of the fundamental frequency.
Analysis Type list
Parameter list
Analyze button
Analysis Results list
Fix buttons and
Magnify button
Chapter 6 Editing Audio Files 237
DC Offset
DC offset is a shift in the audio, causing the positive and negative parts of the signal
not to average to zero. DC offset can limit the dynamic range of an audio file.
Phase Issues
Phase issues can result from a distorted or inaccurate stereo image, caused by poor
microphone placement or other issues. When converting a stereo file to mono, the
presence of phase issues can cause the left and right channels to cancel each other out
partially or completely.
Clipped Signal
A clipped or overloaded signal can result from several causes, including poor gain
staging in a preamp during recording, bad electrical cables, or surface damage to an
analog recording. If analysis identifies a clipped signal, Soundtrack Pro gives you the
option to soften the abrasive nature of the truncation.
Silence
Silence detects the parts of the audio file at which the audio signal falls to zero (0). You
can set the threshold below which Soundtrack Pro considers the signal to be silence.
To select the types of analysis to perform:
1 In the Analysis Type list, select the checkboxes next to the types of analysis you want to
perform on the audio file.
2 To analyze the file, click Analyze.
When analyzing an audio file in the File Editor, some analysis types might produce
better results if you select a part of the audio file instead of the entire audio file.
The Power Line Hum, DC Offset, and Phase analysis types determine whether the audio
file or selection exhibits these problems. Because hum, DC offset, and phase issues tend
to last for long times, up to the entire length of the file, better results might be achieved
when analyzing the entire audio file or the part of the file you think has the problem.
On the other hand, the Clicks and Pops, Clipped Signal, and Silence analysis types tend
to be momentary and isolated rather than constant. If part of an audio file or selection
contains a large number of clicks and pops, for example, the analyzed waveform might
display the entire region as being problematic, rather than each individual click or pop.
However, when you fix these problems using the Fix button, Soundtrack Pro correctly
fixes each individual click or pop.
The Clicks and Pops Threshold slider uses an algorithm to detect transients that are
clicks or pops. Moving the slider to the right results in fewer clicks or pops being
detected. The Silence Threshold slider ranges from 0% to 10% of the full-scale level of
the audio file, which corresponds to a range of –infinity dB to –20 dB.
238 Chapter 6 Editing Audio Files
Setting Analysis Parameters
The Clicks and Pops and Silence analysis types have parameters you can set. Each type
has a Threshold slider you can drag to set the threshold for detecting clicks and pops or
detecting silence.
To set analysis parameters:
1 In the Analysis Type list, click the disclosure triangle for the analysis types for which you
want to set parameters.
2 Drag the Threshold slider left to lower the threshold or right to raise the threshold. You
can also type a value in the Threshold field.
Reading Analysis Results
When you analyze an audio file, the problems detected through analysis are shown in
the Results list. For each item, the following information appears in the Results list.
 Status: Shows whether the problem is fixed or not fixed.
 Problem: Shows the analysis type to which the problem belongs.
 Start: Shows the point at which the problem begins.
 Length: Shows the duration of the problem.
 Channels: Shows whether the problem occurs in the left channel (L), the right
channel (R), or both channels (LR) of a stereo audio file.
You can select items in the Results list. When you select an item in the Results list, the
part of the audio file to which the problem applies becomes red in the waveform
display, making it easy to see where in the audio file the problem occurs. If you select
multiple items, the parts of the audio file to which any of the selected problems apply
become red.
Chapter 6 Editing Audio Files 239
By default, the region shown in red in the waveform display includes some extra time
before the first sample with the problem and some extra time after the last sample
with the problem. This extra time is included so that when you play or loop the
problem area, you can hear the problem in context.
You can narrow the problem area to include only the samples identified as having the
problem, with no extra time.
To narrow the problem area to include only problem samples:
m Option-click the item in the Analysis Results list.
Zooming In on Analyzed Problems
You can zoom in on an item in the Results list using the Magnify button, so you can see
the problem area of the audio file closely.
To zoom in on an item in the Results list:
1 In the Results list, select the item.
2 Press and hold the Magnify button, located at the bottom of the Results list.
The waveform display zooms in on the problem area for as long as you hold the
Magnify button.
To zoom in and stay at the new zoom level:
1 In the Results list, select the item.
2 Option-click the Magnify button.
The problem area is
highlighted in the File Editor.
Select an item in the
Results list, then press
and hold the Magnify
button.
Magnify button
240 Chapter 6 Editing Audio Files
Fixing Analyzed Problems
You can select items in the Results list and fix them individually, in groups, or all
together. When you select a single item, the part of the waveform where the item
occurs becomes red.
To fix an item:
m Select the item in the Results list, then click the Fix button.
You can select multiple items to fix by Shift-clicking or Command-clicking. You can also
fix all items in a single operation.
To fix all items in one operation:
m Click the Fix All button.
Once you have fixed a problem, you can remove it from the Results list, so that you can
focus on remaining problems.
To clear fixed items from the Results list:
m Click the Clear Fixed button.
Using the File Editor Project View
You can open the File Editor so that it appears in the top-center pane of the
Soundtrack Pro window (in place of the Timeline). The File Editor project view has
several unique properties that allow you to:
 Apply realtime effects and automation to an individual file and render those effects
to actions
 Save an individual audio file as an audio file project
 Save an audio file project as a standard audio file
 Create AppleScript droplets from Soundtrack Pro actions
 View and navigate the Global Waveform view
 Add and edit markers in an audio file project
Chapter 6 Editing Audio Files 241
Opening the File Editor Project View
You start working in the File Editor project view by creating an audio file project,
opening an existing audio file project, or opening an audio file in the File Editor.
To create a new, blank audio file project:
m Choose File > New > Audio File.
You can create an audio file project from a clip and open it in the File Editor. Audio file
(.stap) projects let you edit nondestructively.
To open an audio file project in the File Editor project view, do one of the following:
m Choose File > Open (or press Command-O), locate and select the project or file, then
click Open.
m Drag the project or file over the Soundtrack Pro icon in the Dock.
m In the Timeline, double-click the audio clip.
m In Final Cut Pro, select a clip, then choose File > Send To > Soundtrack Pro Audio File Project.
m In Motion, select an audio track, then choose Edit > Send Audio to Soundtrack Pro.
You can also open the original file in its native format in the File Editor. Editing the
original audio file means that when you save your changes, you overwrite (replace) the
original file with the edited one.
To open an audio file in its native format in the File Editor project view,
do one of the following:
m Select the clip, then choose Clip > Open in Editor.
m In the Timeline or in one of the media tabs, Control-click a project or file, then choose
Open in Editor from the shortcut menu.
m In Final Cut Pro or Motion, Control-click an audio clip, then choose Open in Editor from
the shortcut menu.
When you open a clip from the multitrack window, if the clip is part of a larger audio
file, the File Editor zooms in to the length of the clip. A marker is added to mark the
start and end points of the clip.
When you open a stereo audio file in the File Editor, the left channel appears in the
upper part of the waveform display, and the right channel appears in the lower part.
You can have multiple audio file projects open in Soundtrack Pro and cut and paste
between them, but only one project can play back at a time.
242 Chapter 6 Editing Audio Files
Setting the Time Ruler Units in the File Editor Project View
You can set the Time Ruler units in the File Editor project view to any format in the
Time Ruler Units submenu.
To set the Time Ruler units in the File Editor project view:
m Choose View > Time Ruler Units, then choose a format from the submenu.
For more information, see “Setting the Project Ruler Units” on page 109.
Closing Audio File Projects
You can close the project when you no longer want to work on it, or close the
Soundtrack Pro window and close all open projects (both multitrack and audio file projects).
To close a project:
m Choose File > Close Tab (or press Command-W).
To close all open projects and close the Soundtrack Pro window:
m Click the close button in the upper-left corner of the window.
Applying Realtime Effects in the File Editor Project View
Using the File Editor project view, you can apply realtime effects to an individual audio
file project and automate those effects. You can also render realtime effects to actions.
To add a realtime effect to an audio file project in the File Editor project view:
1 Open an audio file or audio file project in the File Editor project view.
2 In the Effects tab, select a category in the Category list to display the effects for that
category in the Effect list.
3 In the Effect list, do one of the following:
 Double-click the effect you want to add to the track.
 Select the effect name, then click the Add Effect button.
 Drag the effect to the Effect Parameters area.
The effect’s advanced settings window appears, and the effect name appears in the
Effect Parameters area with its checkbox selected.
For more information on applying realtime effects, see “Working with Realtime Effects”
on page 343.
Chapter 6 Editing Audio Files 243
Automating Realtime Effects in the File Editor Project View
Once you have applied realtime effects to an individual audio file project, you can
automate those effects in the File Editor project view.
To automate a realtime effect parameter:
1 In the Effects tab, select the Auto checkbox next to the parameter’s control.
2 In the File Editor project view, click the Master Envelope button (in the lower-left corner
of the project pane) to show the envelopes for the audio file project.
3 Add and adjust envelope points in the effect’s envelope.
For information on adding and adjusting envelope points, see Chapter 12, “Working
with Automation,” on page 355.
Rendering Realtime Effects to Actions
Choosing this command renders any realtime effects applied to the audio file project
and the project’s envelopes to an action in the Actions list, letting you turn these
effects and envelopes on or off, reorder them in the list, and save them with the audio
file project.
244 Chapter 6 Editing Audio Files
To render realtime effects and envelopes to an action:
m Choose Process > Render to Action.
Once you render realtime effects and envelopes to an action, the realtime effects are
deleted from the project, and the envelopes are reset to their default values.
Some effects, including reverb and delay, add audio that extends past the end of the
file. This is called an effect tail. When you render realtime effects to an action, if any of
the effects creates an effect tail that extends past the end of the audio file, the file
lengthens to include the effect tail.
Saving Audio File Projects from the File Editor Project View
You can save a project as an audio file project or as a standard audio file and can
choose other options when you first save the file. Audio file projects are saved with the
extension .stap. Saving a project as an audio file project lets you make changes to
actions and other edits when you reopen the project in the File Editor.
To save a project as an audio file project:
1 Choose File > Save.
2 In the Save dialog, type a name for the file and browse to the location where you want
to save it.
3 Choose the file type for the project from the File Type pop-up menu.
The available choices in the Save dialog change depending on whether you choose
Audio File Project or an audio file format as the file type.
4 Optionally, select the Update Multitrack Documents checkbox to switch all instances of
the original file in open multitrack projects to the new audio file project.
5 Click Save.
Chapter 6 Editing Audio Files 245
Saving Audio File Projects Containing Video
For audio file projects containing video, the video file is saved as a reference movie. If
the video file is moved or deleted, or if you copy the project to another computer, the
video may be missing when you open the project. To add the video to the project
again, drag the video file into the Video tab or the video track of the Timeline.
When you open a QuickTime movie in the File Editor as an audio file project, or send an
audio clip from Final Cut Pro to an audio file project, by default the source audio is
referenced. When you save the project by choosing File > Save As, you can include the
source audio in the project. If the source audio is moved or deleted, or if you copy the
project to another computer, the audio might not play correctly.
The first time you save an audio file project with referenced audio, a dialog appears
asking if you want to include or reference the source audio. Your choice becomes the
default behavior for new audio file projects and can be changed in the General
preferences pane.
About Saving QuickTime Movies and File Size
When you lengthen or shorten the duration of a QuickTime movie in the File Editor by
adding or deleting audio, the file size of the movie might be larger than expected
when you save the movie. For example, if you shorten the duration of the movie by
deleting audio, the file size of the movie does not decrease.
When you change the sample rate, bit depth, or number of channels in a QuickTime
movie, the file size of the saved movie might be larger than expected. Also, when
saving to a QuickTime movie that uses a compressed audio format, the audio is saved
uncompressed and the file size might be larger than expected.
In all of the above cases, saving the movie to a different location results in the file being
saved at the correct file size.
246 Chapter 6 Editing Audio Files
Saving Audio Files from the File Editor Project View
You can also save a project as a standard audio file from the File Editor project view. In
this case, the edits you have made are rendered into the audio file and cannot be
changed or undone the next time you open the audio file in the File Editor.
To save a project as an audio file:
1 Choose File > Save.
2 In the Save dialog, type a name for the file and browse to the location where you want
to save it.
3 Choose the file type for the project from the File Type pop-up menu.
You can save a project to any of the following standard audio file formats:
 AIFF
 WAVE
 NeXT
 Sound Designer II
 Core Audio File
 QuickTime Movie
4 Choose the bit depth for the project from the Bit Depth pop-up menu.
5 Choose the sample rate for the project from the Sample Rate pop-up menu.
6 Optionally, select any of the following checkboxes:
 Dither: Select to dither the file. Dithering is useful when saving a project at a lower
bit depth or sample rate. In general, you should dither a project only when saving it
as a standard audio file, and only when you have finished all bit depth or sample rate
conversions. Dithering is not appropriate for 32-bit files.
 Include Source Audio: Select to include the source audio in the project. If you don’t
select this checkbox, the project refers to the external source audio file. Referenced
files must be present to open the project correctly.
 Update Multitrack Documents: Select to switch all instances of the original file in
open multitrack projects to the new audio file project.
Chapter 6 Editing Audio Files 247
7 Click Save.
When you save an audio file with the same name, location, and extension as the
original audio file, you overwrite the existing audio file.
Using the Timeline Controls in the File Editor Project View
You can use the Timeline controls, located at the lower-left corner of the project pane,
while working in the File Editor project view.
Some of these controls have slightly different functions in the File Editor than they do
in the Timeline.
 Master Envelopes button: You can show or hide the envelopes for the audio file.
 Snapping button: You can turn snapping on or off in the File Editor.
 Snap To button: You can choose the Snap To value that the playhead and other items
snap to. In the File Editor, the choices for snap are Ruler Ticks and Zero Crossings.
 Track Height control: This sets the height of the envelope rows when you show
envelopes in the File Editor.
248 Chapter 6 Editing Audio Files
Scripting Actions in the File Editor Project View
You can save a series of actions in the File Editor project view as an AppleScript droplet
and use the droplet to modify other audio files. You can apply the actions in a saved
droplet while you are working in Final Cut Pro using the Send To shortcut menu. You
can also drag files or folders onto a droplet, making it easy to batch process files.
You can edit the droplet in the AppleScript Script Editor to adjust action settings. This is
especially helpful when you want to apply the same series of actions to multiple files,
or when you want to apply actions repeatedly, changing one or several settings each
time. You can apply a droplet to another audio file, or group of files, by dragging files or
folders containing a group of files onto the droplet.
To save a series of actions as a droplet:
1 Open an audio file in the File Editor.
2 Apply the actions to the audio file.
3 Choose File > Save as AppleScript.
4 In the Save dialog, type a name for the droplet.
By default, droplets are saved to the location /Users/username/Library/Scripts/
Soundtrack Pro Scripts/. Do not change the location or Soundtrack Pro and
Final Cut Pro may not be able to find and use your saved droplets.
Applying a Saved Droplet to a Clip in Final Cut Pro
You can apply a series of actions saved as a droplet to a clip in Final Cut Pro.
To apply a saved droplet to a clip in Final Cut Pro:
m In the Final Cut Pro Timeline or Bin, Control-click the clip, choose Send To >
Soundtrack Pro Script from the shortcut menu, then choose the droplet you want to
apply from the submenu.
Soundtrack Pro opens with the clip visible in the File Editor. The actions are applied to
the clip, the clip is saved with the changes, and the File Editor moves to the
background, behind the Final Cut Pro windows.
Chapter 6 Editing Audio Files 249
Using the Global Waveform View
The File Editor includes a Global Waveform view, located directly above the main
waveform display. The Global Waveform view displays a miniature view of the entire
audio file and shows the current playhead position. The part of the audio file visible in
the waveform display appears inside a blue rectangle. You can quickly move to
different parts of the audio file by dragging the visible area rectangle.
To move to a different part of the audio file using the Global Waveform view:
m Drag the blue visible area rectangle to a new position.
Using Markers in the File Editor Project View
You can insert markers in an audio file project in the same way as in a multitrack
project. Markers can be useful for indicating where a specific sound, cue, or event
begins or ends in the audio file. They can also be useful for indicating an area of an
audio file you want to time stretch.
When an audio file project has two or more markers, you can select the area between
two markers by double-clicking in the waveform display. For more information, see
“Selecting Part of an Audio File” on page 202.
For information about inserting, naming, moving, and deleting markers, see “Working
with Markers” on page 183.
Drag this rectangle to a
new position.
7
251
7 Using the Multitake Editor
The Multitake Editor presents a new way of dealing with
layered audio clips.
About the Multitake Editor
You use the Multitake Editor to edit multitake (multiple-take), synchronized audio that
is created by performing multiple-take recordings (such as in automatic dialogue
replacement, or ADR). With this flexible tool, you can mix and match parts of different
takes and make adjustments at any time. Once you are done editing a multitake clip,
you can collapse it into a single (composite) clip, hiding the constituent edits that are
not relevant to the surrounding multitrack Timeline, and move it anywhere in your
project as a single item.
252 Chapter 7 Using the Multitake Editor
What Is ADR?
Automatic dialogue replacement (ADR) is a process of re-recording dialogue in the
studio in synchronization with the picture. There are at least three roles in the ADR
process: the actor, the recording engineer, and the sound editor. The actor has to
recreate his or her performance and perfectly match up his or her speech to that of the
film. The recording engineer has to recreate acoustic spaces so that it doesn’t sound
like an actor is in a recording studio. The sound editor has to pick and choose the best
parts of multiple takes, combine them into one composite clip, and keep everything
synchronized to the picture. The Multitake Editor in Soundtrack Pro was created to
address the needs of the sound editor in this scenario.
Multitake Clips
A multitake clip is a “layered” audio clip. This means it contains multiple versions or
“takes” of the same audio material, such as a line of dialogue. Generally, these takes
represent overlapping spans of time in your program. In an ADR recording session, an
actor may repeat the same line many times. A single multitake clip can contain all of
those takes as distinct items.
Creating Multitake Clips
You can create a multitake clip by either recording one or converting a standard clip to
a multitake clip.
Recording Multitake Clips
For information about recording multitake clips, see “Recording Multiple Takes” on
page 372.
Converting Standard Clips to Multitake Clips
You can convert any clip to a multitake clip.
To convert a standard clip to a multitake clip:
1 Select a clip in the Timeline.
2 Do one of the following:
 Control-click the clip and choose Convert to Multitake Clip from the shortcut menu.
 Select the Multitake tab and click the Make Multitake Clip button that appears in the
center of the Multitake tab.
The new multitake clip appears in the Multitake Editor.
3 Add any additional takes, as needed.
For information on adding takes, see “Adding and Deleting Takes” on page 256.
Chapter 7 Using the Multitake Editor 253
Overview of the Multitake Editor
You can think of the Multitake Editor as a simplified multitrack Timeline that is focussed
entirely on the contents of a single multitake clip. In the Multitake Editor, you can
audition and choose which take will be used for each section of dialogue. The top row
in the Multitake Editor is the comp (or composite) track. This track represents a
combination of all of the edits that you make in the Multitake Editor. The other tracks
represent individual takes. You use the Blade tool to split the takes into regions. Use the
Selection tool to select the active take for each region. Use transition points to adjust
the timing and to create crossfades between the selected portions of takes.
 Selection tool: Use the Selection tool to select take regions by clicking them.
 Blade tool: Use the Blade tool to split takes into regions.
 Scrub tool: Use the Scrub tool to quickly find a particular sound or event in the audio.
 Comp track: Represents combined edits that you made in the Multitake Editor.
 Take tracks: Represent individual takes.
 Solo button: Solos the take track.
 Snapping button: Toggles snapping for the Multitake Editor.
 Snap To pop-up menu: Sets Multitake snapping to Ruler Ticks, Seconds, or Frames.
 Track Height: Sets the height of tracks in the Multitake Editor.
 Zoom slider: Drag the slider to change the zoom level.
Note: When a multitake clip is displayed in the Multitake Editor, the Action Insert bar is
moved to the top of the Actions list. When you deselect the clip or you click a different
tab, the Action Insert bar is restored to its original position. For more information about
the Actions tab, see “Working with Actions” on page 230.
Blade tool Scrub tool
Solo button
Track Height Zoom slider
Comp track
Take tracks
Snapping button
Snap To pop-up menu
Selection tool
254 Chapter 7 Using the Multitake Editor
Editing in the Multitake Editor
Fundamentally, there are three steps in making any multitake edit: splitting, selecting,
and adjusting.
First, you split the takes into regions using the Blade tool.
To split a take using the Blade tool:
1 Select the Blade tool by clicking the Blade tool in the upper-left corner of the Multitake
Editor or by pressing B.
2 Click one of the take tracks using the Blade tool pointer.
A transition point appears in the Multitake Timeline at the point where you clicked.
After you have split the takes into regions, select the active take for each region with
the Selection tool.
To select an active take for a region:
1 Select the Selection tool by clicking the Selection tool in the upper-left corner of the
Multitake Editor or by pressing A.
2 In the region, click the take track you want to select.
The take you clicked becomes the active take for that region.
Next, use transition points to adjust the timing and to create crossfades between the
selected portions of takes. Slip (offset) take regions to synchronize them with the picture.
Click a take track using
the Blade tool to create a
transition point.
Select the take track to
make it the active take
for that region.
Chapter 7 Using the Multitake Editor 255
To adjust a transition point, do one of the following:
m Drag the vertical transition point line left or right to adjust the timing of the cut.
m Drag the left or right arrow handle at the top of a transition point to create a crossfade
between two takes, then double-click the fades to use the Fade Selector.
You can also adjust the fade type by double-clicking either part of the crossfade. For
more information on fade types, see “Creating Fade-Ins and Fade-Outs in the Timeline”
on page 158.
To delete a transition point:
1 Select the vertical transition point line.
2 Press Delete.
Slipping Take Regions
Because it’s common for a particular take to be good but out of sync, you can slip
(offset) an individual take region.
To slip a take region:
1 Command-Option-click the take region.
2 Without releasing the mouse button, drag to the left or to the right.
For more information about slipping (the offset of ) a take region, see “Changing the
Offset of an Audio Clip” on page 157.
Drag the transition point
handles to create a
crossfade between takes.
256 Chapter 7 Using the Multitake Editor
Adding and Deleting Takes
You can easily add audio files to a multitake clip. Added takes can be any audio files
that Soundtrack Pro supports and that match the sample rate and channel valence of
the takes already in the Multitake Editor. The takes do not have to be from the same
recording session. It is just as easy to remove takes from a multitake clip.
Π Tip: Optionally, you can add a take from the original production audio to use a guide
track. The waveform in this original recording can be a good reference point during
your multitake editing session.
To add a take, do one of the following:
m Drag a file into the Multitake Editor.
m Choose Add Take from the pop-up menu in the upper-left corner of the Multitake tab.
In the dialog that appears, navigate to the audio file you want to add and click Open.
Note: The sample rate and the channel valence (mono, stereo, surround, and so on) of
the files you want to add must match the sample rate and the channel valence of the
files already in the Multitake Editor.
To remove a take:
m Choose Remove Take from the pop-up menu in the upper-left corner of the Multitake
tab and choose the take you want to remove from the submenu.
Renaming Takes
By default, Soundtrack Pro names takes according to the order in which they were
recorded and the track in which they were recorded. For example, “Take 3 - Track 1
Recording 3.aiff.” You can easily rename any take to suit your needs.
To rename a take in a multitake clip:
m Click the name field in the header for the take and enter a new name.
Chapter 7 Using the Multitake Editor 257
Reordering Takes
You can vertically rearrange the order of takes in a multitake clip.
To rearrange the order of takes in a multitake clip:
1 Click the track header of the take you want to move.
2 Drag the take vertically to a new position in the list.
Example: A Multitake Editing Workflow
The following example demonstrates how you might create a comp from multiple
takes of an ADR session using the Multitake Editor. In this case, there are four takes of
the same line: “Would you like to try a sample of our organic Peruvian blend?”
To edit multiple takes of a line of dialogue using the Multitake Editor:
1 Select the multitake clip in the Timeline.
2 Control-click the ruler at the top of the multitrack Timeline, then choose Cycle Region
from the shortcut menu and Create Cycle Region from Selection from the submenu (or
press Shift-A).
3 Click the Multitake Editor tab to open it.
The comp track and, in this example, four take tracks, appear in the Multitake Editor.
4 Click the Solo button on the Take 1 track and click the Play button to listen to the first take.
Take 1 plays.
5 Repeat this playback for each take to familiarize yourself with how they sound.
6 Optionally, you can choose to add a take from the original sync-sound production audio
to use a guide track. (See “Slipping Take Regions” on page 255 for more information.)
7 When you are ready to make the first cut, click the Blade tool in the upper-left corner of
the Multitake Editor (or press B).
In this example, Take 3 contains the best version of the first few words (“Would you
like to...”).
Drag a take track header
to a new position in the
list.
A blue bar indicates
where the take track will
be positioned.
258 Chapter 7 Using the Multitake Editor
8 Using the Blade tool, click just before the waveform for the word “try” in the Take 2 track.
A transition point appears in the Multitake Editor Timeline at the point where you clicked.
9 Click the Selection tool in the upper-left corner of the Multitake Editor.
10 In the Take 3 track, click the waveform for the word “try” to select it.
The take you clicked becomes the active take for the region.
11 Repeat steps 6 to 9, selecting the best takes for each of the other phrases or words in
the line of dialogue.
12 Slip (offset) individual take regions, as needed, to synchronize them with the picture.
(For more information, see “Example: A Multitake Editing Workflow” on page 257.)
Click the waveform with
the Blade tool to create a
transition point.
The Take 3 track becomes
the active take for that
region.
Chapter 7 Using the Multitake Editor 259
13 Do one of the following to adjust any of the transition points:
 Drag a transition point left or right to adjust the timing of the cut.
 Drag the left or right arrow handle at the top of a transition point to create a
crossfade between two takes.
Note: You can also adjust the fade type by double-clicking either part of the
crossfade. For more information on fade types, see “Creating Fade-Ins and Fade-Outs
in the Timeline” on page 158.
14 When you are satisfied with the edit, use the multitake clip in the main multitrack
Timeline as you would use any other clip.
If you need to make additional edits or adjustments to the multitake clip, repeat
Steps 1 to 3.
Drag the transition point
handles to create a
crossfade between takes.
8
261
8 Basic Mixing in Soundtrack Pro
Soundtrack Pro gives you the tools to create sophisticated
audio mixes for your projects.
When you have added audio clips to your project and placed them in the Timeline, you
mix the project. Mixing is where you balance different elements, such as dialogue,
music, and sound effects, bring focus to key moments and events in the project, and
create a sense of perspective by placing sounds in space. When you finish mixing, you
have one or more final mixes that you can export.
Soundtrack Pro offers you professional mixing capabilities, including the abilities to
create busses and submixes and to send audio to multiple physical outputs. The Mixer
provides a visual representation of your project in a virtual mixing console, with
channel strips where you control different aspects of the sound. You can adjust volume
and pan, mute and solo tracks, choose track submixes, add effects, and observe levels
as the project plays. This chapter covers basic mixing. For information about mixing
surround sound, see Chapter 9, “Mixing Surround Sound,” on page 293.
262 Chapter 8 Basic Mixing in Soundtrack Pro
Steps in Mixing
Mixing a project typically involves the following tasks:
 Balancing relative volume levels
 Panning tracks to create perspective
 Adding EQ, compression, and other processing using effects
 Using automation to create changes over time
 Setting the overall project volume and eliminating clipping
You can perform these steps in any order, and move back and forth between them as
you create the mix. In most situations, you finish mixing the individual tracks before
making changes to the overall project. The following suggested order provides a
guideline that may be useful for common situations:
Step 1: Mix main dialogue tracks
Solo the main voice tracks and pan to your liking. Add any EQ, compression, or other
processing. Adjust relative volume, leaving some headroom (typically around –6 dB) for
peaks in the signal, in case you need to raise levels later.
Step 2: Mix other dialogue and middle ground tracks
With main voice tracks still soloed, solo the other dialogue, ADR, and voiceover tracks
one at a time and adjust volume and pan relative to the main voice tracks. Add any
processing if needed.
Step 3: Mix background tracks
With the previously mixed tracks still soloed, solo the background tracks one at a time
and adjust volume and pan relative to the other tracks. Add any processing if needed.
Step 4: Make changes to the overall mix
Once you have mixed all the individual tracks in your project, add any EQ, compression,
or other processing to the overall project. Adjust the overall volume to an appropriate
level and remove any clipping before exporting the project.
Chapter 8 Basic Mixing in Soundtrack Pro 263
Structuring an Audio Post-Production Project
To organize their projects, most video and motion picture sound editors combine the
signals of related tracks and busses into submixes (also known as stem mixes). Then they
combine these submixes to build a final mix. Soundtrack Pro is designed with this
workflow in mind.
What Is a Submix and How Do You Use It?
In Soundtrack Pro, you use a submix to combine (or “sum”) the audio from different
tracks and busses, and route the audio to physical outputs. The name of this feature
implies its purpose—to mix the audio signals of a subset of the tracks and busses in
your project. If you are using external audio hardware that supports multiple physical
outputs, you can have multiple submixes in your project and then choose the physical
output to which each submix routes its audio. By default, all tracks are routed to
Submix 1, and Submix 1 is routed to the Stereo 1, 2 outputs. You can easily add more
submixes, reroute audio, and change the hardware output setting using the Output
pop-up menu in each submix.
Basic Signal Routing in Soundtrack Pro
At a minimum, any audio that you edit in the Soundtrack Pro Timeline passes through
the following “mixer objects” on its way out to the physical audio outputs: a track, a
submix, and the Master bus.
1
Master bus
Hardware
output
Track Submix bus
Audio clip
Effects
Volume fader
264 Chapter 8 Basic Mixing in Soundtrack Pro
Audio post-production projects typically include many tracks and submixes. The
following diagram shows the signal flow of multiple tracks to just one submix. While
this is an unlikely scenario, it illustrates the fact that you can route as many tracks to a
submix as you like. See “Example: Mixing a Project with Dialogue, Music,
and Effects Submixes” on page 266 for a typical example.
Setting the Submixes for Tracks and Busses
To be included in a project, the audio signal of each track and each bus must be routed
to a submix. By default, in new multitrack projects, there is only one submix (Submix 1)
and all tracks are routed to Submix 1. You can add as many submixes as you like and
route as many signals from tracks and busses to those submixes as you want.
To create a more elaborate project (as described in “Example: Mixing a Project with
Dialogue, Music, and Effects Submixes” on page 266), you create additional submixes.
To add a submix, do one of the following:
m Choose Multitrack > Add Submix.
m Control-click a submix, then choose either Insert Submix Before or Insert Submix After
from the shortcut menu.
Once you have created multiple submixes, you can route any combination of tracks or
busses to any submix.
To set the submix for a track or bus:
m Choose the submix from the Submix pop-up menu in the track header or at the
bottom of the Mixer channel strip for the track or bus.
If you choose None from the pop-up menu, you are effectively removing that track or
bus from the mix and from the final output.
1
2
3
4
Tracks Submix bus
Stereo panner
Chapter 8 Basic Mixing in Soundtrack Pro 265
Setting Hardware Outputs
Use the Output pop-up menu in each submix to choose an output channel or set of
output channels. Your choice defines the output of that submix as either mono, stereo,
or surround.
To select the hardware output jacks for a submix:
m Click None, Surround, Stereo, or Mono from the Output pop-up menu in the track
header of each submix, then choose a channel or set of channels from the submenu.
The available choices within each of these output categories depend on the number of
available physical outputs and number of submixes in your project.
Note: You can create submixes independently of the audio hardware connected to your
computer and can route audio to an output that does not correspond to a physical
output. In most situations, each submix in a project should correspond to a physical
output on the audio interface or other hardware connected to your computer. Submixes
that do not correspond to a physical output will not be heard. You may set as many
submixes in a project to the same physical output device or output channel as you like.
If you choose None from the Output pop-up menu, you are effectively removing that
submix from the mix and from the final output.
For more information about system output settings, see “Setting the Audio Input and
Output” on page 22. For more information about connecting an audio interface, see
“Setting the Audio Input and Output” on page 22.
For more information about working with tracks, busses, and submixes in the Timeline,
see “Tracks, Busses, Submixes, and the Master Bus” on page 124 and “Working with
Tracks, Busses, and Submixes in the Timeline” on page 135.
266 Chapter 8 Basic Mixing in Soundtrack Pro
Example: Mixing a Project with Dialogue, Music,
and Effects Submixes
A classic audio post-production practice for film and video is creating separate submixes
for the dialogue, the music, and the sound effects. This provides an appropriate degree
of flexibility, both in the mixing phase and in distributing the final product.
Creating Submixes
In this example project, all tracks containing dialogue are routed to a submix called
“Dialogue.” The tracks containing sound effects are routed to a submix called “FX.” The
tracks containing music are routed to a submix called “Music.”
The following diagram shows how audio signals from tracks in each category are
routed into their respective submixes.
Dialogue tracks
Effects tracks
Music track
Submix bus
Music
Effects
Dialogue
Stereo panner
Audio clip
VO: Debra
VO: Jacob
Stage Mic
FX: Foley
Tracks
FX: Background
FX: Boom
Music: Music 1
Music: Music 2
Chapter 8 Basic Mixing in Soundtrack Pro 267
Once the audio signals are organized in this way, you can apply (and automate) volume
settings and effects on any of the submixes, rather than on the individual tracks or
busses. You might, for example, add a compressor or EQ effect to a Dialogue submix to
enhance all of the dialogue signals at once. Obviously, this saves a lot of time and effort
(when compared with applying all of these settings to each dialogue track individually).
Using submixes to segment your project provides you with greater control over all
aspects of your final mix.
Creating a Stereo Mix
The next routing decision is the choice of hardware outputs. The following example
diagram shows the routing for a traditional final product: a stereo mix. To do this, you
would simply choose the Stereo 1,2 output for each of the three submixes. (This also
happens to be the default output for every submix in Soundtrack Pro.)
In this case, the left and right channels for each submix are routed to the left and right
(1 and 2) channels of the hardware output device. All three submixes are combined
into one stereo (left and right) signal. This is a “stereo mixdown,” suitable for any
stereo-capable playback device. At this stage, the Master bus presents a (final)
opportunity to make volume adjustments and apply effects. For information about the
Master bus, see “Using the Master Bus” on page 290.
1
2
3
4
Tracks Submix bus
Channels 1, 2
Channels 1, 2
Channels 1, 2
5
6
7
8
Right
Left
Hardware
outputs
Master
bus
Music
Effects
Dialogue
Audio clip Stereo panner
4
3
2
1
6
7
8
5
268 Chapter 8 Basic Mixing in Soundtrack Pro
Creating a Separate Music and Effects Mix
Using submixes in your workflow becomes very powerful when you consider the many
different ways you might be delivering the final program. One common practice is
creating a separate music and effects (M & E) submix for foreign distribution. This gives
distributors the option to create versions of the program with the dialogue dubbed in
foreign languages but to still include the program’s original music and effects in the
dubbed versions.
As in the stereo mixdown example, the Dialogue submix is routed to the Stereo 1,2
output. But the Music and Effects submixes are routed to the Stereo 3,4 output
channels, isolating the dialogue signal from the music and effects signals. Technically,
only one output channel is required for the dialogue, because the Dialogue submix is
made up of mono signals. But in practice, it is usually routed as two identical mono
signals to channels 1 and 2. Most likely, producers making the foreign language version
will use the original dialogue as a guide track and then replace it with their edited
foreign language track in the final mix.
This M & E case is just one simple example of how you can structure a project for an
efficient workflow. Each mix project comes with its own particular quirks. The good
news is that Soundtrack Pro has a lot of flexibility. For example, the sends and busses
features in Soundtrack Pro offer additional options for structuring a project. For more
information, see “Working with Sends and Busses in the Mixer” on page 286.
4
3
2
1
6
7
8
5
Hardware
outputs Output
device
Master
bus
Submix bus
Channels 3, 4
Music
Channels 3, 4
Effects
Channels 1, 2
Dialogue
Stereo panner
Audio clip
1
2
3
4
Tracks
5
6
7
8
Chapter 8 Basic Mixing in Soundtrack Pro 269
Signal Routing for a Separate Music and Effects Mix in Surround
When you shift from a stereo project to surround, you need to keep in mind some
minor signal routing consequences. This section discusses what changes you would
make to the submix and output settings. (For information about creating a surround
version of a stereo project, see “Converting a Stereo Mix to 5.1 Surround” on page 307.)
First, assuming that the music and effects are mixed over six surround channels, those
submixes must be routed to the Surround 1-6 output. The Dialogue submix could
either remain routed to the Stereo 1,2 output jacks to be added to the Surround 1-6
mix or routed to the center channel at the submix, or could be panned to the center
channel in a surround signal, as shown below.
To create the surround version of the separate music and effects mix (as described
earlier), you route the Dialogue submix to any output channels other than 1-6. This
example uses channels 7 and 8, the last two available output channels, thus isolating
the dialogue from the music and effects.
1
2
3
4
Tracks
5
6
7
8
Right
Left
Center
Right
surround
Left
surround
LFE
Submix bus
Channels 1–6
Hardware
outputs
Master
bus
4
3
2
1
6
7
8
5
Channels 1–6
Music
Channels 1–6
Effects
Audio clip Surround panner
Dialogue
1
2
3
4
Tracks Submix bus
Channels 7, 8
Dialogue
5
6
7
8
Output
device
Hardware
outputs
Master
bus
4
3
2
1
6
7
8
5
Audio clip Stereo panner Surround panner
Channels 1–6
Music
Channels 1–6
Effects
270 Chapter 8 Basic Mixing in Soundtrack Pro
Using Sends and Busses
You can use sends to split an audio signal into two or more separate signals. A send taps
a track’s audio signal and routes it down a separate but parallel path. In Soundtrack Pro,
these separate paths are known as busses. (Some might call these auxiliary busses.) This
process is analogous to diverting a portion of a river to an alternate (but parallel) stream.
Busses are like alternate streams of audio. They can be processed or combined
independently of the “main river.” They can rejoin the main signal further “downstream,”
at the final mix, or they can be routed to altogether separate outputs.
By preparing these alternate versions and combinations of track audio signals, you give
yourself more options at the final mix stage, when all of your project’s media elements
and adjustments are in place.
Example: Adding Effects with Sends and Busses
The following example shows how you could add a reverb effect to a music track using
a bus. The main reason to apply effects this way (rather than directly on the track) is so
you can control the amount and characteristics of the effect (in this case, reverb) on
multiple tracks using one set of controls.
To accomplish this, you do the following:
 Create a new bus. (In this example, the new bus is named “MusicReverb.”)
 Add a send to the music track.
 Route the new send to the MusicReverb bus.
 Apply a reverb effect to the MusicReverb bus.
For specific information about how to add sends to tracks and route them to busses,
see “Adding Sends to Tracks” on page 349.
Send
Track
Submix bus
Bus
1
Audio clip
Effects
Volume fader
Send
Track
Submix bus
MusicReverb bus
Music
Audio clip
Effects
Volume fader
Reverb effect
Chapter 8 Basic Mixing in Soundtrack Pro 271
As the diagram shows, the new MusicReverb bus represents an alternate version of the
Music track audio signal. Once created, this bus appears as a row in the Timeline and a
channel strip in the Mixer. It becomes a resource to draw from during the final mix.
Rather than having to tweak the effects settings of individual tracks in the mix, you can
simply adjust the volume fader on the MusicReverb bus to increase or decrease the
amount of reverb on that music track.
By default, new sends are pre-fader sends. This means the signal is tapped before the
track’s output fader. In this example, if you used the default pre-fader send setting,
adjusting the Volume slider on the Music track would have no effect on the music level
in the MusicReverb bus.
In contrast, a post-fader send taps the track signal after a track’s output fader. You can
change a send to a post-fader send.
To make a send a post-fader send:
m Click the disclosure triangle for the send in the Effects tab, then select the On button
next to Post-Fader.
In the post-fader case, adjusting the Volume slider on the Music track would have a
direct effect on the music level in the MusicReverb bus.
Pre-fader send
Track
Submix bus
Bus
1
Audio clip
Effects
Volume fader
Submix bus
Track Post-fader send
Bus
1
Audio clip
Effects
Volume fader
272 Chapter 8 Basic Mixing in Soundtrack Pro
Example: Combining Track Signals with Sends and Busses
You can also send the signals from multiple tracks to a single bus, creating
“intermediate submixes.” For example, you could route every dialogue track for a
particular actor to a bus with the actor’s name. You could adjust the volume of all the
actor’s dialogue using the bus volume fader and add an EQ effect that brings out the
actor’s voice in the mix. You could then send (route) the bus to a particular submix.
In the above diagram, tracks 1 and 4 contain dialogue from the actor, Jacob. Each of
these tracks has a send applied to it that taps the signal and routes it to a bus (named
“Jacob”). This bus is effectively an intermediate submix. Now, any effects and fader
adjustments applied to this bus will be available during the final mix as a single
channel strip (named “Jacob.”)
For more information about using sends and busses in the Mixer, see “Working with
Sends and Busses in the Mixer” on page 286.
Submix bus
1
2
3
4
Tracks
Jacob bus
Audio clip
Effects
Volume fader
Chapter 8 Basic Mixing in Soundtrack Pro 273
Using the Mixer
While most mixing tasks can be accomplished in the Timeline and elsewhere in the
Soundtrack Pro interface, the Mixer offers an interface analogous to hardware mixing
consoles found in most audio post-production facilities. Another advantage of the Mixer
is that you can view levels on all (or at least many) tracks simultaneously in real time.
Working with Channel Strips in the Mixer
The Mixer features a series of vertically arranged controls called channel strips, like the
channel strips in a hardware mixing console. The channel strips in the Mixer correspond
to the horizontal tracks, busses, and submixes in the project Timeline.
Channel strip
274 Chapter 8 Basic Mixing in Soundtrack Pro
The controls a channel strip contains depend on whether it is a track, bus, or submix
channel strip. The controls for each type are as follows:
The channel strips in the Mixer make it easy to see the settings for all the tracks, busses,
and submixes in your project at once and to adjust those settings relative to each other
as you create the overall mix.
In the Mixer, the channel strips appear in order corresponding to their order in the
Timeline. Top-to-bottom order in the Timeline corresponds to left-to-right order in the
Mixer. You can reorder tracks in the Mixer and have the new order reflected in the
Timeline. Changes you make to controls such as volume and pan also show up in the
track controls when you open the project in the Timeline.
Using Custom Layouts for Mixing
You can rearrange the Soundtrack Pro layout to suit your particular mixing workflow.
There are numerous possible combinations. You can tear off tabs and have them float
over the Soundtrack Pro window or show them on a second display. One default layout
(in addition to the standard layout) floats the Mixer and the Video tabs as separate
windows. This allows you to further resize the Mixer and the Video windows to an
arrangement that is convenient for mixing.
Track channel strips Bus channel strips Submix channel strips
Color label Color label Color label
Icon Icon Icon
Effects slots Effects slots Effects slots
Output pop-up menu Output pop-up menu Output pop-up menu
Panners (stereo or surround) Panners (stereo or surround) —
Volume fader and value slider Volume fader and value slider Volume fader and value slider
Level meters with peak indicator Level meters with peak indicator Level meters with peak indicator
Arm for Recording button — —
Mute button Mute button Mute button
Solo button Solo button Solo button
Name Name Name
Chapter 8 Basic Mixing in Soundtrack Pro 275
To display the Mixer and Video tabs as separate windows, do one of the following:
m Choose Window > Layouts > Separate Mixer and Video (or press F2).
m Using the pointer, drag the Mixer and Video tabs out of their docked positions.
The Mixer and the Video tabs float over the Soundtrack Pro window as separate windows.
Another useful layout to consider is one showing just the Timeline and the Mixer. This
arrangement is convenient for visually positioning the playhead during a mix.
Once you have resized or moved the windows to a comfortable arrangement, you can
save the layout as a custom layout for future use. For information about saving custom
layouts, see “Using Project Layouts” on page 68.
Adding Channel Strips to the Mixer
You can add a channel strip for a track, bus, or output in the Mixer in the same way you
add a track, bus, or output in the Timeline.
To add a track channel strip:
m Choose Multitrack > Add Track.
To add a bus channel strip:
m Choose Multitrack > Add Bus.
To add an output channel strip:
m Choose Multitrack > Add Output.
Timeline
Mixer
276 Chapter 8 Basic Mixing in Soundtrack Pro
Selecting Channel Strips
You can select a channel strip in order to move, copy, or remove it. Selected channel
strips appear darker in the Mixer.
To select a channel strip, do one of the following:
m Click any empty part of the channel strip.
You can select multiple channel strips in the Mixer.
To select adjacent channel strips:
m Shift-click the channel strips you want to select.
To select nonadjacent channel strips:
m Command-click the channel strips you want to select.
Reordering Channel Strips
You can change the order of channel strips in the Mixer. When you open the Mixer, the
order of channel strips corresponds to the order of tracks, busses, and submixes in the
Timeline. Because channel strips are oriented horizontally in the Mixer, top-to-bottom
order in the Timeline corresponds to left-to right order in the Mixer. Reordering channel
strips in the Mixer also changes their order in the Timeline.
In the Mixer, as in the Timeline, channel strips of the same type (track, bus, or output)
are grouped together. You can reorder a channel strip within its own group, but cannot
move it to a group of a different type. You can only move one channel strip at a time.
To reorder a channel strip:
m Drag the channel strip left or right to a new position.
Copying Channel Strips
You can copy channel strips in the Mixer. You can copy a channel strip within its own
group, but cannot copy it to a group of a different type. You can only copy one channel
strip at a time.
To copy a channel strip:
m Option-click the channel strip, then drag it left or right.
A copy of the channel strip appears when you release the mouse button.
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Setting Channel Strip Volume Levels
You set relative volume levels to balance the various parts of the project. You set the
volume level of a channel strip using the channel strip volume fader or value slider.
Different sounds can have different apparent loudness at the same volume level, so
perceived loudness does not precisely correspond to numeric values on the volume
faders. You determine the appropriate volume level by listening to the track and
adjusting its level in the overall mix.
To set the volume level of a channel strip, do one of the following:
m Drag the volume fader up to raise (increase) the volume, or drag it down to lower
(decrease) the volume.
m Click along the length of the volume fader at the point you want to set the volume level.
m Click the left or right arrows on the edges of the volume value slider.
m With the pointer over the center of the volume value slider, hold down the mouse
button and drag left or right.
m Click the center of the volume value slider, then type a new value.
The scale is from –96 to +6 dB. The default level is 0 (zero) dB.
To return the volume fader to the default level:
m Double-click the knob in the volume fader.
As you adjust track volume, watch the level meters next to the volume fader to make
sure that the track is not clipping. For information about preventing clipping, see
“Setting the Overall Project Volume Level” on page 288.
Volume value slider
Volume fader
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Setting Channel Strip Pan Position
You pan sounds to different positions to place them in the stereo or the surround field.
You set the pan position of a track or bus channel strip using the stereo pan slider and
value slider or the surround panner. You can’t pan a submix or the Master channel strip.
To set the stereo pan position of a channel strip, do one of the following:
m Drag the pan slider left or right to the pan position you want.
m Click along the length of the pan slider at the point you want to set the pan position.
m Click the left or right arrow on the edges of the pan value slider.
m With the pointer over the center of the pan value slider, hold down the mouse button
and drag left or right.
m Click the center of the pan value slider, then type a new value.
The scale is from –100 to 100, with 0 (zero) as the center value. Negative values are left
of center, and positive values are right of center. The default is 0.
To return the stereo pan slider to the default level, do one of the following:
m Control-click the slider, then choose Set to Centered from the shortcut menu.
m Double-click the knob in the stereo pan slider.
To switch the panning controls from stereo to surround in the channel strip, do one
of the following:
m Select a channel strip in the Mixer, then choose Multitrack > Use Surround Panner.
m Control-click the stereo pan slider, then choose Use Surround Panner from the
shortcut menu.
Pan slider
Pan value slider
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To set the surround pan position of a channel strip:
m Drag anywhere inside the black circle to position the puck.
To return the surround panner to the default level:
m Control-click the panner, then choose Set to Centered from the shortcut menu.
For finer surround panning adjustments and other surround controls, double-click the
surround panner to open the Surround Panner HUD.
For more information about using surround panners, see “Using Surround Panners to
Create a Surround Mix” on page 299. For more information about the Surround Panner
HUD, see “The Surround Panner HUD” on page 300.
Setting Channel Strip Output
On a hardware mixing console, you can send signals to different busses and physical
outputs. You can create submixes and busses in Soundtrack Pro, assign tracks and
busses to different submixes, and assign submixes to physical output channels on
connected audio devices. You can send audio from as many tracks and busses to the
same output as you want.
To set the submix for a track or bus:
m Choose the submix from the Submix pop-up menu at the bottom of the channel strip
for the track or bus.
For submixes in the Mixer, the Output pop-up menu lists the available output channels.
To set the output for a submix in the Mixer:
m In the channel strip for the submix, choose the output channel or set of channels from
the Output pop-up menu.
The options listed in the Output pop-up menu depend on the number of available
physical outputs and the number of submixes in your project. For more information
about setting the output, see “Setting Hardware Outputs” on page 265.
Submix pop-up menu
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Note: You can create submixes independently of the audio hardware connected to your
computer and can route audio to an output that does not correspond to a physical
output. In most situations, each submix in a project should correspond to a physical
output on the audio interface or other hardware connected to your computer. Submixes
that do not correspond to a physical output will not be heard. You may set as many
submixes in a project to the same physical output device or output channel as you like.
To select an audio interface as the output device:
m Choose Apple menu > System Preferences, click Sound, then click the Output button.
Select the audio interface in the list that appears.
For more information about these settings, see “Setting the Audio Input and Output”
on page 22.
Muting and Soloing Channel Strips
You can mute and solo channel strips in the Mixer in order to hear or silence specific
tracks, busses, or submixes.
To mute a channel strip:
m Click the channel strip’s Mute button. Click the button again to unmute the channel strip.
To solo a channel strip:
m Click the channel strip’s Solo button. Click the button again to unsolo the channel strip.
To exclusively solo a channel strip:
m Option-click the Solo button. Click the Solo button again to unsolo the track, bus, or output.
When you export a project, all unmuted tracks, busses, and submixes are included in
the exported file. If you export a track, bus, or output that is muted (including being
muted by having another track soloed), the exported file contains no audio.
Enabling Track Channel Strips for Recording
You can enable a track channel strip for recording. When you enable a track channel
strip for recording, audio will be recorded on the track when you click the Record
button in the transport controls. You can’t record to a bus or output channel strip.
To enable a track channel strip for recording:
m Click the Arm for Recording button in the channel strip. Click the button again to
disable the channel strip for recording.
You can record only to a track, not to a bus or an output.
Solo button
Arm for Recording Mute button
button
Bypass Effects button
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Renaming Channel Strips
You can rename a channel strip to help you remember its content or purpose in the
overall mix.
To rename a channel strip:
m Click the channel strip’s name (at the top of the channel strip) to select it, then type a
new name.
Changing a Channel Strip Icon
You can change the icon of a channel strip. Icons do not affect the sound, but are
useful as a quick visual reference for the channel strip, particularly for projects with
many tracks, busses, or submixes.
To change a channel strip icon:
m Double-click the icon you want to change, then choose a new icon from the icon menu.
Showing and Hiding Sections of the Mixer
You can show or hide sections of the Mixer window and sections of channel strips.
Hiding sections of the Mixer and the channel strips can be helpful, especially when
using Soundtrack Pro with a smaller computer display or when working on projects
with a large number of tracks, busses, or submixes.
You can show or hide any of the following sections of the Mixer:
 Audio tracks
 Busses
 Submixes
Double-click the
channel strip icon...
...the icon menu appears.
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To hide a section of the Mixer:
m Choose the section you want to hide from the Show pop-up menu, located at the
upper right of the Mixer.
To hide sections of channel strips:
m Choose the section you want to hide from the Channel Strip pop-up menu.
The visible sections of the channel strips appear with a checkmark in the Channel
Strips pop-up menu.
You can show or hide any of the following sections of the channel strips:
 Icons
 Effects slots
 Output pop-up menus
 Pan controls
 Volume faders and level meters
Using the Channel Strip Level Meters
Each channel strip includes level meters to the left of its volume fader. You can use
the level meters to observe each channel strip’s level as the project plays. The level
meters range from –96 dB to +6 dB, moving from bottom to top as the level
increases. The segments of the level meters run from green through yellow to orange
as the level increases.
Note: For surround signals, the channel strip meters show the signals in this order: Ls,
L, C, R, Rs, LFE. This matches the surround order in the Meters tab. (See “Setting the
Overall Project Volume Level” on page 288 for more information.)
Show (Mixer) pop-up menu
Channel Strip
pop-up menu
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At the top of each set of level meters is a peak indicator. As the project plays, the value
in decibels of the highest level reached appears in the peak indicator. If the level rises
above 0 dB, the peak indicator becomes red. The values shown in each peak indicator
remain until you play the project again, close the project, or reset the peak indicator.
To reset a peak indicator:
m Click the peak indicator.
To reset all peak indicators, do one of the following:
m Option-click the peak indicator in any channel.
m Click the Reset button in the Meters tab.
The peak indicators can help identify where clipping occurs in the project. For
information about removing clipping, see “Setting the Overall Project Volume Level” on
page 288.
Removing Channel Strips
You can remove a channel strip from the Mixer if you decide you no longer want it in
the project.
To remove a channel strip, do one of the following:
m Select the channel strip, then choose Multitrack > Remove [item].
m Control-click the channel strip, then choose Remove [item] from the shortcut menu.
The term indicated by [item] changes in the menu depending on whether a track, bus,
or output is selected.
Note: If audio from a track is sent to a bus or output, and you remove the bus or
output, the audio from the track will not be heard when you play the project.
Level meters
Peak indicator
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Working with Effects in the Mixer
You can add effects to a channel strip in the Mixer, show effects settings, turn effects
on and off, replace an effect, and delete effects. You can also adjust effects settings in
the Effects tab or in the effect’s advanced settings window.
Adding Effects to a Channel Strip
You can add effects, turn effects off and on, and reorder effects in a channel strip.
Note: Before adding an effect to a track, it’s a good idea to solo the track so that you can
hear how the effect changes its sound, separate from the other tracks in the project.
To add an effect to a channel strip:
m Control-click an empty effects slot in the channel strip, choose Add Effect from the shortcut
menu, then choose one of the available effects from the categories in the submenu.
Showing Channel Strip Effects Settings
Once you add an effect, you can view and adjust its settings in the Effects tab.
To show an effect’s settings in the Effects tab:
m In the channel strip, Control-click the effect, then choose Show [effect name] Settings
from the shortcut menu.
The Effects tab becomes active, and shows the selected effect’s settings.
Some effects have a floating advanced settings window with sliders and other controls
you can use to adjust effect parameters.
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To show advanced settings for an effect, do one of the following:
m Double-click the effect name in the channel strip.
m Control-click the effect, then choose Show [effect name] Advanced Settings from the
shortcut menu.
The effect’s advanced settings window appears.
For information on working in the advanced settings window, see “Automating
Realtime Effect Parameters” on page 351.
Reordering Effects in the Mixer
You can reorder effects in the Mixer as well as in the Effects tab. When you reorder
effects, you change the order in which the audio is processed by each effect, which can
change the sound drastically.
To reorder an effect in the Mixer:
m Drag the effect up or down in the effects slot area to change its order.
Turning Effects Off and On
You can turn off a channel strip’s effects. Turning off an effect lets you hear the channel
strip without the effect, while preserving the current effects settings.
To turn off an effect in a channel strip, do one of the following:
m Deselect the checkbox to the left of the effect name.
m Control-click the effect, then choose Disable [effect name] from the shortcut menu.
To turn off all effects in a channel strip:
m Control-click an effects slot, then choose Disable All Effects from the shortcut menu.
To turn on an effect again, do one of the following:
m Select the checkbox to the left of the effect name.
m Control-click the effect, then choose Enable [effect name] from the shortcut menu.
To turn on all effects in a channel strip:
m Control-click an effects slot, then choose Enable All Effects from the shortcut menu.
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Replacing an Effect
You can replace an effect in a channel strip with another effect. When you replace an
effect with another effect, the new effect has its own default settings, regardless of the
settings of the previous effect.
To replace an effect in a channel strip:
m Control-click the effect, choose Replace [effect name] from the shortcut menu, then
choose a new effect from the submenu.
Deleting Effects from a Channel Strip
You can delete an effect if you decide you don’t want to use it in a channel strip. You
can also delete all effects from a channel strip.
To delete an effect from a channel strip, do one of the following:
m Select the effect, then choose Edit > Delete (or press the Delete key.)
m Control-click the effect, then choose Delete [effect name] from the shortcut menu.
To delete all effects from a channel strip:
m Control-click an effects slot, then choose Delete All Effects from the shortcut menu.
For more information about working with effects, including information on uses of
different effects and adjusting effect parameters, see Chapter 11, “Working with Audio
Effects,” on page 327.
Working with Sends and Busses in the Mixer
This section covers using sends in Mixer channel strips. For more general information
about sends and busses, see “Using Sends and Busses” on page 270 and “Adding Sends
to Tracks” on page 349.
Adding Sends to a Channel Strip
You can add sends to a channel strip, show send settings in the Effects tab, bypass a
send, or remove a send in the Mixer.
To add a send to a channel strip:
m Control-click an empty effects slot in the channel strip, choose Add Send from the
shortcut menu, then choose one of the available busses in the submenu.
The new send is added. When you add a send, the audio is routed from the send to a
bus. By default, the first send you add to an effects chain is routed to Bus 1, the second
send is routed to Bus 2, and so on, if the default bus exists. You can choose the bus to
which a send is routed.
By default, new sends are pre-fader sends. You can change a send to a post-fader send.
Chapter 8 Basic Mixing in Soundtrack Pro 287
To make a send a post-fader send:
m Click the disclosure triangle for the send in the Effects tab, then select the On button
next to Post-Fader.
Reordering Sends in the Mixer
You can reorder sends in the Mixer as well as in the Effects tab. When you reorder sends,
you change which effects are routed to the send, which can change the sound drastically.
To reorder a send in the Mixer:
m Drag the send up or down in the effects slot area to change its order.
Showing Send Settings
You can show the settings for a send in the Effects tab. Send settings include volume,
pan, and the bus to which the send is routed.
To show settings for a send:
m In the Mixer, Control-click the send, then choose Show Send Settings from the
shortcut menu.
The Effects tab becomes active, with the settings for the send visible in the Effect
Parameters area.
Turning Sends Off and On
You can turn sends off, and turn them back on. When you turn off a send, the audio is
not routed to the send bus, and is not heard.
To turn off a send in a channel strip, do one of the following:
m Deselect the checkbox to the left of the send name.
m Control-click the send, then choose Disable Send from the shortcut menu.
To turn on an effect again:
m Select the checkbox to the left of the effect name.
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Setting the Overall Project Volume Level
As you finalize a project mix, you set the overall project volume to the appropriate
level. Certain formats or methods of distribution may require that the project conform
to a particular maximum level. In general, you set the overall volume of the project to
the highest level at which no clipping occurs at any point in the project.
Clipping occurs when the digital audio signal exceeds the maximum level that can be
reproduced accurately. Unlike analog audio, digital audio is completely unforgiving of
clipping, which creates sharp distortion of the audio signal. Soundtrack Pro projects clip
whenever the output displayed in the level meters exceeds zero decibels (0 dB). It’s
important to eliminate clipping from projects before exporting the final mix. For more
information about digital distortion, see Appendix B, “Audio Fundamentals,” on page 463.
You can monitor audio output levels using the level meters in the Mixer, the Meters tab,
and in individual track headers. In the Mixer, each channel strip has level meters that
show the levels for that channel strip. In the Meters tab, the level meters show the
levels for all submixes assigned to physical output channels.
For more information about setting up physical outputs, see “Setting the Audio Input
and Output” on page 22.
The Meters tab includes additional controls and displays to help you maintain proper
audio levels and eliminate clipping.
As a project plays back, the levels in each channel change constantly with the rising
and falling of the audio signal. The level meters show these changes both as bars rising
to varying heights and as changes in color from green to yellow.
Level meters
Reset button
Peak Value and
Location display
2-channel meter 6-channel meter
Chapter 8 Basic Mixing in Soundtrack Pro 289
In each channel’s meter, a white horizontal bar displays the current signal level; bars
below the white bar display successive levels in a scale that rises from green to yellow
as the signal increases. The meters peak at red when the signal clips (rises above 0 dB).
Note: The meters can be configured via Soundtrack Pro preferences to display either
surround order (Ls, L, C, R, Rs, LFE) or output order (channels 1-n). To change this
setting, choose Soundtrack Pro > Preferences > General.
To change the channel order in the meter display:
m Choose Soundtrack Pro > Preferences > Startup, then select the order using the Meters
Channel Display pop-up menu.
For more information about Soundtrack Pro preferences, see “Setting Soundtrack Pro
Preferences” on page 97.
Using the Peak Indicators in the Mixer Channel Strips
At the top of the level meters in the Mixer channel strips is a rectangular peak indicator
that lights red when that channel clips (exceeds 0 dB). The peak indicators are “sticky,”
meaning that if clipping occurs in either channel, the peak indicator lights red and
stays red until you reset it, or reset all peak indicators.
To reset a peak indicator:
m Click the peak indicator.
To reset all peak indicators:
m Option-click any peak indicator in any of the Mixer level meters.
Using the Peaks Value and Location Display in the Meters Tab
The Peaks Value and Location display in the Meters tab displays the highest (peak)
value played in each output channel in decibels (dB) and its timecode. The Time
column shows the location in the Timeline where the peak occurs. You can use the
Peaks Value and Location display to quickly locate a section of your project that is
clipping or peaking.
To move the playhead to the highest (peak) value played in a channel:
m Double-click any item in the Peaks Value and Location display.
The playhead moves to the corresponding point in the Timeline.
The Reset button located in the upper-right corner of the Meters tab display resets the
Peaks Value and Location display to a minimum value (–96 dB) and resets the Time
column to the beginning of the project.
To reset the Peaks Value and Location display values:
m Click the Reset button.
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Using the Master Bus
The Master bus represents the final mix from Soundtrack Pro—what will be heard from
the physical output jacks. On a signal routing basis, the Master bus is practically a mirror
image of the connected hardware output device. It is as wide as either the hardware
device or the number of channels used in the project, whichever number is smaller.
Master Bus Details
The Master bus includes envelopes for volume, transposition, and tempo. By default,
only the Volume envelope is visible. For more information, see “Master Bus” on
page 364. The Master bus does not have panners or meters.
You can apply effects to the Master bus, but you cannot automate those effects. Effects
applied to the Master bus are placed across all channels. You can bypass effects on the
Master bus. For more information about bypassing effects, see “Bypassing Realtime
Effects” on page 349.
Adjusting the Master Volume
The steps you take to remove clipping depend on the cause of the clipping. You can
lower the master volume of a project by the amount the highest point in the project
(as shown in the Value display) exceeds 0 dB. You can also use the Go buttons to locate
where clipping occurs and use a different audio clip or lower the volume of individual
tracks until clipping no longer occurs. Sometimes adjusting the gain on effects can
remove occurrences of clipping as well.
Listening to a Temporary Mono Mix
In some situations, even where the final mix is stereo, you may want to listen to the mix
in mono as well as stereo. If the final project is likely to be viewed using equipment
with mono audio output (for example, many television sets have mono output), you
may want to make sure the mix is suitable for mono output. Listening to a mono mix
can also help identify phase issues that can occur when a stereo project is played in
mono. Soundtrack Pro makes it easy to listen to a temporary mono mix of the project
so you can hear how it will sound in mono.
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To listen to a temporary mono mix:
1 Start the project playing.
2 While the project plays, press and hold the Mono Mix button, located to the right of
the Monitor volume slider below the Mixer.
The Mono Mix button becomes darker to indicate that it is active. When you are finished
listening to the temporary mono mix, release the button to hear the project mix.
In addition to listening to a temporary mono mix by holding down the Mono Mix
button, you can “latch” the Mono Mix button. This keeps the mono mix active until you
click the button again or switch to a different project.
To latch the Mono Mix button:
m Option-click the Mono Mix button.
Recording Audio in the Mixer
You can record audio while working in the Mixer. When you record audio in the Mixer,
recording starts from the current playhead position. Although the playhead is not visible
in the Mixer, you can set the playhead position using the transport controls or the
Playhead Location value slider located at the bottom of the Soundtrack Pro window.
For more information about recording, see Chapter 13, “Recording Audio
in Soundtrack Pro,” on page 367.
Recording Automation in the Mixer
You can record automation for volume and pan changes in the Mixer. You record
automation in the Mixer by choosing either Touch or Latch automation mode in the
project controls, then changing volume or pan settings as the project plays. You can
record automation either using the onscreen volume and pan controls, or using a
control surface connected to your computer.
For more information about working with automation, see Chapter 12, “Working with
Automation,” on page 355.
Mono Mix button
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Creating Multiple Mixes
You might want to create multiple mixes of a project for one of the following reasons:
 To optimize the project for different playback situations
 To try out different settings of the various track and master controls using the
same arrangement
 To try out changes to the arrangement using the same basic material
You can easily create multiple mixes by giving the project a slightly different name
when you save each mix, or by using different combinations of tracks, busses, and
submixes for each mix. If you are saving the project and its media files together, the
different versions can be saved to the same location if they all use the same media files.
For information about saving projects and their media files together, see “Saving
Multitrack Projects” on page 111.
Things to Keep in Mind While Mixing
The following are intended as guidelines or suggestions to follow when mixing your
projects, not as “hard-and-fast” instructions.
 Consider the importance of each element in the overall mix.
 Keep related tracks close together (in the Timeline and the Mixer).
 Don’t create a final mix until the picture is locked.
 Listen to the mix with the best possible equipment.
 Also listen to the mix as the audience will hear it.
 Don’t change output/monitor levels while mixing.
 Mix by what you hear, not what you see.
9
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9 Mixing Surround Sound
Soundtrack Pro gives you the tools to create sophisticated
surround mixes for your projects.
Surround sound uses more than two speakers to expand the spatial experience of audio
playback to three dimensions. Surround systems can be found in movie theaters, home
entertainment systems, video games, and a growing number of other applications.
Soundtrack Pro offers an easy-to-use approach to surround panning, mixing, and
automation, including a high degree of flexibility with surround sources and the ability
to easily switch between stereo and surround mixes. Soundtrack Pro also includes
numerous surround sound effects and surround music beds, as well as a collection of
professional surround-specific effect plug-ins for shaping your surround mix.
What Is 5.1 Surround?
The most common surround format is a six-channel system called 5.1 surround. This
format is the standard surround configuration in major motion pictures, music, and
digital television. The format consists of three speakers across the front and two
speakers in the rear. The .1 is a sixth channel for low-frequency effects (LFE). A typical
5.1 surround layout features left and right speakers (from a traditional stereo system)
plus a center speaker, a left surround (rear) speaker, a right surround (rear) speaker, and
an LFE speaker, more commonly known as the subwoofer.
There are other surround standards that range from three channels to seven channels
and nonstandard surround formats that use as many as ten channels.
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Creating a Surround Project
The following steps outline a general workflow used for editing and mixing surround
sound files.
Step 1: Acquiring the sound
As with any audio track, the first step is finding and recording the sound that you want.
Soundtrack Pro is flexible in terms of what kinds of files you can use in the surround
mix. Input files can be mono, stereo, or surround. While Soundtrack Pro also includes
numerous surround clips for music and sound effects, the production audio for most
film and video projects is typically either mono or stereo files.
Step 2: Editing and arranging a multitrack project
The workflow for editing audio files and arranging them in the multitrack Timeline is
very similar for stereo and surround projects. For more information, see Chapter 4,
“Working with Multitrack Projects,” on page 105, Chapter 5, “Working in the Timeline,”
on page 127, and Chapter 6, “Editing Audio Files,” on page 191.
Step 3: Mixing surround
Soundtrack Pro provides a flexible toolset for creating and adjusting a surround mix.
For more information, see “Surround Mixing Strategies” on page 306.
Step 4: Exporting and delivering surround projects
Soundtrack Pro supports a variety of workflows and formats for delivering your final
surround mix. These include separate audio files for each channel or single
multichannel sound files for the entire mix.
Setting Up for Surround
In order to hear your surround project through a surround speaker system, you need to
adjust settings in Soundtrack Pro and set up the related hardware.
Setting Up Soundtrack Pro for Surround
In Soundtrack Pro, the difference between mixing in stereo and mixing in surround
hinges on three different elements: the panner type, the submix output, and the
number of physical output channels. All three of these items must be configured
correctly to achieve surround playback. If one of these three conditions is not met,
playback will be in stereo. (For more information about stereo mixdown, see “Stereo
Mixdown” on page 297.) Use the instructions that follow to start using the surround
mixing tools in Soundtrack Pro.
Chapter 9 Mixing Surround Sound 295
Using the Surround Panners
You use the panning controls in the track headers to set the pan position of a track or a
bus. By default, the panning controls are set to stereo. You can easily switch between
stereo panners and surround panners.
For surround playback, you must set the appropriate tracks or busses to use the
surround panner.
To switch the panning controls from stereo to surround, do one of the following:
m Select a track or bus in the Timeline, then choose Multitrack > Use Surround Panner.
m Select a channel strip in the Mixer, then choose Multitrack > Use Surround Panner.
m Control-click the stereo pan slider in a track header, then choose Use Surround Panner
from the shortcut menu.
m Control-click the stereo pan slider in a Mixer channel strip, then choose Use Surround
Panner from the shortcut menu.
The surround panner replaces the stereo panner.
Surround panners Stereo panners
Control-click the stereo
panner, then choose Use
Surround Panner from
the shortcut menu.
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As far as tracks and busses are concerned, switching between surround mode and
stereo mode is that simple. At this point, you are mixing this particular track or bus in
surround. Any surround panning adjustments and automation that you apply are saved
with the current project.
Important: To hear these changes through your speakers, make sure you also set the
submix outputs to surround and connect the physical outputs. For more information,
see the next two sections, “Setting the Submix Outputs to Surround” and “Connecting
Physical Outputs.”
Setting the Submix Outputs to Surround
In Soundtrack Pro, you route the audio from tracks and busses to physical outputs
using submixes. By default, all tracks are routed to Submix 1, and Submix 1 is routed to
the Stereo 1, 2 outputs. You can easily change this hardware output setting using the
Output pop-up menu.
To switch the hardware output setting from stereo to surround:
m Choose Surround from the Output pop-up menu in the track header, then choose 1-6
from the submenu.
The menu displays 1-6, indicating that the audio is now routed to the physical output
jacks 1 through 6. At this point, the signal is routed to those six outputs, whether or not
the hardware to support those channels is connected.
Important: To hear these surround signals through loudspeakers, you must also connect
the physical outputs. For more information, see “Connecting Physical Outputs,” next.
Chapter 9 Mixing Surround Sound 297
Connecting Physical Outputs
To hear the six discrete channels of surround sound that Soundtrack Pro can provide,
you need external audio hardware that supports multiple physical outputs. At a
minimum, this would include a multichannel audio interface and a 5.1-channel
surround sound speaker system (totaling six speakers). For more information about
audio interfaces, see “Setting Up an Audio Interface” on page 485.
To connect physical outputs for monitoring surround sound:
1 Connect the audio interface to your computer.
For detailed information on connecting your audio interface to your computer, see the
documentation that came with the audio interface.
2 Double-click Audio MIDI Setup in the Utilities folder, then choose the audio interface
from the Default Output pop-up menu.
For more information, see “Setting the Audio Input and Output” on page 22.
3 Connect your 5.1-channel surround sound speakers to the appropriate outputs of your
audio interface.
Soundtrack Pro uses the SMPTE/ITU standard for routing output channels.
For detailed information on connecting external speakers to your audio interface, see
the documentation that came with the speakers.
Stereo Mixdown
If you have set up a project for surround mixing, including surround panners and
surround channel assignments, but you do not have sufficient output jacks for
surround playback, Soundtrack Pro automatically provides a surround-to-stereo
mixdown of what would otherwise be sent to jacks 1-6. This stereo mixdown follows
the Dolby guidelines: the Ls and Rs channels are attenuated by 3 dB and mixed into the
Left and Right channels. The Center channel is also attenuated by 3 dB and mixed
evenly into the Left and Right channels. The LFE channel is discarded.
Audio Interface Output Speaker
1 Left
2 Right
3 Center
4 LFE
5 Left Surround (Ls)
6 Right Surround (Rs)
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Surround Speaker Placement
There are several ways you can arrange 5.1 surround speakers for playback. You can
follow the International Telecommunications Union Operational Bulletin No. 775 or the
“ITU Standard” for 5.1 surround sound. Here are the basic points of this
recommendation:
 Place all the speakers on the same plane. In other words, if you place some speakers
on the floor and mount some on the ceiling, you will defeat the psychoacoustical
benefit of having surround speakers in the first place.
 With the center speaker directly in front, the Left and Right speakers should be
positioned 30 degrees away from center at about a 60-degree angle aiming for a
spot 3 to 6 inches behind the mixer’s (or listener’s) head.
Note: This angle can be reduced to 45 degrees or extended out to 60 or even 90
degrees and still provide satisfactory results.
 Place the surround (rear) speakers at about 110 degrees off center (to the sides and
somewhat behind the listener). To ensure one cohesive soundfield, do not position
these speakers too far to the rear.
Ls Left surround speaker Place to the left and slightly behind your listening position.
L Left speaker Place in front and to the left.
C Center speaker Place on top of or below your viewing screen.
R Right speaker Place in front and to the right.
Rs Right surround speaker Place to the right and slightly behind your listening position.
LFE (LFE) Subwoofer Can be placed anywhere.
L
R
LFE
C
Ls
Rs
80°
30°
30°
80°
Chapter 9 Mixing Surround Sound 299
Note: It isn’t always possible to place the speakers where they’re supposed to go due to
obstacles in the room (doors, furniture, and so on). You can overcome some bad speaker
placement by calibrating your system with a sound pressure meter and a calibration
DVD. This way, you can make sure each speaker is providing the appropriate volume.
Using Surround Panners to Create a Surround Mix
This section explains how to use the surround panners in Soundtrack Pro to create a
surround mix. The surround panners provide a straightforward and flexible way to
control and monitor panning settings. By changing the panner type in the track
header, you can easily switch any track or bus from stereo to surround, or from
surround to stereo. Soundtrack Pro offers two different versions of the surround
panner: the mini surround panner and the surround panner HUD.
The Mini Surround Panner
Use the mini surround panner to switch between stereo and surround mixing, to make
simple surround adjustments, and to quickly check the pan setting for a track or a bus.
To switch the panning controls from stereo to surround, do one of the following:
m Select the track or bus, then choose Multitrack > Use Surround Panner.
m Control-click the stereo pan slider in the track header, then choose Use Surround
Panner from the shortcut menu.
The surround panner replaces the stereo panner. This is the smaller of two different
views of the surround panner. To use the larger Surround Panner HUD, see “The
Surround Panner HUD,” next.
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The Surround Panner HUD
The Surround Panner HUD offers finer panning adjustments, a graphic representation
of the current surround setting for the selected track, and other surround controls.
To display the surround panner HUD, do one of the following:
m Double-click the surround panner in the track header of the track or bus you want to adjust.
m Double-click the surround panner in the Mixer channel strip of the track or bus you
want to adjust.
The surround panner HUD appears in a floating window over the Soundtrack Pro window.
The dominant feature of the Surround Panner HUD is the black circle that represents
the virtual surround space. The puck, a dot inside the circle, is the primary surround pan
control. Input channels are represented by color-coded, semi-circular, translucent arcs
emanating from the inside of the circle’s circumference. These arcs indicate the input
channel’s gain (by the height of the arc), the channel’s spread (by the width of the arc),
and location. Overlapping sounds are represented by overlapping arcs, summing
(combining) to white where all channels overlap.
The surround pan controls include the following:
 Position: The puck is the main control in the panner. To pan the audio, move the
puck by clicking anywhere inside the black circle or by dragging the puck to a
different position in the circle. The speaker icons around the edge of the circle
represent the five main surround channels: L (left), C (center), R (right), Ls (left
surround), and Rs (right surround). The closer you move the puck to one of the
speaker icons, the louder the sound will be from that speaker. For more information
about moving the puck to adjust the position parameter, see “Modifier Keys for
Moving the Puck” on page 303.
Rotation slider
Puck (pan position)
Width slider
Collapse slider
Center bias slider
LFE balance slider
Chapter 9 Mixing Surround Sound 301
Note: In automation envelopes, this Position parameter is expressed as Surround Pan
X and Surround Pan Y.
 Rotation: Use this slider to alter the angle at which each signal starts out. This slider
ranges from -180 degrees to 180 degrees and affects the input signal. For example,
with no other panning, the right channel emanates from a location 45 degrees to the
right. With rotation at +65 degrees, the signal appears at 110 degrees—directly out of
the right surround speaker.
Note: This setting interacts with the position parameter when the panner mode is
not fully attenuating.
 Width: Use the Width slider to create a widened surround image. This slider is
intended primarily for stereo sources in that it spreads the left and right inputs into
adjacent channels. This creates the illusion of a widened sound stage without the
hole at the center that moving the puck rearward would create. For some movie
theaters, it may be necessary to use the Width slider to bleed the center signal in to
the left and right speakers. At 0%, all inputs go to their respective outputs. As you
drag the Width slider to the right, L and R inputs start to bleed into Ls and Rs
respectively, and to a lesser extent, L and R bleed into C, C bleeds slightly into L and
R, and Ls and Rs start to merge.
... to alter the angle from
which each signal starts.
Drag the Rotation slider...
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 Collapse: Typically, panners are either of a collapsing style (panning folds input
signals into output speakers) or an attenuating style (panning simply turns down the
gain of speakers further from the pan location). The Collapse slider goes from a fully
attenuating style, through a hybrid style, to a fully collapsing style. At full attenuate
(0% on the slider), no input bleeds to any other output; each channel remains at its
original speaker position. The only change is to output gain. At full collapse (100% on
the slider), no input gain is changed—instead, inputs have their output divided over
adjacent channels. At 50%, a given input channel panned away has its input
attenuated by 50% and distributed between the two adjacent channels.
 Center Bias: Use this slider to determine how the center channel interacts with the
left and right channels. At 0%, all sound that would have gone to the center speaker
is equally distributed to the left and right speaker. At 100%, the center is used fully,
just like any other speaker. This means that if you move the puck directly in front of
the center speaker, all sound emanates exclusively from that speaker. If you move the
puck halfway between the center channel and an adjacent channel (yet still on the
perimeter of the black circle), the sound is equally and exclusively divided between
those two speakers.
 LFE Balance: Use this slider to balance control between LFE and the other five
channels. At -100, nothing is output from the LFE speaker, even if there was LFE input,
and all other channels pass through at unity gain. At its midpoint (0), all six channels
passes through at unity gain to their respective speakers, meaning that LFE input
passes directly to LFE output. At +100, all six signals get summed to the LFE speaker.
Collapse at 0 Collapse at 50 Collapse at 95
Chapter 9 Mixing Surround Sound 303
 Speaker Disable: Click a speaker icon once to disable or enable it. If you disable a
speaker, its output goes to adjacent speakers. Each speaker supports a single-click
on/off for that speaker’s output.
Surround Panner Automation
Automating surround pan settings is very similar to automating stereo pan settings: a
track or bus set to use the surround panner has at least seven different panning
envelopes, and a stereo track or bus has only one pan envelope. Automation for the
Position parameter (the puck) is reflected in two envelopes: Surround Pan X and
Surround Pan Y. These are Cartesian X & Y values referring to the puck position within
the black panning circle. All other surround panning parameters are expressed with
one envelope each, except for Collapse and Speaker Disable, which cannot be
automated. For more information about automation, see Chapter 12, “Working with
Automation,” on page 355.
Modifier Keys for Moving the Puck
Hold down any of the following keys as you move the puck to constrain its movement.
These modifier keys offer finer control as you make adjustments to the position parameter.
 Shift: Fine adjustment
 Option-click: Reset control
 Option-drag: Straight movement, restricted to diversity, constant angle
 Command: Circular movement, restricted to angle, constant diversity
 Command-Option-drag: Restricted to either X or Y movement
Click a speaker to disable
or enable it. A dim gray
color indicates the
speaker is off.
304 Chapter 9 Mixing Surround Sound
Surround Metering
Soundtrack Pro provides a variety of level meters to monitor output levels as you make
surround panning adjustments.
Surround Panner HUD Meters
The Surround Panner HUD includes level meters that show volume information from
the specific track or bus that you are panning. These meters can be hidden or displayed
by using the disclosure triangle. Track-specific meters are a useful reference given the
possible psychoacoustical “illusions” in surround mixing, such as the phantom center.
Meters Tab
The Meters tab displays levels for the current multitrack project. The channels displayed
in the Meters tab and in the Mixer meters (described in “Mixer Meters” on page 305)
depend on the audio interface connected to your computer, the current panner
settings, and the current output settings in System Preferences.
Chapter 9 Mixing Surround Sound 305
For more information about output settings, see “Connecting Physical Outputs” on
page 297.
Mixer Meters
Each channel strip in the Mixer includes a levels meter capable of displaying up to all
six channels. The Mixer is the only place you can view the levels for each track, bus, and
submix as well as the Master bus.
Level meters
Reset button
Peak Value and
Location display
2-channel meter 6-channel meter
6-channel meter
306 Chapter 9 Mixing Surround Sound
Surround Mixing Strategies
This section includes guidelines and tips for mixing surround projects.
Mixing Surround Files
The basic steps in mixing are almost the same for stereo and surround projects:
 Balancing relative volume levels between tracks
 Panning tracks to create a balanced stereo spread
 Adding EQ, compression, and other final processing effects
 Setting the project’s final volume and eliminating clipping
 Creating a sense of perspective by placing sounds in space
While the creating a sense of perspective step is also a part of stereo mixing, it is what
really sets surround apart from stereo. When mixing, you can enhance the video action
by dynamically moving the sounds within the surround field. To give your listeners a
“surrounding” audio experience, your sound must be created with that goal in mind.
For example, if you want the sound of an explosion coming from behind the listener,
you need to put the sound in the rear channels during mixing. Surround mixing adds
not only two rear channels, but also includes the subwoofer or LFE channel, which
would probably play a part in any onscreen explosion. You’ll have to spend some time
planning what elements go where and how much boom you want in your soundtrack.
The following are some common approaches to multichannel sound:
 Use the surround channels for effects only. Create a stereo mix, then add
“sweetening” sound effects in the surround channels. Sound effects and Foley
recordings can be placed in stereo space or specifically located where they occur
onscreen or offscreen.
 Create special sounds for the rear and low-frequency channels (the rumble of an
earthquake, the pounding of drums, an airplane buzzing overhead, and so on) and
add them to a standard stereo mix. (To create sound for the LFE channel, you can
extract low frequencies from the rest of your sound using band-pass filters.)
 Position instruments, effects, and voices anywhere in the sound field.
Chapter 9 Mixing Surround Sound 307
Converting a Stereo Mix to 5.1 Surround
Many post-production projects require both a stereo mix and a surround mix. This
section reviews some best practices for converting projects from stereo to surround.
You can reverse the steps below to convert a project from surround to stereo.
Important: When you switch between stereo and surround panners, panning
automation (envelope) settings are not automatically copied over to the new panning
mode. Volume information is automatically copied over between stereo and surround
panners. The recommended workflow for making a surround version of a stereo mix is
to maintain at least two separate versions of the project: a stereo version and a
surround version.
To create a separate copy of your stereo mix for surround mixing:
1 Choose File > Save As in your stereo project to save a separate copy.
In the dialog that appears, indicate in the filename that this is the surround version.
(For example, “My Great Mix_surround.”)
2 Use this copy of the project to make all the necessary surround panning adjustments.
308 Chapter 9 Mixing Surround Sound
In particular, you Control-click the stereo panner in the track header (or Mixer channel
strip) of each appropriate track or bus and choose Use Surround Panner from the
shortcut menu.
Π Tip: To save time, you can select or group all tracks or busses in the Tracks tab. When
you change the panning settings of one of the tracks or busses, the panning settings
on all the grouped items change as well.
3 If you previously applied any left-right panning to any tracks or busses in the stereo
version of the project, do the following:
a Select the tracks or busses.
b Control-click the panner in the track header, then choose Replace Surround L/R with
Stereo L/R from the shortcut menu.
Any panning automation (envelope) information is copied from the stereo left-right
pan to the surround left-right pan (specifically, to the Surround Pan X parameter) in the
selected tracks and busses. These settings can be used to provide a starting point for
your surround mix.
Note: If you are converting a surround project to a stereo project, you can choose
Replace Stereo L/R with Surround L/R from the shortcut menu to do the reverse of Step 3.
Set all panners to
surround panners.
Chapter 9 Mixing Surround Sound 309
Placing Dialogue and Voiceover in a Surround Mix
In a surround mix, dialogue usually goes directly into the center channel. This is
particularly true for voiceover narration, which is best left out of the left and right
channels. (This is called stereo plus center.) Soundtrack Pro allows you to place sounds
exclusively in a specific channel or just outside that channel, which would allow some
of the sound to leak into the other speakers. As you get more comfortable with
surround mixing, you may want to experiment with alternative placements to further
reinforce the voices that you place within your mix.
To place dialogue and narration in the center channel:
1 If you haven’t already done so, Control-click the stereo pan slider in the track header of
the dialogue track (or bus), then choose Use Surround Panner from the shortcut menu.
2 Double-click the surround panner.
The Surround Panner HUD appears.
3 Drag the puck to the center speaker icon.
Depending on the current Collapse slider setting, the arc at the center speaker icon either
turns white to indicate exclusive output or is elongated to indicate the increased gain.
Note: You can hold down the Option key as you drag the puck to constrain its
movement to a straight line.
310 Chapter 9 Mixing Surround Sound
Placing Stereo Music in a Surround Mix
The simplest option for stereo music in a surround project is to just leave it in stereo. If
you just use the stereo panner for a music track, the left and right signals remain in
their respective channels. However, some surround mixes include a hint of music in the
rear channels as well. With the Surround Panner HUD, you can place the right music
channel somewhere between the right front and right rear position, with more
emphasis on the front speaker. Do the same with the left side and listen to the mix.
Make adjustments as needed.
Using the Center Channel
In a multichannel system, there are three ways to achieve a centrally placed sound image:
 Create a “phantom center” (mix sound to the left and right equally, as with stereo). This is
a common strategy, but it assumes the listener is seated exactly between the
speakers. The timbre of sound is not the same as from a direct speaker because of
cross-cancelation effects.
 Use the center channel alone. This creates a stable center image for listeners in any
location. (To prevent the audio from sounding too focused or narrow, its reverb can
be spread to the left and right channels.)
 Use all three front channels equally or in various proportions. This method allows for
greater control of the range of spatial depth and width. The phantom center can be
reinforced by additional signals in the center channel, which can be enhanced by
signal spread into the left/right pair. The disadvantage is that sound from all three
speakers may not blend well or may not arrive at the listener at the same time,
causing side effects such as comb filtering, shifts in tone color, or smearing. To
counteract these side effects, you can first process the additional signals to change
their spatial character, timbre, or prominence relative to the main center signal.
Using Surround Channels
Subtle surround effects can greatly enhance the listener’s sense of depth compared to
conventional stereo. Popular music often benefits from creative use of surround. But
don’t overdo it. The film industry guideline for visual effects applies equally well to
surround effects—don’t let effects distract the listeners from the story.
Chapter 9 Mixing Surround Sound 311
Using Surround Effect Plug-ins
Soundtrack Pro includes a collection of professional surround-specific effect plug-ins
for shaping your surround mix, including Surround Compressor, Delay Designer, Space
Designer, and Multichannel Gain.
For a complete list of these true surround effects and a full description of each, see the
Soundtrack Pro Effects Reference document, available in the Help menu. For information
about using processing and realtime effect plug-ins, see Chapter 11, “Working with
Audio Effects,” on page 327.
Limitations of the LFE Channel
Use the LFE (Low Frequency Effects) channel to enhance the low frequencies of a film or
video so you get the extra boom out of an explosion, thump in a car crash, and so on in
dramatic scenes involving plenty of low frequencies. The low frequency effects (LFE)
channel is a separate signal with a limited frequency range (about 25 Hz to 120 Hz). It is
created by the mixing engineer and delivered alongside the main channels in the mix.
In soundtracks comprised entirely of music, the LFE channel is not necessary. (An
exception to this rule might be the famous cannon shots in Tchaikovsky’s “1812
Overture.”) The LFE signal is also discarded in the downmix process, so that intense bass
signals do not stress small stereo systems. Be sure not to include vital information (such
as dialogue) in the LFE channel that would be missed in mono or stereo playback.
Because LFE is separate from other channels, its ability to blend with higher
frequencies can be affected by filters used to generate the LFE signal. To ensure a
cohesive audio signal, keep the entire signal together in the main channel or channels.
Note: If you are creating Dolby Digital Professional (AC3) output, avoid creating an LFE
channel for material originally produced without one. Dolby Digital Professional’s five
main channels are all full-range, and the LFE channel does not increase the frequency
response. Dolby Digital Professional decoders offer bass management, directing low
frequencies to a subwoofer or other suitable speakers. An LFE track may interfere with
bass management. For more information about Dolby Digital Professional, see
“Frequently Asked Questions about Dolby Digital Professional,” available at the Dolby
Laboratories Inc. website: http://www.dolby.com.
312 Chapter 9 Mixing Surround Sound
Accommodating Stereo Playback
Even with the popularity of 5.1 systems, you should always address stereo reproduction.
There are three basic ways to do this:
 Prepare a new stereo mix from the original multitrack elements (using conventional
stereo-mixing sessions).
 Prepare a studio-adjusted downmix from the multichannel mix. This method takes
advantage of the work that has gone into mixing the 5.1 version. It retains flexibility
in the exact proportions of each channel represented in the final stereo mix.
 Let the decoder derive a stereo downmix, based on preset formulas in the decoder.
Downmix options and dynamic range control effects can be previewed and adjusted
in the production studio, and a range of adjustments is possible.
Π Tip: Always check the mix on an inexpensive surround system to evaluate how well it
sounds on modest playback systems.
Exporting and Delivering 5.1 Surround Projects
Delivery of your finished surround mix can take many forms. Different clients have
different file format requirements. In general terms, your options include two broad
categories: mixdowns and project files.
Mixdowns
In this scenario, you would export one of the following:
 Six audio files, one for each of the six surround output channels
 An interleaved multichannel audio file containing all six surround output channels
 A single flat mixdown file either as an exported file or one sent to Final Cut Pro or Motion
Soundtrack Pro supports the following file formats for six-channel audio export (either
as a set of mono files, or as an interleaved multichannel file):
 AIFF
 WAVE
 NeXT
 Sound Designer II
You can also encode your surround mix directly to the Dolby Digital Professional (AC3 )
format, which is a very common compressed audio format for DVD-Video discs.
For more information about exporting projects, see Chapter 16, “Exporting Multitrack
Projects,” on page 395.
Chapter 9 Mixing Surround Sound 313
Project Files
You can also deliver either an exported AAF file or a copy of the Soundtrack Pro
project file.
 AAF: Like the Final Cut Pro XML Interchange Format, Advanced Authoring Format
(AAF) is an industry-standard project interchange format that contains the editing
decisions of nonlinear editing projects.
 Soundtrack Pro project file: For the greatest flexibility, you could deliver the entire
project file with its associated media. This would allow for further adjustments in
Soundtrack Pro, as needed.
For information on saving projects, see “Saving Multitrack Projects” on page 111 and
“Distributing a Multitrack Project and Its Media Files Together” on page 419.
10
315
10 Working with Video
in Soundtrack Pro
You can import a video into a multitrack or audio file project,
view the video as you work on your project, edit the video’s
audio, and use markers to synchronize audio and video.
When you import a video, the video appears in the Video tab. When you import a video
into a multitrack project, a video clip also appears in a video track in the Timeline. The
video’s audio appears as a clip in an audio track in the Timeline and can be moved and
edited like other audio clips. You can mute, solo, and adjust the volume and pan of the
video’s audio, add effects, and automate changes. You can also open the video’s audio
in the File Editor and perform actions or analysis on it.
When you import a video, you can set the Time Ruler units to match the timecode
format of the video. Any Final Cut Pro markers contained in the video appear as
markers in the Soundtrack Pro Timeline. You can also add markers in Soundtrack Pro
and export them to Final Cut Pro with the video file. You can score markers to the
playhead, using them to synchronize your soundtrack to the action in the video.
You can work with video in Soundtrack Pro in several ways. You can add audio clips for
dialogue and voiceover, music, ambience, and sound effects to the Timeline. You can
make exchange files between Final Cut Pro and Soundtrack Pro as you work on both
the video and the soundtrack, or bring the final video into Soundtrack Pro to finalize
the project. When your soundtrack is complete, you can export it as an AIFF file or save
it as part of the video.
Supported Video File Formats
Soundtrack Pro supports standard QuickTime-compatible file formats. You can import a
QuickTime movie (.mov) video file into a Soundtrack Pro project and can import an
MPEG-2 (.m2v) if you have installed the QuickTime MPEG-2 Playback Component. Video
files using NTSC, PAL, HD, and other formats supported by QuickTime can be imported
into Soundtrack Pro. Imported video files can be up to four hours in length.
316 Chapter 10 Working with Video in Soundtrack Pro
Adding a Video to a Project
You can import a video file by dragging the file from a media tab or from the Finder.
You can import only one video file into a project.
To import a video file into a project, do one of the following:
m Drag the video file from a media tab or the Finder to the Video tab.
m Drag the video file from a media tab or the Finder to the video track in the Timeline.
The video is displayed in the Video tab in its correct aspect ratio, and a video clip
appears in the video track (the top track in the Timeline), letting you see the duration
of the video in the project. The video clip starts at the beginning of the project and
cannot be moved to another point in time. Any Final Cut Pro scoring markers included
in the video file appear in the Timeline with an orange handle.
If the video contains audio, new audio tracks are added below the video track for each
audio track in the movie, and the video’s audio tracks appear as audio clips in the new
tracks. You can move, resize, and edit these audio clips like any audio clip in the
Timeline, and can use the track controls to control volume and pan, mute or solo the
track, and add effects or automation.
When you add a QuickTime movie containing video or a Broadcast Wave (BWF) file to
the File Editor, the Time ruler shows the file’s timecode format if the Time Ruler Units
menu item is set to either Frame or Non-drop Frame.
Drag a video file to the
Video tab to import it
into the project.
The video’s audio
appears in a new audio
track.
A video clip appears on
the video track.
The video appears in the
Video tab.
Chapter 10 Working with Video in Soundtrack Pro 317
Playing the Video
When you play the project, the video plays in the Video tab in time with the audio in
your project. You can also control playback using keyboard shortcuts.
To view the video, you can make the Video tab active or detach it and move it to another
location onscreen. You can also view the video using an external video output device.
Controlling Video Playback Using Keyboard Shortcuts
There are a number of keyboard shortcuts you can use to control playback of the video
in the Video tab. To use keyboard shortcuts, the pointer cannot be in a text field.
 Space bar: Plays the video from the current playhead position. This is equivalent to
clicking the Play button.
 Return: Sets the playhead to the beginning of the video. If the cycle region is active,
pressing Return sets the playhead to the beginning of the cycle region. This is
equivalent to clicking the Go to Beginning button in the transport controls.
 Option-Left Arrow: Moves the playhead back (closer to the beginning) one video
frame. This is equivalent to clicking the Previous Frame button.
 Option-Right Arrow: Moves the playhead forward (closer to the end) one video frame.
This is equivalent to clicking the Previous Frame button.
 J, K, and L keys: You can use the keyboard commands (the J, K, and L keys) to speed
playback up to eight times normal speed. For complete information on using these
keys see “Using the J, K, and L Keys for Shuttling” on page 130.
For a complete list of Soundtrack Pro keyboard shortcuts, see Appendix A,
“Soundtrack Pro Keyboard Shortcuts,” on page 449.
318 Chapter 10 Working with Video in Soundtrack Pro
Resizing the Video Tab
You can detach the Video tab and resize it (to any size, up to filling your entire screen).
To resize the Video tab:
1 Detach (undock) the Video tab by clicking the tab at the top of the video frame and
dragging it from its pane.
2 Drag the resize control at the lower-right corner of the Video tab until the tab is the
size you want.
Using Video Output Devices
You can connect an external video output device to your computer and play your
project through the video output device. This can be especially useful in cases where
you are using Soundtrack Pro as the final step in producing the overall project, or when
you want to show the current version of the project to a client or other party while
working on the project in Soundtrack Pro.
When you use an external video output device, the quality of the output is as high as
the device can support. If you connect an output device capable of broadcast-quality
output, the video is displayed with more accurate colors than on a computer display,
with true interlacing, correct pixel sizes, the correct aspect ratio, and broadcast-quality
refresh rates.
Some broadcast-quality video output devices receive both the video and audio from a
project. When you use a video output device that supports both video and audio
output, Soundtrack Pro automatically routes your audio output to this device to provide
the best possible synchronization of the audio and video.
Use the window’s resize
control to make the
video larger.
Chapter 10 Working with Video in Soundtrack Pro 319
You can also play a project’s video externally using Digital Cinema Desktop. Using
Digital Cinema Desktop, you can connect an Apple Cinema Display to your computer
and play the video full-screen through the Cinema Display while using another monitor
for editing.
To play the video through a video output device, you must configure Soundtrack Pro to
use the device in Soundtrack Pro Video Out Preferences.
To configure Soundtrack Pro for a video output device:
1 Choose Soundtrack Pro > Preferences, then click the Video Out button.
2 In the Video Out pane, choose the device you want to use from the Video Output
Device pop-up menu.
The menu lists only devices that are connected to your computer.
3 Optionally, select the Use Quarter-size Frames checkbox to reduce the frames sent to
the video output device. Sending quarter-size frames can result in better performance,
especially for devices using FireWire DV output.
4 Click the Close button at the upper-left corner of the Preferences window to close
the window.
You can switch the output to the video output device on or off when the project is not
playing. The video appears in the Video tab whether output to the video output device
is switched on or off.
To switch off output to an external video output device:
m Choose View > Show > Show External Video.
If you have added the Video Out button to the Toolbar, you can also click the button to
switch off the device.
To switch on output to an external video output device:
m Choose View > Show > Show External Video.
If you have added the Video Out button to the Toolbar, you can also click the button to
switch on output to the device.
A video output device can only be controlled by one application at a time. If you hide
Soundtrack Pro or bring another application to the foreground while playing video
through a video output device, Soundtrack Pro maintains control of the output device
and continues playing. If you hide Soundtrack Pro or bring another application to the
foreground when video is not playing through a video output device, Soundtrack Pro
releases control of the output device.
320 Chapter 10 Working with Video in Soundtrack Pro
Viewing Video Details
You can view details of a video file, including the video file’s name, dimensions, length,
frame rate, and other information. You can view details of a video file that has been
added to a project or of a video file in a media tab.
To view details of a video file:
1 If the Details tab is not visible, click Details to make it active.
2 Select a video file in a media tab, or select the video clip in the Timeline.
The video file’s information appears in the Details tab.
Chapter 10 Working with Video in Soundtrack Pro 321
Working with a Video’s Audio
You can edit the audio clip of the video’s audio as with any audio clip in the project.
You can move and resize the video’s audio, split and join it, or open it in the File Editor
for processing or analysis. You can also change the name or icon of the track containing
the video’s audio and use the controls in the track header to adjust volume and pan,
mute or solo the track, change the time format, or enable the track for recording.
If you remove the video from the project, the audio clip of the video’s audio is not
deleted, but remains in the project. You can delete the clip separately if you want to
remove it.
Using the Time Display and Time Ruler with Video
When you import a video file into a Soundtrack Pro project, the Time display and Time
ruler adjust to show the timecode format of the video. The Time display and Time ruler
can display time in seconds, frames, drop frames, or non-drop frames. You can choose
the format for timecode display, and can set the video frame rate for projects not
containing a video file. You can also set the default frame rate for new projects in the
Project Preferences pane.
To choose the units shown in the Time display and Time ruler:
m Choose View > Time Ruler Units, then choose a time format from the submenu.
You can adjust the The video’s audio track
video’s audio using the
controls in the track’s
header.
322 Chapter 10 Working with Video in Soundtrack Pro
To choose the video frame rate for projects not containing a video file:
1 Choose View > Time Ruler Units > Set Video Frame Rate.
2 In the dialog that appears, choose a frame rate from the Frame Rate pop-up menu.
For more information on the Time ruler, see “Using the Time Ruler” on page 133.
Scrubbing and Spotting with the Multipoint Video HUD
The Multipoint Video HUD provides context when you are positioning audio clips and
making selections in a video-based project. The window intelligently tracks the
movements of your pointer as you work in the Timeline and the File Editor, and it
shows multiple frames of video, each labeled with its timecode.
The Time ruler units adjust
to the video’s format.
The Time display adjusts
to the video’s timecode.
Chapter 10 Working with Video in Soundtrack Pro 323
Opening and Closing the Multipoint Video HUD
Use the following methods for opening and closing the Multipoint Video HUD.
To open the Multipoint Video HUD:
m Choose Window > HUDs > Multipoint Video (or press V).
To close the Multipoint Video HUD, do one of the following:
m Choose Window > HUDs > Multipoint Video (or press V).
m Click the close box in the HUD.
Working with the Multipoint Video HUD
The following sections describe some examples of situations in which the Multipoint
Video HUD can provide useful context for your sound editing tasks on a video project.
Making a Selection in the Timeline or in the File Editor
When you make a selection of multiple clips or a Timeslice selection, the Multipoint
Video HUD displays the video frame at the start of the selection and the video frame at
the end of the selection.
Dragging a Clip into the Multitrack Timeline
When you drag a new clip into the Timeline, the Multipoint Video HUD displays the
video frame at the start of the clip and the video frame at the end of the clip.
Π Tip: You can also press the V key while dragging a clip to show the Multipoint Video
HUD just until you release the clip. Once you release the clip, the Multipoint Video HUD
closes automatically.
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Dragging a Clip Around the Multitrack Timeline
When you drag an existing clip around in the Timeline, the Multipoint Video HUD
displays the video frame at the start of the clip on the left, the video frame at the end
of the clip on the right, and the video frame at the current pointer position in the
middle. In the case of dragging multiple clips, the first frame of video would be from
the leading edge of the earliest clip in time and the last frame of video would be for
the trailing edge of the last clip in time.
For example, if you wanted to synchronize a gunshot sound with the frame in the
video when the flash from the gun is visible, you would do the following:
1 Click on the gun shot sound effect at the point where the large transient can be seen in
the waveform.
2 Drag the clip in the Timeline. Press V while dragging the clip.
3 Drag the clip until you see the flash in the center frame.
Resizing a Clip in the Multitrack Timeline
When you resize a clip in the Timeline, the Multipoint Video HUD displays the video
frame at the start of the clip and the video frame at the end of the clip. As you resize
one edge of the clip, that frame updates.
Nudging a Clip in the Multitrack Timeline
When you use the nudge keys to nudge a clip, the Multipoint Video HUD displays the
video frame at the start of the clip and the video frame at the end of the clip.
Horizontally Moving an Envelope Point in the Timeline and File Editor Project View
When you move an envelope point horizontally, the Multipoint Video HUD displays the
video frame at the current envelope point position. If you select multiple envelope
points, two or three frames are shown: one for the first envelope point, one for the last
envelope point, and one for the envelope point you are dragging, if it is not the first or
last point.
Time Stretching in the File Editor
When you use the Time Audio Stretching tool, the Multipoint Video HUD displays a
single frame of video that follows the pointer location.
Chapter 10 Working with Video in Soundtrack Pro 325
Dragging the Cycle Region
When you modify either end of the Cycle Region, the Multipoint Video HUD displays the
video frame at the start of the Cycle Region and the video frame at the end of the cycle
region. You can quickly remove the Cycle Region at any time by pressing Option-X.
Dragging Markers
When you drag a single marker, the Multipoint Video HUD displays the video frame at
the marker position. When you drag two markers, the Multipoint Video HUD displays
the video frames at both marker positions. When you drag three or more markers, the
Multipoint Video HUD displays three video frames: the first marker, the marker being
dragged, and the last marker.
Removing a Video from a Project
You can remove a video if you decide you no longer want to use it in the project.
To remove a video clip from a project, do one of the following:
m Select the video clip in the Timeline, then choose Edit > Delete (or press the Delete key).
m Control-click the video clip, then choose Remove Video from the shortcut menu.
When you remove the video from a project, the audio clip of the video’s audio is not
deleted, but remains in the project. You can delete the clip separately if you want to
remove it.
For information about using Soundtrack Pro with Final Cut Pro, including transferring a
project back and forth between Soundtrack Pro and Final Cut Pro, see Chapter 17,
“Using Soundtrack Pro with Other Applications,” on page 421.
11
327
11 Working with Audio Effects
You can modify the sound of your project in many ways using
audio effects. Soundtrack Pro includes a complete set of
professional-quality audio effects you can use in your projects.
You can use audio effects to add both subtle and dramatic changes to audio clips in a
multitrack project or to an audio file project. Soundtrack Pro includes effects for
equalization, compression, reverb, and other effects you can use to clean up audio,
perform sound design, and enhance the sound of your audio. You can also use
third-party Audio Units effects plug-ins in both multitrack and audio file projects.
Processing Effects and Realtime Effects
Soundtrack Pro gives you two ways to use audio effects in your projects: processing
effects and realtime effects. Audio effects can be applied as processing effects to entire
audio clips, or regions of audio clips, resulting in nondestructive actions that can be
adjusted at any time. Audio effects can also be applied as realtime effects to tracks,
submixes, and busses as real-time effects, enabling parameters of the effects to be
automated so that they change over time.
328 Chapter 11 Working with Audio Effects
Applying Processing Effects
You can apply processing effects to clips and regions of clips in the multitrack Timeline
and well as to audio file projects (or regions thereof) in the File Editor. The Process
menu includes an Effects submenu where you choose processing effects to add to your
project. Processing effects are added as actions, which you can turn on or off, reorder,
and adjust in the Actions list.
To apply a processing effect to a clip in the Timeline:
1 In the Timeline, select one or more clips, or portions of one or more clips.
For more information about selecting clips, see “Selecting Audio Clips in the Timeline”
on page 147 and “Editing with the Timeslice Tool” on page 174.
2 Choose Process > Effects and select one of the effects from the submenu.
The effect’s advanced settings window appears.
3 Make adjustments in the advanced settings window.
You can adjust the effect’s parameters by moving the controls in the window. Each
advanced settings window may have unique controls in addition to sliders, buttons,
and value fields.
For detailed information on adjusting the parameters of specific effects, see the
Soundtrack Pro Effects Reference document, available in the Help menu.
Advanced settings
windows can contain
different kinds of
controls.
Toggle Effect Bypass
button
Apply button
Show Presets button
Preview volume
slider
Play button
Reset button
Chapter 11 Working with Audio Effects 329
4 Optionally, do any of the following:
 Click the Play button to hear the effect and your adjustments to it.
 Click the Reset button to reset the parameters to their default values.
 Click the Toggle Effect Bypass button to hear the audio without the effect.
 Click the Show Presets button to display the available presets.
For more information about presets, see “Working with Effect Presets” on page 330.
5 Click Apply.
A corresponding action appears in the Actions tab for the clip.
For more information about working with processing effects, see “Processing Audio
Files” on page 219. For information on working with actions, see “Working with Actions”
on page 230.
Applying Realtime Effects
You can add realtime effects to entire tracks, busses, and submixes in a multitrack
project or to an entire audio file project. You can automate realtime effects parameters
to create changes over time. Realtime effects modify the audio as it passes through
them, so you hear any changes you make, or any new audio you add, through the
sound of the effect. Each realtime effect has effect parameters you can adjust to control
how the effect modifies the audio.
You can create effects chains on a track, bus, submix, or audio file using realtime effects.
An effects chain is a series of effects that modify the audio in a set order. Using busses
in the Timeline and Mixer, you can create submixes, and apply the effect to all the
tracks in a submix with one set of controls.
For information on working with realtime effects in both multitrack and audio file
projects, see “Working with Realtime Effects” on page 343.
Note: This chapter describes the various categories of effects included with
Soundtrack Pro. For complete information on the details of each realtime effect, see the
Soundtrack Pro Effects Reference document, available in the Help menu.
Rendering Realtime Effects to Actions
You can also convert any realtime effect that you have applied in the File Editor project
view to an action in the Actions list, which enables you to turn these effects on or off,
reorder them in the list, and save them with the audio file project. For information
about rendering realtime effects to actions, see “Rendering Realtime Effects to Actions”
on page 243.
330 Chapter 11 Working with Audio Effects
Working with Effect Presets
Many effects come with several combined parameter settings called presets. Presets are
a handy way to get up and running with Soundtrack Pro effects without having to
learn a lot of details about their various parameters. For example, the MatrixReverb
effect (in the Mac OS category) has presets for various sizes of room, hall, and chamber
settings, as well as Plate reverb and Cathedral settings. If an effect has presets, the
presets appear in a Factory Presets pop-up menu in the list of effect parameters.
You can show an effect’s presets, add and delete presets, apply a preset, adjust preset
parameters, and create your own presets.
To show effect presets from the advanced settings window:
m Click the Show Presets button in the advanced settings window.
The Presets drawer appears at the bottom of the advanced settings window.
To add a preset:
1 Click the Add Preset (+) button.
A blank, untitled preset appears in the User Preset list.
2 Click the name “Untitled” and type a name for the preset.
To apply an effect preset:
1 Select the preset you want to apply from either the Factory Preset or User Preset list in
the Presets drawer.
2 Click the Load Preset button.
To adjust effect preset parameters:
m Adjust the controls in the advanced settings window for the preset.
To delete a preset:
1 Select the preset in the Presets drawer.
2 Click the Delete Preset (–) button.
Chapter 11 Working with Audio Effects 331
To hide the Presets drawer:
m Click the Hide Presets button in the advanced settings window.
To apply a preset to an effect from the Effects tab:
m In the Effect Parameters area, choose the preset from the Presets pop-up menu.
Audio Effects Included with Soundtrack Pro
Soundtrack Pro includes the following types of audio effects:
 Dynamics: Dynamics effects let you shape the volume of your projects over time.
Bundled dynamics effects include Compressor, Multipressor, Adaptive Limiter, Noise
Gate, Expander, and Limiter.
 Distortion: Distortion effects change the tone of the audio signal to re-create the
sound of overdriven tube amplifiers or digital distortion. Bundled distortion effects
include Bitcrusher, Clip Distortion, Distortion, Distortion II, Exciter, Overdrive, and
Phase Distortion.
 EQ and Filter: EQ (short for equalization) effects let you change the level of selected
frequencies. EQ provides a powerful way of shaping the sound of your projects.
Bundled EQ effects include AutoFilter, Fat EQ, High Cut and Low Cut, High Pass and
Low Pass filters, Channel EQ, High and Low Shelving EQ, Linear Phase EQ, Match EQ,
Parametric EQ, and Soundtrack Pro Autofilter.
 Modulation: Modulation effects delay an audio signal and shift (modulate) when
the delayed signal plays back relative to the original signal. Bundled modulation
effects include Chorus, Ensemble, Flanger, Modulation Delay, Phaser, Scanner
Vibrato, and Tremolo.
 Reverb and Delay: Reverb effects can be used to simulate the sound of acoustic
spaces, both realistic and unnatural. Delay effects can be used to add echoes and
other recurring sounds. Bundled reverb and delay effects include PlatinumVerb,
Soundtrack Pro Reverb, Stereo Delay, Tape Delay, and Space Designer, a powerful tool
for sound design.
 Meters and Diagnostic: You can use realtime diagnostic effects to clean up audio files
in a variety of ways, including pitch, intensity, and phase problems. Bundled
diagnostic effects include Correlation Meter, MultiMeter, Test Oscillator, and Tuner.
These are only available as realtime effects, not processing effects.
 Miscellaneous: Miscellaneous effects fall outside the other categories, providing
additional ways to modify your audio. Bundled miscellaneous effects include Delay
Designer, Denoiser, Direction Mixer, Enveloper, Gain, Multichannel Gain,
PitchShifter II, Ringshifter, Spectral Gate, Stereo Spread, SubBass, Surround
Compressor, and Vocal Transformer.
332 Chapter 11 Working with Audio Effects
Dynamics Effects
Dynamics effects let you adjust the dynamic range (the range between the softest and
loudest sounds) of your projects. You can use dynamics effects to make sounds more
focused and to optimize the sound for specific playback situations. Dynamics effects
include compressors, limiters, and noise gates.
Compressors
Compressors work like an automatic volume control, lowering the volume whenever it
rises above a certain level, called the threshold. But why would you want to reduce the
dynamic level? By cutting the peak levels, the compressor lets you raise the overall
volume of the signal. This gives the sound more focus by making the foreground parts
stand out while preventing the background parts from becoming lost in the mix.
Compression also tends to make sounds tighter or “punchier.” Because the peaks are
lower, the maximum volume is reached more quickly.
In addition, a compressor can make a project sound better when played back in
different situations. For example, the speakers on a television set or in a car sound
system typically reproduce a narrower dynamic range than does the sound system in a
theater. Compressing the overall mix can help make the sound reproduce more clearly
in lower-fidelity situations.
Compressors have two main parameters. The threshold lets you set the amplitude above
which the compressor lowers the volume. The ratio lets you control the amount by which
sounds above the threshold will be lowered, as a percentage of the original signal.
For example, if you set the threshold to –12 dB, and the ratio to 2:1, a sound at –7 dB
(5 dB above the threshold) is reduced by 2.5 dB, and a sound at –2 dB (10 dB above the
threshold) is reduced by 5 dB.
Compressor plug-in
Chapter 11 Working with Audio Effects 333
Compressors can also include parameters for attack and release. These parameters let you
set how quickly the compressor reacts once the threshold is reached (for attack) or once
the signal falls below the threshold again (for release). Use these parameters to make the
compressor’s effect more subtle or more pronounced. Another parameter on some
compressors is the knee (or soft knee), which lets you control how gradually the compressor
transitions between no compression and the compression ratio at the threshold.
Compressors are typically used on vocal tracks to make the vocals prominent in the
overall mix. They can also be used on music and sound effects tracks, but are rarely
used on ambience tracks.
Limiters
Limiters (also called peak limiters) prevent the audio signal from exceeding a maximum
volume level. A compressor gradually attenuates levels above the threshold, but a
limiter puts a hard limit on any signal louder than the threshold, usually at a high ratio.
You use a limiter mainly to prevent clipping.
Noise Gates
A noise gate alters the signal in the opposite direction from a compressor. While a
compressor lowers the volume of sounds above the threshold, a noise gate lowers the
sounds below the threshold. Loud signals pass through unchanged, but softer signals,
such as the decay of a loud instrument, are cut off. Noise gates can be used to
eliminate low-level noise or hum from an audio signal.
Distortion Effects
Distortion effects simulate the sound of analog and digital distortion. After working to
eliminate the digital distortion caused by clipping from a project, why would you add
distortion as an effect? The distortion produced by overdriven vacuum tubes (which
were used in amplifiers and music recording equipment before the development of
digital recording technology) produces an effect which many people find pleasing, and
which is integral to many styles of popular music. Analog tube distortion adds a
distinctive warmth and bite to the signal.
There are also distortion effects which intentionally cause clipping and digital
distortion of the signal. These can be used to modify vocal, music, and other tracks to
produce an intense, unnatural effect, or for creating sound effects.
Distortion effects include parameters for tone, which let you shape the way in which
the distortion alters the signal, and for gain, which let you control how much the
distortion increases the output level of the signal.
334 Chapter 11 Working with Audio Effects
EQ and Filter Effects
EQ is likely the most common audio effect used in postproduction. You can use EQ to
shape the sound of a project by adjusting specific frequencies or frequency ranges. Using
EQ, you can create both subtle and extreme changes to the sound of your projects.
Most EQ effects make use of filters. As the name suggests, a filter allows certain
frequencies to “pass through” to the output while stopping or attenuating other
frequencies. EQ effects include highpass, lowpass, and band pass filters.
When the audio signal passes through an EQ filter, the frequencies that pass through
can be raised or lowered in volume. Raising and lowering frequencies using EQ is often
referred to as boosting and cutting frequencies. You can create many changes to the
sound of your project by boosting and cutting various frequencies.
Frequency Ranges Used with EQ
Sounds can be categorized into one of three basic frequency ranges: bass, midrange, or
high (also called treble). These can be further divided to include low bass, low and high
midrange, and low and high highs. The following table describes some of the sounds
affected by each range:
Channel EQ plug-in
Name Frequency range Description
High High 8–20 kHz Includes cymbal sounds and highest harmonics
of instruments. Boosting frequencies in this
range slightly can add sparkle and presence.
High 5–8 kHz This range corresponds roughly to the treble
tone control on a stereo. Boosting frequencies in
this range can add brightness and shine.
Low High 2.5–5 kHz Includes the higher harmonics of voices and
musical instruments. This range is important for
adding presence. Excessive boosting in this
range can sound shrill or harsh.
Chapter 11 Working with Audio Effects 335
Note: The frequencies shown for each range are approximate. Any division of sound
into frequency ranges is somewhat arbitrary, and is meant only to give a general
indication of each range.
Roll-Off Filters
The simplest types of EQ effects are roll-off filters, which include lowpass, highpass,
bandpass, and shelf filters. Lowpass filters affect all frequencies above a specific
frequency, called the cutoff frequency. Frequencies above the cutoff are attenuated or
“rolled off” gradually, usually by a fixed number of decibels per octave. Highpass filters,
by contrast, affect all frequencies below their cutoff frequency. Bandpass filters exclude
all frequencies close to their center frequency. You can set the center frequency, and also
set the bandwidth or Q, which specifies how wide a range of frequencies around the
center frequency is affected.
These EQs include parameters for setting the cutoff frequency. Shelf filters add
parameters to control the gain (the amount of boost or cut). You can use roll-off filters
as “broad brush” effects to boost or cut a large range of frequencies.
High Midrange 1.2–2.5 kHz Includes the consonants of voices and the high
harmonics of musical instruments, especially
brass instruments. Excessive boosting in this
range can create a pinched, nasal sound.
Midrange 750 Hz–1.2 kHz Includes the vowels of voices and the harmonics
of musical instruments that create tone color.
Low Midrange 250–750 Hz Includes the fundamentals and lower harmonics
of voices and musical instruments; careful EQing
of each can keep them from competing.
Excessive boosting in this range can result in
muddy and unclear audio; excessive cutting can
produce thin-sounding audio.
Bass 50–250 Hz Corresponds roughly to the bass tone control
on a stereo. Includes the fundamental
frequencies of voices and of musical
instruments. Excessive boosting in this range
can sound boomy and thick.
Low Bass 50 Hz and below Also called sub bass. Very little of the sound of
voices or musical instruments falls in this range.
Many sound effects used in movies, such as
explosions and earthquakes, fall in this range.
Name Frequency range Description
336 Chapter 11 Working with Audio Effects
Graphic EQs
Graphic EQs give you a set of filters (often with 10 or 31 filters), each with a set center
frequency and bandwidth. Using a graphic EQ, you can shape a wide variety of
frequencies throughout the frequency range. Graphic EQs can be used to shape the
sound of the overall project mix.
Parametric EQs
Parametric EQs are similar to bandpass EQs, but provide a greater amount of control,
and can be used for extremely precise adjustments. With a parametric EQ, you can set
the center frequency, the gain, and the bandwidth. Used carefully, a parametric EQ can
help a track cut through the mix, or help a track or project sound fuller. Parametric EQs
can also be used to remove specific, unwanted frequencies from a mix.
Modulation Effects
Modulation effects begin with a delayed signal, like time-based effects, but vary (or
modulate) the delay time, typically using a low-frequency oscillator (LFO). This can be
used to double a sound, making it seem stronger and “fatter,” to simulate a group of
voices or instruments playing together, or to add a distinctive character to the sound.
Modulation effects include chorus, phase shifters, and flangers.
Chorus
Chorus effects play back multiple repetitions of the delayed signal (like reverbs), but
vary the delay time for each one, using an LFO. As the name implies, this effect can
strengthen the sound, and create the impression that the sound is being played by
many instruments or voices in unison. The slight variations in delay time created by the
LFO simulate the subtle differences in timing and pitch heard when several people play
together. Using chorus also adds fullness or richness to the signal, and can add
movement to low or sustained sounds.
Phase Shifters
Phase shifters produce a characteristic “whooshing” sound by combining the original
signal with a copy of the signal that is slightly out of phase with the original. This
means that the amplitudes of the two signals’ sound waves reach their highest and
lowest points at slightly different times. The time between the two signals is
modulated, typically using an LFO. As the two signals go in and out of phase, certain
frequencies, called notch frequencies, are created, which give phase shifters their
distinctive sound.
The main difference between chorus and phase shifting is the amount of delay time.
Chorus effects typically use delay times between 20 and 30 milliseconds (ms), while
phase shifters (and flangers, discussed next) typically use shorter delay times, between
1 and 10 ms.
Chapter 11 Working with Audio Effects 337
Flangers
Flangers work in much the same way as do phase shifters, but additionally change
the pitch of the delayed signal slightly. Flanging is typically used to create a more
extreme change than phase shifting, sometimes described as adding a “spacey” or
“underwater” effect.
All of the modulation effects include parameters for the delay rate (also called speed or
frequency), which let you set the minimum delay time; depth (also called width or
intensity), which you use to set how much the LFO modulates the delay time; and mix,
which you use to control the ratio of the effected (wet) signal to the original (dry)
signal. They can also include parameters for feedback (or regeneration), which add part
of the output back into the input signal.
Reverb and Delay Effects
Reverbs and delays work by copying a part of the audio signal, delaying it for a brief
period of time, and then playing it back with the original signal. The delayed signal can
be played back multiple times, and can be modified in a variety of ways.
Delay
A delay effect stores the audio signal, and then plays back each repetition at a regular
rate of time after the original signal. Delays can be used for doubling individual sounds
(for example, making it sound as if a group of instruments is playing the same melody),
to achieve echo effects (making it sound as though the sound was occurring in an
immense space), and to enhance the stereo position of tracks in a mix. Delay effects are
not commonly used on an overall mix except to achieve special effects (such as to
create an “otherworldly” sound).
Delay effects let you set the delay time, the time between the original signal and the
delayed signal. Delays often provide parameters for feedback (also called regeneration),
which let you set how much of the delayed signal is fed back into the delay’s input,
creating more repetitions of the delay (like the number of “bounces” in an echo). Specific
types of delay have other parameters: Tap tempo delays let you set the delay time by
physically tapping a key or controller; stereo delays include parameters for the pan
position of the output signal, which can be shifted over time using a low-frequency
oscillator (called an LFO).
338 Chapter 11 Working with Audio Effects
Reverb
Reverberation, usually shortened to reverb, simulates the sound of acoustic
environments such as rooms, concert halls, caverns, or the sound of infinite space. In
any acoustic space, sounds echo off the surfaces of the space (the floor, walls, and
ceiling) over and over, gradually dying out until they become inaudible. Reverb effects
consist of thousands of delays, of varying lengths and intensities, that simulate these
natural echoes. Reverb helps define the sense of space in which sounds take place, and
can be used to simulate both realistic and fantastic acoustic environments.
The first form of reverb actually used a room with hard surfaces (called an echo
chamber) to add echoes to the signal. Mechanical devices, including plates and springs,
were also used to add reverberation to the output of instruments and microphones.
Digital sound recording has made it possible to use digital reverbs, which use complex
algorithms (sets of equations) to simulate various acoustic environments with greater
accuracy and flexibility.
Space Designer plug-in
Chapter 11 Working with Audio Effects 339
Simple reverb effects provide parameters for the decay time or reverb time, which let
you set how long the reverb lasts before dying away, and the mix or level, which you
use to set the ratio of the effected signal (called the wet signal) to the original (the dry
signal). More sophisticated reverbs can include the following parameters:
 Room type: Lets you set the type of space the reverb will simulate: a small or large
room, a hall, or another type of acoustic space.
 Predelay time: In an acoustic space, there is a short period of silence between a
sound and the time when the initial echoes of the reverb begin. Different spaces
have different amounts of predelay, which helps “tell” our ears how large the space is.
Longer predelay settings also help separate the original (dry) signal from the effected
(wet) signal, making it sound clearer and sometimes larger.
 Early reflections: The first echoes to arrive from the surrounding surfaces in a space
are determined by the size and shape of the space, and “tell” our ears what type of
space it is.
 Diffusion: Lets you set the number of the echoes in the reverb. Hall reverbs typically
have low diffusion settings, while plate reverbs typically have high diffusion settings.
 High-frequency and low-frequency reverb time: These parameters let you specify the
decay of higher and lower frequencies separately. Different surfaces, such as wood
floors and concrete walls, absorb high and low frequencies at different rates, and
these parameters let you simulate the sound of different environments more closely.
 Reverb envelope: Lets you control how much the volume of the reverb changes over
time. In natural acoustic situations, the reverb echoes decay gradually over time. You
can re-create this gradual decay, or gate the reverb so that it cuts off more abruptly.
Meters and Diagnostic Effects
Diagnostic effects help you analyze and clean up audio in a variety of ways. Each type
of diagnostic effect provides a different way to “look at” an audio clip or file, and each
has a unique set of parameters. These effects are available only as realtime effects in
the Effects tab and the Mixer, not as processing effects.
Correlation Meter
The Correlation meter displays the phase relationship of a stereo signal. A correlation of
+1 (plus one, the far right position) means that the left and right channels “correlate”
100% (that is, they are completely in phase). A correlation of 0 (zero, the center position)
indicates the widest permissible left/right divergence, often audible as an extremely
wide stereo effect. Correlation values less than zero indicate that out-of-phase material is
present, which can lead to phase cancellations if the stereo signal is combined into a
monaural signal.
340 Chapter 11 Working with Audio Effects
MultiMeter
The MultiMeter combines the functions of the Level Meter and Correlation Meter (as
described above) with several other analysis tools:
 A Spectrum Analyzer
 A Goniometer for judging the phase coherency in the stereo sound field
The control panel to the left of the display allows you to switch between the Analyzer
and Goniometer and contains parameter controls for the MultiMeter. The Stereo Level
and Correlation Meter are always visible.
Spectrum Analyzer
The Spectrum Analyzer divides the audio signal into 31 independent frequency bands.
Each frequency band represents one third of an octave. The filter curves comply to IEC
document 1260.
You turn on the Spectrum Analyzer by clicking the Analyzer button. Turning on the
Spectrum Analyzer turns off the Goniometer. The four buttons below determine what
portion of the input signal the Analyzer is displaying. You can choose between Left or
Right channel only. LR max shows the maximum band levels of either channel, while
Mono displays the levels of the stereo signal summed to mono.
The View options determine the level represented by the top line of the scale in the
display (Top; range: –40 to +20 dB) and the overall dynamic range of the Spectrum
Analyzer (Range; range: 20 to 80 dB). These two parameters can also be set directly in
the display: By dragging directly on the bar graph, you can shift the top line of the
display. Dragging directly on the dB scale allows you to compress or expand the scale’s
range. The View options are useful when analyzing highly compressed material as you
can identify smaller level differences more easily by moving and/or reducing the
display range.
There are three display respond modes: RMS Slow, RMS Fast, and Peak. RMS Slow and
RMS Fast modes show the effective signal average (Root Mean Square) and offer a good
representation of the perceived volume levels. Peak mode shows level peaks accurately.
Goniometer
The Goniometer helps you to determine the coherence of the stereo image. Using the
Goniometer, you can see phase problems as trace cancellations along the center-line
(M=mid/mono). Goniometers developed when early two channel oscilloscopes first
appeared. Users would connect the left and right stereo channels to the X and Y inputs
while rotating the display by 45 degrees, resulting in a useful visualization of the
signal’s stereo phase.
The signal trace slowly fades to black, imitating the glow of the tubes found in older
Goniometers, and at the same time enhancing readability.
Chapter 11 Working with Audio Effects 341
Clicking the Goniometer button turns on the Goniometer and turns off the Spectrum
Analyzer. You can use the Auto Gain display parameter in order to obtain a higher readout
on low-level passages. Auto Gain allows the display to automatically compensate for low
input levels. You can set the amount of compensation with the Auto Gain parameter, or
set Auto Gain by dragging directly in the display area of the Goniometer.
Note: Auto Gain is a display parameter only and increases the display for better
readability. The actual audio levels are not touched by this parameter.
Miscellaneous Effects
Miscellaneous effects don’t fall into any of the other categories. They include denoising
effects, pitch shifting effects, stereo enhancers, bass enhancers, and effects used to
transform the sound of vocals. Each effect gives you a different way to modify the
audio, and includes a unique set of parameters.
Denoiser
Using the Denoiser, you can eliminate or reduce many kinds of low-level noise (noise
floor) from an audio signal. The main parameters of the Denoiser are Threshold, Reduce,
and Noise Type. The Threshold parameter sets how high the noise floor is for the audio
signal. The recommended method for setting the Threshold is to find a passage where
you hear only noise, then set the Threshold so that signals at this volume level are
filtered out.
The Reduce parameter sets the level to which the noise floor is reduced. You use the
Noise Type parameter to set the type of noise that the Denoiser reduces. There are
three choices of noise type:
 Setting the Noise Type to 0 (zero) causes the Denoiser to reduce “white noise” (all
frequencies reduced equally).
 Setting the Noise Type to a positive value causes the Denoiser to reduce “pink noise”
(harmonic noise; greater bass response).
 Setting the Noise Type to a negative value causes the Denoiser to reduce “blue noise”
(hiss, sibilants, tape noise).
The Denoiser recognizes frequency bands with a lower volume and less complex
harmonic structure, and then reduces them to the desired dB value. This method is not
completely precise, and neighboring frequencies are also reduced. Using the Denoiser
at too-high settings can produce the “glass-noise” effect, which is usually less desirable
than the existing noise.
342 Chapter 11 Working with Audio Effects
There are three smoothing parameters that you can use to minimize the “glass-noise”
effect: Frequency smoothing, Time smoothing, and Level smoothing. Raising the
Frequency smoothing slider results in a smoother transition of denoising to the
neighboring frequencies. When the Denoiser recognizes that only noise is present in a
certain frequency band, the higher the Frequency Smoothing parameter is set, the
more it will also change the neighboring frequency bands to avoid glass noise.
By adjusting the Time smoothing slider, you can set the amount of time the Denoiser
takes to reach maximum noise reduction. By adjusting the Level smoothing slider, you
can set a factor for a smoother transition between adjacent volume levels. When the
Denoiser recognizes that only noise is present in a certain volume range, the higher the
Transition smoothing parameter is set, the more it will also change similar level values
to avoid glass noise.
Stereo Spread
The Stereo Spread plug-in is a useful effect for sound design or audio clean-up. It
enhances the perception of stereo by extending the stereo base. Some stereo
enhancing algorithms function by changing the phase of the signal, which can distort
your mix and produce unpredictable results. Instead, the Stereo Spread plug-in extends
the stereo base by distributing a selectable number of bands in the middle frequency
range alternately left and right. This increases the perception of stereo without causing
unnatural-sounding distortion of the mix.
The main parameters of the Stereo Spread plug-in are Order, Upper Intensity (Upper Int.),
and Lower Intensity (Lower Int.). The Order parameter determines number of frequency
bands into which the signal is divided. The Upper Intensity parameter controls the
intensity of the base extension of the upper frequency bands. The Lower Intensity
parameter controls the intensity of the base extension of the lower frequency bands.
Human beings perceive stereo placement of sounds mainly in the middle and high
frequencies. If very low frequencies are distributed between the left and right speakers,
the energy distribution for both speakers will be significantly worse. Therefore, it is
always best to select a lower intensity setting for the lower frequency bands, and avoid
setting the Lower Freq. below 300 Hz.
Chapter 11 Working with Audio Effects 343
Working with Realtime Effects
You can add realtime effects to a track, bus, submix, or the Master bus in a multitrack
project, or to an audio file project, and then adjust the effect parameters to control the
way in which the effects alter the sound of the track or project.
For more information about signal flow in Soundtrack Pro and the various points in the
signal flow where you can add effects, see “Basic Signal Routing in Soundtrack Pro” on
page 263 and “Using Sends and Busses” on page 270.
Working in the Effects Tab
The Effects tab is where you add realtime effects and adjust realtime effect parameters.
To open the Effects tab, do one of the following:
m Choose Window > Tabs > Effects (or press Command-5).
m Click the Effects tab to make it active.
The Effects tab becomes active and displays the current effects settings for the track,
bus, submix, or project.
The upper part of the Effects tab contains lists of available effect categories. When you
click an item in the Category list, the available effects in that category appear in the
Effects list, where you can select and add them to the current effects chain.
The lower part of the Effects tab shows the effects and sends in the current effects
chain. You can show and edit effect and send parameters in the Effect Parameters area.
Track
Submix bus
Bus
1
Effects
Master bus
344 Chapter 11 Working with Audio Effects
Adding Realtime Effects
You can add realtime effects in the Effects tab. You can create effects chains, which are a
series of effects in a specific order. You can reorder effects in an effects chain at any
time, and hear the results immediately.
To add a realtime effect to a track, bus, or submix in the Timeline:
1 Select a track, bus, submix, or the Master bus in the Timeline.
2 Do one of the following to open the Effects tab:
 Choose Window > Tabs > Effects (or press Command-5).
 Click the Effects tab to make it active.
3 In the Effects list, select a category in the Category list to display the effects for that
category in the Effects list.
4 In the Effects list, do one of the following:
 Double-click the effect you want to add.
 Select the effect name, then click the Add Effect button.
 Drag the effect to the Effect Parameters area.
The effect’s advanced settings window appears, and the effect name appears in the
Effect Parameters area with its checkbox selected.
Note: For information about applying effects to individual audio files, see “Applying
Processing Effects” on page 328.
Select the effect you
want to add.
Click the Add Effect
button, double-click the
effect, or drag the effect
into the Effect Parameters
area to add it.
Select a category to
display its effects.
Chapter 11 Working with Audio Effects 345
To add a realtime effect to a track, bus, or submix in the Mixer,
do one of the following:
m Control-click an effects slot in the channel strip of the track, bus, or submix, then
choose Add Effect from the shortcut menu and an effect from one of the submenus.
m Select the channel strip in the Mixer for the track, bus, or submix and follow the steps
in the previous task.
To add a realtime effect to an audio file project in the File Editor project view:
1 Open an audio file or audio file project in the File Editor.
2 In the Effects tab, select a category in the Category list to display the effects for that
category in the Effects list.
3 In the Effect list, do one of the following:
 Double-click the effect you want to add to the track.
 Select the effect name, then click the Add Effect button.
 Drag the effect to the Effect Parameters area.
The effect’s advanced settings window appears, and the effect name appears in the
Effect Parameters area with its checkbox selected.
Important: Some effects, including reverb and delay, add audio that extends past the
end of the file. This is called an effect tail. When you export a project mix, or export a
track, bus, or submix with an effect that produces a tail, the exported file is lengthened
to include the effect tail until the point at which the tail falls below –96 dB. Also, when
you choose Process > Render To Action for an audio file project with a realtime effect
that produces a tail, the rendered project is lengthened to include the effect tail until
the point at which the tail falls below –96 dB.
Adjusting Realtime Effect Parameters
Once you’ve added a realtime effect, you can adjust the effect parameters to change
the way the effect alters the sound of the track, bus, submix, or audio file project. Each
type of effect has its own parameters, as discussed earlier. Many realtime effects have
an advanced settings window. The advanced settings window appears as a floating
window with related controls grouped together, and may provide an appearance that
simulates a hardware effects device. Effects with an advanced settings window have an
Advanced button at the top of the Effect Parameters area in the Effects tab.
Note: Generally, you use the advanced settings window to make adjustments to the
effect. While you can also make adjustments in the Effect Parameters area of the Effects
tab, its primary purpose is to enable automation, to chain, reorder and bypass effects,
and to add and adjust sends.
346 Chapter 11 Working with Audio Effects
To adjust realtime effect parameters in the advanced settings window:
1 Do one of the following to open the window:
 Apply the effect to a track, bus, or submix and the effect’s advanced settings window
appears automatically.
 In the Effects tab, click the Advanced button for the effect.
 In the Mixer, Control-click the effect name, then choose Show [effect name] Advanced
Settings from the shortcut menu.
 In the Mixer, double-click the effect name.
The effect’s advanced settings window appears.
2 Play the audio in the Timeline or the File Editor project view.
Optionally, you can apply a cycle region or solo the track, bus, or submix in the Timeline.
3 Make adjustments in the advanced settings window as you play the audio.
You can adjust the effect’s parameters by moving the controls in the window. Each
advanced settings window may have unique controls in addition to sliders, buttons,
and value fields.
For detailed information on adjusting the parameters of specific effects, see the
Soundtrack Pro Effects Reference document in the Help menu.
4 Optionally, do any of the following:
 Click the Reset button to reset the parameters to their default values.
 Click the Toggle Effect Bypass button to hear the audio without the effect.
 Click the Show Presets button to display the available presets.
For more information about presets, see “Working with Effect Presets” on page 330.
5 When you are finished, close the advanced settings window.
The changes are applied.
Toggle Effect Bypass button
Advanced settings
windows can contain
different kinds of
controls.
Reset button Show Presets button
Chapter 11 Working with Audio Effects 347
To adjust realtime effect parameters in the Effect Parameters area of the Effects tab:
1 Click the disclosure triangle next to the effect in the Effect Parameters area to display
its parameters.
2 Adjust the effect parameter by dragging the slider, selecting the checkbox, or choosing
an item from the pop-up menu. You can also adjust the parameter by entering a valid
value in the field to the right of the parameter’s control.
Chaining and Reordering Realtime Effects
You can add more than one realtime effect to a track, bus, submix, or audio file project.
Adding multiple effects to an effects chain is called chaining effects.
When you add multiple effects, the effects are applied in sequence, meaning that the
output of the first effect becomes the input for the next effect, and so on, for each
effect in the chain. The order in which effects are applied is important, because each
alters the input signal, which includes the output of previous effects in the chain. You
can reorder effects and hear the difference in the way they alter the sound.
Adjust a parameter by
dragging its slider.
You can also adjust the
parameter by entering a
value in the field.
Click the disclosure
triangle to display the
effect’s parameters.
348 Chapter 11 Working with Audio Effects
To add multiple effects to an effects chain, do one of the following:
m Double-click the effect you want to add in the Effects list.
m Select the effect in the Effects list, then click the Add Effect button.
The effect appears in the Effect Parameters area below any previously added effects.
You can now set the parameters of the added effect.
Note: Adding more than a few effects to an effects chain can cause extreme changes
to the sound of a project. This may be what you want, but in some cases can produce
undesirable results. Listen to the project as you add effects to be sure you are satisfied
with the results.
To reorder effects in an effects chain:
m In the Effect Parameters area, drag the effect up or down in the list to change its order.
Select the effect you
want to add, then click
the Add Effect button.
You can also drag the
effect to the Effect
Parameters area.
Drag effects up or down
in the list to reorder them.
Chapter 11 Working with Audio Effects 349
Bypassing Realtime Effects
You can turn off an effect in the Effects tab, which “bypasses” the effect in the effects
chain. When you bypass an effect, the effect is not heard, but all effect parameters are
retained. To hear the effect again, reselect the effect’s checkbox. This lets you hear how
each effect in a chain alters the sound.
To bypass an effect:
m In the Effects tab, deselect the checkbox next to the effect.
Adding Sends to Tracks
You can add sends to a realtime effects chain. When you add a send, the send is
added at the end of the current effects chain. You can move the send to another place
in the effects chain, choose the bus for a send, adjust send volume and pan, and
bypass a send. For more general information about sends and busses, see “Using Sends
and Busses” on page 270.
To add a send to a track, do one of the following:
m Control-click the track in the Timeline or the Mixer, then choose Add Send from the
shortcut menu.
m In the Effects tab, click the Add Send button.
A send appears below the last effect in the track’s effects chain. You can assign the
send to a bus in the Effects tab or the Mixer.
Deselect the checkbox
next to the effect name
to bypass the effect.
350 Chapter 11 Working with Audio Effects
Choosing the Bus to Which a Send Is Routed
When you add a send, the audio is routed from the send to a bus. By default, the first send
you add to a track is routed to Bus 1, the second send is routed to Bus 2, and so on, if the
bus exists. Once you add a send, you can choose the bus to which the send is routed.
To choose the bus to which a send is routed, do one of the following:
m In the Effect Parameters area of the Effects tab, choose a bus from the Send
pop-up menu.
m In the Mixer, control-click an effects slot in the channel strip, choose Add Send from the
shortcut menu, then choose one of the available busses in the submenu.
Note: If no bus exists, the menus will read “Unconnected.” You must first create a bus
by choosing Multitrack > Add Bus.
Adjusting Send Volume
You can adjust the volume level for the audio routed through a send.
To adjust send volume:
1 If the send volume slider is not visible, click the disclosure triangle for the send.
2 Drag the send volume slider left to lower the volume level, or drag it right to raise the
volume level.
Add Send button
Send pop-up menu
Chapter 11 Working with Audio Effects 351
Adjusting Send Pan Position
You can adjust the pan position for the audio routed through a send.
To adjust send pan position:
1 If the send pan sliders are not visible, click the disclosure triangle for the send.
2 Drag the send pan (x) slider left to pan the send to the left, or drag it right to pan the send
to the right. Drag the pan (y) and pan (lfe) sliders to adjust the surround pan settings.
Note: For information on surround panning, see Chapter 9, “Mixing Surround Sound,”
on page 293.
Reordering Sends
You can reorder sends in the Effects tab or in the Mixer.
To reorder a send:
m In the Effect Parameters area or in the Mixer, drag the send up or down in the list to
change its order.
Bypassing Sends
You can bypass a send. When you bypass a send, the audio is not routed to the bus for
the send, and is not heard.
To bypass an effect:
m In the Effects tab, deselect the checkbox next to the send.
Automating Realtime Effect Parameters
You can automate realtime effect parameters using envelopes. When you automate an
effect parameter, you can change the value of the parameter over time. You are
basically “recording” effect parameter changes into parameter automation envelopes
that can then be edited and re-recorded. For more information about automation, see
Chapter 12, “Working with Automation,” on page 355.
Automation-enable
checkboxes
352 Chapter 11 Working with Audio Effects
To automate a realtime effect parameter:
1 In the Effects tab, select the Auto (Automation-enable) checkbox next to the
parameter’s control.
2 In the Timeline or in the File Editor project view, show the envelopes for the track, bus,
submix, or audio file project.
In the Timeline, you show the envelopes for the track, bus, or submix with the effect. In
the File Editor, you show the envelopes for the audio file project.
3 Add and adjust envelope points in the effect’s envelope.
For information on adding and adjusting envelope points, see Chapter 12, “Working
with Automation,” on page 355.
When you automate an effect parameter with units of time (seconds or milliseconds) or
beats per minute (BPM) for values, the parameter is linked to the project tempo. If the
tempo changes, the value of the parameter changes to keep the same relationship to
the new tempo.
Resetting Realtime Effects to Their Default Settings
Every realtime effect has default parameter settings that are displayed in the Effect
Parameters area when you first add the effect. You can reset an effect to its default
parameter settings, or reset an individual parameter to its default setting.
To reset a realtime effect to its default settings:
m In the Effects tab, select the effect name in the Effect Parameters area, then click the
Reset button.
To reset an individual effect parameter to its default settings:
m Select the parameter in the Effect Parameters area, then click the Reset button.
Removing Realtime Effects
You can remove a realtime effect from an effects chain.
To remove an effect:
m Select the effect name in the Effect Parameters area, then click the Remove Effect
button on the right edge of the Effects tab (or press the Delete key).
Chapter 11 Working with Audio Effects 353
Working with Processing Effects
You can apply processing effects to an audio file or a selected part of a file in the File
Editor. In the File Editor, you apply a processing effect by choosing the effect from the
Effects submenu of the Process menu, as described in “Applying Actions” on page 230.
Processing effects are applied as actions and appear in the Actions menu of the File
Editor. You can reorder processing effects, turn them on or off, and perform all of the
operations for actions described in “Working with Actions” on page 230.
Advanced Settings for Processing Effects
You adjust processing effect parameters in the advanced settings window for the
processing effect. When you apply a processing effect by choosing the effect from the
Process > Effects submenu, the advanced settings window for the effect appears in
front of the Soundtrack Pro window. You can also show the advanced settings window
if you want to adjust processing effect parameters.
To show the advanced settings window for a processing effect:
m Double-click the effect in the Actions list.
When you open an advanced settings window for a processing effect, the window
includes controls to play the project with the effect, adjust volume level, apply the
effect, reset effect parameters, and cancel applying the effect.
For information on using the preview controls in the advanced settings window, see
“Choosing Processing Effects” on page 219.
Advanced settings
windows can contain
different kinds of
controls.
Toggle Effect Bypass
button
Apply button
Show Presets button
Preview volume
slider
Play button
Reset button
354 Chapter 11 Working with Audio Effects
Automating Processing Effect Parameters
For the effects in the categorized submenus at the top of the Effects submenu of the
Process menu (not including Mac OS effects), you can add an envelope for an effect
parameter by Control-clicking the parameter in the advanced settings window. You can
add envelope points to the envelope to automate changes to the effect parameter.
12
355
12 Working with Automation
Using automation, you can create changes over time
to volume, pan, effects, and other controls.
Automation offers a powerful way to add drama and interest to your projects. You can
automate volume and pan changes to tracks, busses, and submixes and automate
changes to effect and effect send parameters in multitrack projects. You can also
automate volume, pan, and effects changes in audio file projects.
Soundtrack Pro gives you three ways to work with automation:
 You can add and adjust envelope points on envelopes in the Timeline and in the
File Editor.
 You can record changes over time to sliders, faders, and other controls in the
Timeline, the Mixer, and the Effects tab.
 You can record movements with faders on a control surface connected to your
computer and mapped to Soundtrack Pro commands and functions.
Working with Envelopes
In the Timeline, each track, bus, and submix has a set of envelopes. The envelopes
appear as horizontal lines stretching across the length of the project directly below the
track, bus, or submix. You adjust an envelope by adding envelope points and moving
the envelope points to new values at different points in the Timeline.
For video editors accustomed to working in Final Cut Pro, envelopes provide the same
type of functionality as keyframes. The difference is that you can edit envelopes at a
finer level of precision than you can using keyframes, allowing extremely powerful
control over automated changes.
356 Chapter 12 Working with Automation
Track, Bus, and Submix Envelopes
Each track and bus has envelopes for volume and pan, and each submix has a volume
envelope. By default, the envelopes are hidden. When you show the envelopes, they
appear in rows below the track, bus, or submix in the Timeline.
When you add effects to a track, bus, or submix, you can automate the effect
parameters by adding an envelope for any parameter to the envelopes for the track,
bus, or submix. The envelopes are different for each type of effect. For information on
adjusting effect parameters, see Chapter 11, “Working with Audio Effects,” on page 327.
To show the envelopes for a track, bus, or submix:
m Click the envelope disclosure triangle in the track header. Click the disclosure triangle
again to hide the envelopes.
Default Stereo Envelopes
The default envelopes for tracks using stereo panners are Volume and Pan. The ranges
of volume and pan envelopes are equivalent to the ranges of the corresponding track
controls:
 Volume envelopes: The range is from –96 dB to +6 dB.
 Track pan envelope: The range is from 100% Left to 100% Right pan, with Centered at
the midpoint, 0 (zero).
Default Surround Envelopes
The default envelopes for tracks using surround panners are as follows:
 Volume
 Surround Pan X
 Surround Pan Y
 Rotation
 Width
 Collapse
 Center Bias
 LFE
 Left Speaker Disable
 Center Speaker Disable
Click the envelope
disclosure triangle.
The envelopes are
displayed below the
track, bus, or submix.
Chapter 12 Working with Automation 357
 Right Speaker Disable
 Left Surround Speaker Disable
 Right Surround Speaker Disable
For a complete description of each of these surround parameters, see “The Surround
Panner HUD” on page 300.
Adding Envelope Points
You create changes to an envelope by adding envelope points to the envelope, and
moving them to different values.
To add an envelope point to an envelope:
m Double-click the envelope at the position where you want to add the envelope point.
You may want to zoom in to work more precisely.
When you add envelope points, they snap to the closest Snap To position if snapping is
turned on. For information on setting the Snap To value, see “Using Snapping” on page 94.
Selecting Envelope Points
You can select a single envelope point or a group of adjacent or nonadjacent
envelope points.
To select an envelope point:
m Click the envelope point.
Surround envelopes
Double-click an envelope
to add an envelope point.
358 Chapter 12 Working with Automation
To select multiple envelope points, do one of the following:
m Drag from an area in the automation row before the first envelope point you want to
select to an area after the last envelope point you want to select.
m If the envelope points are adjacent, Shift-click the first envelope point, then the last
envelope point you want to select. All envelope points in between are also selected.
m Command-click each envelope point you want to select. You can select adjacent or
nonadjacent envelope points by Command-clicking.
To deselect a selected envelope point, do one of the following:
m Command-click the selected envelope point.
m Click in the automation row or somewhere else in the Timeline to deselect all selected
envelope points.
Moving Envelope Points
Once you add an envelope point, you can drag it up or down to change its value. As
you drag an envelope point up or down, its value appears to the right of the pointer.
You can drag an envelope point left or right to change its position in time. You can also
select and move multiple envelope points at the same time.
When you move an envelope point, the position of the envelope point snaps to the
closest Snap To position if snapping is turned on. For information on setting the Snap
To value, see “Using Snapping” on page 94.
To move an envelope point:
m Select the envelope point, then drag it to a new position.
Each envelope has an envelope point, at the beginning of the Timeline. You can make
adjustments by moving this envelope point up or down. If no envelope points have
been added, dragging the envelope’s handle adjusts the envelope for the entire project.
If you add more than one envelope point to an envelope, you can move envelope
points using the corresponding slider. When you move the slider, the envelope points
closest to the playhead (the closest before and the closest after) move by the same
amount as the slider.
Drag in the envelope’s
row to select multiple
envelope points.
Chapter 12 Working with Automation 359
Selecting and Moving Envelope Points with Clips
By default, when you select or move a clip in the Timeline, the associated envelope
points are not selected, and they do not move with the clip. You can set Soundtrack Pro
to do the opposite: to select associated envelope points when you select a clip. In this
case, if you move the clip, the envelope points move with it.
To select and move clips and envelope points together:
m Click the Select Envelope Points With Clips button at the top of the Timeline.
To select and move clips and envelope points independently of each other:
m Click the Select Only Clips button at the top of the Timeline.
Note: If you have the Select Envelope Points With Clips mode turned on, and you overlap
a clip with envelope points on another clip with envelope points to create a crossfade,
the moved clip’s envelope points will overwrite the static clip’s envelope points.
The Timeslice Tool and the Envelope Selection Mode
If Soundtrack Pro is in Select Envelope Points With Clips mode, any Timeslice selection
rectangle includes all envelope rows within the selection. If Soundtrack Pro is in the
Select Only Clips mode, no envelope rows are included in the Timeslice selection.
Note: If you change the envelope mode after you have already drawn the Timeslice
marquee, the Timeslice will change to match the current setting.
For more information about the Timeslice tool, see “Removing Audio Clips” on page 152.
Select Envelope Points
with Clips button
Select Only Clips button
Select Envelope Points
With Clips mode
Select Only Clips mode
360 Chapter 12 Working with Automation
Viewing and Editing Envelope Point Details
You can also view and edit the value, position, and other details for an envelope point
in the Details tab.
To view envelope point details:
1 Click the Details tab.
2 Select the envelope point for which you want to view details.
The details for the envelope point appear in the Details tab, including its value and
position. You can edit the value and position in the Details tab, change the format for
the position, and copy the value of the previous or next envelope point (if one exists).
To change the value of an envelope point in the Details tab:
1 With the Details tab active, select the envelope point.
2 In the Details tab, do one of the following:
Click the left arrow in the Value value slider to decrease the value, or click the right
arrow to increase the value.
 Click the center of the value slider, then drag the slider that appears left or right to
change the value.
 Click the text in the value slider to select it, then type a new value.
To change the position of an envelope point in the Details tab:
1 With the Details tab active, select the envelope point.
2 In the Details tab, do one of the following:
 In the Position value slider, click the left arrow to move the envelope point back
(toward the start of the project) or click the right arrow to move the envelope point
forward (toward the end of the project).
 Click the center of the Position value slider, then drag the slider that appears left or
right to change the position.
 Click the text in the Position value slider, then type a new value.
Chapter 12 Working with Automation 361
To change the units shown in the Position value slider:
m Choose the units you want to show from the pop-up menu next to the Position
value slider.
To copy the value of the previous envelope point:
1 With the Details tab active, select the envelope point to which you want to copy
the value.
2 In the Details tab, click Copy From Previous Point.
To copy the value of the next envelope point:
1 With the Details tab active, select the envelope point to which you want to copy
the value.
2 In the Details tab, click Copy From Next Point.
Changing the Values of Envelope Points Numerically
You can also change the value of an envelope point numerically.
To change the value of an envelope point numerically:
1 Control-click the envelope point, then choose Set Value from the shortcut menu.
2 Enter a new value for the envelope point in the dialog that appears.
The envelope point moves to the new value. You can set the envelope point to the same
value as the previous or next envelope point on the envelope from the shortcut menu.
Changing the Position of Envelope Points Numerically
You can change the position of an envelope point in the Timeline numerically.
To change the position of an envelope point numerically:
1 Control-click the envelope point, then choose Set Position from the shortcut menu.
2 In the dialog that appears, click the left or right arrow in the value slider, click the
center of the value slider and drag left or right, or double-click the value slider and type
a new position.
The envelope point moves to the new position.
For more information about value sliders, see “About Changing Values and Timecode
Entries” on page 75.
362 Chapter 12 Working with Automation
Nudging Envelope Points
There are several ways in which you can nudge envelope points using the arrow keys:
 Hold down the Command and Option keys and press the Left or Right Arrow key to
move the envelope point to the previous or next video frame.
 Hold down the Command key and press the Left or Right Arrow key to move the
envelope point to the previous or next gridline.
 Hold down the Command key and press the Up or Down Arrow key to move the
envelope point up or down by one coarse value.
 Hold down the Command and Option keys and press the Up or Down Arrow key to
move the envelope point up or down by one fine value.
Cutting, Copying, and Pasting Envelope Points
You can cut and copy selected envelope points and paste them at a different position
in the automation row.
To cut envelope points:
m Select the envelope point, then choose Edit > Cut (or press Command-X).
To copy envelope points:
m Select the envelope points, then choose Edit > Copy (or press Command-C).
To paste envelope points:
m Set the playhead to the point where you want to paste the envelope points, then
choose Edit > Paste (or press Command-V).
When you paste envelope points into an automation row, the new envelope points
replace any existing envelope points, and the automation takes the shape of the cut or
copied envelope in the pasted area.
When pasting envelope points, the following conditions apply:
 Envelope points can only be pasted into an envelope of the same type as the envelope
from which they were cut or copied. For example, envelope points from a volume
envelope can only be pasted into a volume envelope, not a pan or tempo envelope.
 Envelope points for an effect parameter can only be pasted into an envelope for
exactly the same effect parameter in exactly the same type of effect. You cannot
paste envelope points from one effect into another, even if they have parameters
with the same name.
Pasting envelope points
into an envelope replaces
the existing area of the
envelope with the cut or
copied area.
Chapter 12 Working with Automation 363
Deleting Envelope Points
After listening to the results of your edits, you may decide to delete some envelope points.
To delete envelope points:
1 Select the envelope points.
2 Do one of the following:
 Choose Edit > Delete.
 Press the Delete key.
 Press Command-X.
When you delete envelope points, the envelope adjusts accordingly, moving evenly
from the preceding envelope point to the next envelope point. If there are no other
envelope points, the envelope becomes horizontal, maintaining its initial value for the
entire project.
Automating Effect and Send Parameters
You can automate effect parameters for tracks, busses, and submixes and for audio file
projects by adding envelopes for the effect parameters and then adding and adjusting
envelope points. You can also automate send parameters for tracks by adding an
envelope for the send parameters, then adding and adjusting envelope points.
To add an envelope for an effect or send parameter:
1 Open the Effects tab and select the effect you want to automate.
2 In the Effect Parameters area, select the Auto checkbox for the parameter.
Click the Auto checkbox
for an effect parameter to
add an envelope for the
parameter.
364 Chapter 12 Working with Automation
To remove an envelope for an effect parameter:
m Deselect the Auto checkbox for the parameter in the Effect Parameters area of the
Effects window.
The range of values for an effect or send parameter envelope is the same as the range
for the parameter in the Effects tab.
For detailed information on adjusting effect parameters, see “Adjusting Realtime Effect
Parameters” on page 345.
Master Bus
Each project has a Master bus that includes envelopes for volume, transposition, and
tempo. By default, only the Volume envelope is visible because Transposition and
Tempo are specifically for projects containing only tagged and looping clips.
To show or hide the Master bus envelopes, do one of the following:
m Click the Master bus disclosure triangle in the Timeline.
m Choose Master Envelopes from the Show pop-up menu at the upper-right corner of
the Timeline.
Repeat the procedure to hide the Master bus envelopes.
To show the Transpose or Tempo envelopes:
m Choose Transpose or Tempo from the Show Envelopes pop-up menu in the Master bus
track header.
The ranges of the master envelopes are as follows:
 Master transpose envelope: Ranges from –12 semitones to +12 semitones.
 Master tempo envelope: Ranges from 60 bpm to 200 bpm.
For more information about the Master bus, see “Using the Master Bus” on page 290.
The Master bus
envelopes appear below
the Master bus.
Chapter 12 Working with Automation 365
Recording Automation Data
In addition to working with envelopes, you can record automation data in
Soundtrack Pro. You can record movements you make to faders, sliders, and other
onscreen controls using the pointer. You can also connect a supported control
surface to your computer and record movements to controls and faders on the control
surface. When you record movements to onscreen controls or control surface controls,
the corresponding envelope in the Timeline (or File Editor) changes to display the
recorded automation data. You can edit the envelope to fine tune the automation
data after recording.
Automation Modes
Soundtrack Pro provides three modes for using and recording automation. The
automation modes determine whether automation data is recorded, and what
happens when you release the control being recording.
 Read: In Read mode, existing automation data is active when you play the project,
but no new automation data is recorded.
 Touch: In Touch mode, movements to controls are recorded when you play the
project, overwriting any existing automation data until you release the control. When
you release a control in Touch mode, the control returns to the value it previously
had at the point in the Timeline where you release the control. No envelope points
after that point are added or changed.
 Latch: In Latch mode, movements to controls are recorded when you play the
project, overwriting any data from the point you start recording until you stop
playing the project. When you release a control in Latch mode, the control maintains
the same value at which you released it.
To record automation data for movements to controls:
1 Choose either Touch or Latch from the Automation Mode pop-up menu.
2 Set the playhead to a position before the point where you want to start recording.
3 Click Play (or press the Space bar) to start the project playing.
4 While the project plays, move the control you want to record.
Once you have recorded automation data, you can show the envelope for the control
and add and adjust envelope points on the envelope to fine tune the automation. For
information on working with envelopes, see “Working with Envelopes” on page 355.
For more information on working with control surfaces, see Chapter 15, “Using Control
Surfaces with Soundtrack Pro,” on page 391.
366 Chapter 12 Working with Automation
Thinning Envelope Points in Recorded Automation Data
Recording automation data can generate a large number of envelope points. The
number of envelope points recorded can make editing envelopes difficult, and in some
cases affect playback performance.
You can reduce or “thin” the number of envelope points recorded from a control
surface in the Project Preferences. You set the amount of thinning using the
Automation Recording Sensitivity slider. The automation data is thinned when you
finish recording automation.
To set the amount of thinning:
1 Choose Soundtrack Pro > Preferences, then click the General button.
2 In the General pane, drag the Automation Recording Sensitivity slider to adjust the
amount of thinning.
When the slider is set to High, no thinning occurs. The envelope contains every
movement of the control. Dragging the slider to any position other than High results
in some thinning of envelope points. By default, the slider is set to a moderate
amount of thinning.
For more information about Soundtrack Pro project preferences, see “Project
Preferences” on page 99.
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367
13 Recording Audio
in Soundtrack Pro
You can record your own audio on one or more tracks
in the Timeline, the Mixer, or the File Editor project view
as a mono, stereo, or multichannel file.
You get ready to record by setting recording preferences and checking that your audio
equipment is working. For multitrack projects, you enable a track for recording or
record audio in a new track. You can record a single take or record multiple takes. If
you record multiple takes, you can review them after recording and choose which one
to use in your project or assemble a composite take using segments of each
recorded take using the Multitake Editor.
Getting Ready to Record
Before you start recording, make sure that any audio equipment you plan to use in
your recording session (such as microphones, musical equipment, mixers, or external
processors) is connected to your computer and is working.
When you record, the recorded audio is saved to disk at the location set in the
Recording pane of the Preferences window. Audio files, while smaller than video files of
comparable duration, can be quite large (each minute of 16-bit, 44.1 kHz stereo audio
requires roughly 10 MB of disk space), so you should make sure you have enough free
disk space to store your recordings before you start. You can set the input device and
output monitoring device for recording in the Preferences Recording pane, or change
them in the Recording tab. For detailed information on Recording preferences, see
“Recording Preferences” on page 100.
For audio file projects, you record in the File Editor. When you record in the File Editor,
the recording replaces (overwrites) any audio over which you record. If you record for a
longer duration than the current length of the file, the file is lengthened to include the
recorded audio.
368 Chapter 13 Recording Audio in Soundtrack Pro
Recording Audio in the Timeline
You record in the Timeline by enabling a track for recording, setting the playhead, then
clicking Record. You can record a single take or record multiple takes by turning on
cycling before you start recording. When you finish recording, your recorded audio
appears in a track in the Timeline. If you record multiple takes, you can audition each
take to choose which one you want to use in your project. You can also assemble
composite takes by splitting and combining your recorded takes.
Enabling Tracks for Recording
Before you start recording, you enable the tracks you want to record to. You can record
audio only to tracks, not to busses or submixes. If no track is enabled for recording, a
new track is created below the existing tracks, and the take appears on the new track
when you click the Record button.
Note: For details on multitrack recording, see “Multitrack Recording” on page 371.
To enable a track for recording:
m Click the Arm for Recording button (the red letter R) in the track’s header (or Mixer
channel strip).
The Recording tab becomes active and shows the current recording settings. You can
adjust recording settings before you start recording or between recordings.
Arm for Recording button
Input routing buttons
Input Device pop-up menu
Configure Device button
Monitor pop-up menu
Mute Project checkbox
Track pop-up menu
Input Channel pop-up menu
Chapter 13 Recording Audio in Soundtrack Pro 369
Adjusting Recording Settings
Before you click the Record button, you may need to configure the input device, the
choice of input channels, and other device and monitor settings.
To adjust recording settings:
1 In the Recording tab, choose the input device from the Input Device pop-up menu.
The available choices include your computer’s Built-in Audio, plus any other installed
audio interfaces.
Note: You can also access the Input pop-up menus from the track header, but only if
the Timeline Track Height is set to either medium or large.
2 Use the Input Channel pop-up menu to choose the channel (or set of channels).
The available choices are Mono (one channel), Stereo (two channels), 3 channels, 4
channels, 5 channels, 6 channels, and Surround 5.1.
Choose a recording
device from the Input
Device pop-up menu.
Choose the channel from
the Input Channel
pop-up menu.
370 Chapter 13 Recording Audio in Soundtrack Pro
The Recording tab adjusts the level meter display based on the channel (or set of
channels) you choose. For example, for the default Stereo setting, the Recording tab
displays the Left and Right level meters. If you choose the 4-channel setting, the
Recording tab displays level meters 1 through 4. If you choose the Surround 5.1 setting,
the Recording tab displays the standard surround level meters.
3 Confirm the channel routing in the input routing buttons below the Input Channel
pop-up menu. If necessary, click any of the active input routing buttons and use the
pop-up menus to route a different channel from the input device to the channel in the
recorded audio file.
If your audio interface allows labeled inputs, the input routing button pop-up menus
display the names.
4 Optionally, you can click the Configure Device button to open the Audio MIDI Setup
utility. For more information, see “Audio MIDI Setup” on page 23.
5 Use the Monitor Device pop-up menu to choose the device for monitoring the
recorded audio.
6 If you want to record without hearing the existing audio clips in the project, select the
Mute Project checkbox.
The level meters in the Recording tab show the level of the audio signal in the input
channels. Before recording, you may want to watch the level meters and set the input
level to ensure a high enough signal level and to avoid clipping.
Stereo 4-channel Surround
Input routing buttons
Chapter 13 Recording Audio in Soundtrack Pro 371
Recording a Single Take
You record a single take by setting the playhead to the point where you want
recording to start, then clicking the Record button. Recording starts at the playhead
position, and ends when you click either the Record or Play/Pause button.
To record a single take:
1 If you want to record to an existing track, enable the track for recording.
2 Set the playhead to the point where you want recording to start.
You can set the playhead using any of the procedures described in “Setting the
Playhead Quickly” on page 72.
3 Click the Record button in the transport controls to start recording.
As you record, the level meters in the Recording tab show the levels of the input signal
being recorded. If the input signal clips (rises above 0 dB), the peak indicator lights red.
4 To stop recording, do one of the following:
 Click the Record button again.
 Click the Pause/Play button.
 Press the Space bar.
You can punch in and punch out while recording a single take using the Record
button. For example, you can start the project playing, then punch in at the point
where you want to start recording by clicking the Record button. To punch out, click
the Record button again. When you click the Record button while recording, recording
stops, but the project continues playing. You can punch in and punch out multiple
times while the project is playing.
When you click the Pause/Play button, both recording and playback stop.
Multitrack Recording
You can record audio to multiple tracks simultaneously.
To record to multiple tracks simultaneously:
1 Click the Arm for Recording button on each track you want to record to.
2 For each track you want to record to, choose the track from the Track pop-up menu at
the top of the Recording tab and follow these steps:
a In the Recording tab, choose the input device from the Input Device pop-up menu.
b Use the Input Channel pop-up menu to choose the channel (or set of channels).
c Confirm the channel routing in the input routing buttons below the Input Channel
pop-up menu. If necessary, click any of the active input routing buttons and use the
pop-up menus to route a different channel from the input device to the channel in
the recorded audio file.
For more information, see “Adjusting Recording Settings” on page 369.
372 Chapter 13 Recording Audio in Soundtrack Pro
3 Set the playhead to the point where you want recording to start, and click the
Record button.
The audio is recorded to the armed tracks.
4 To stop recording, do one of the following:
 Click the Record button again.
 Click the Pause/Play button.
 Press the Space bar.
Recording Multiple Takes
You can record multiple takes in the Timeline. You can record multiple takes using the
cycle region to define where each take starts and ends, or you can record for the
duration of the project. When you record multiple takes, the takes are “stacked” in a
single multitake clip in the Timeline. You can audition each take and create composite
takes using the Multitake Editor. For information about the Multitake Editor, see
Chapter 7, “Using the Multitake Editor,” on page 251.
To record multiple takes:
1 If you want to record to an existing track, enable the track.
2 If cycling is turned off, click the Cycle button in the transport controls to turn it on.
3 Set the cycle region to the part of the Timeline where you want recording to start and end.
For information on setting the cycle region, see “Working with the Cycle Region” on
page 134.
If no cycle region is set, recording starts at the beginning of the project and lasts until
the end of the last clip in the project. If the project contains no clips, a single take is
recorded, starting at the current playhead position.
4 Click the Record button in the transport controls to start recording.
As you record, the level meters in the Recording tab show the levels of the input signal
being recorded. If the input signal clips (rises above 0 dB), the peak indicator lights red.
The playhead advances to the end of the cycle region, then returns to the beginning of
the cycle region for the next take.
You can record multiple
tracks at once.
Chapter 13 Recording Audio in Soundtrack Pro 373
5 To stop recording, do one of the following:
 Click the Record button.
 Click the Pause/Play button.
 Press the Space bar.
When you record multiple takes, the takes are recorded sequentially to an audio file in
the recording location set in Recording preferences. The takes appear in a single
multitake clip in the Timeline.
Editing Multitake Clips
You can do some simple multitake editing directly in the Timeline, for example,
splitting the clip and choosing the take for each split segment.
Note: For sophisticated editing of multitake clips, see Chapter 7, “Using the Multitake
Editor,” on page 251.
To choose a take in the Timeline, do one of the following:
m Select the clip, choose Clip > Recording Take, then choose the take number from the
submenu.
m Control-click the clip, choose Take from the shortcut menu, then choose the take
number from the submenu.
You can split a recorded clip and choose the take for each segment of the split clip to
create a composite take. You can also copy a clip onto several tracks, split the copies,
and choose the take for each split copy of the clip.
The current take number
appears in the lower-right
corner of the clip.
374 Chapter 13 Recording Audio in Soundtrack Pro
Recordings Location
When you record audio with Soundtrack Pro, the default location for those audio
recordings is: /Users/username/Documents/Soundtrack Pro Documents/Recordings/.
To change the Recordings location:
m Choose Soundtrack Pro > Preferences. Click the Recording button, then click Choose to
enter a new location.
Note: When you save a multitrack project and select the Collect Audio Files option, a
copy of every audio file the project uses (including recordings) is saved with the project
file. For more information, see “Saving Multitrack Projects” on page 111.
Recording Audio in the Mixer
You can record audio in the Mixer in a similar way to recording audio in the Timeline.
You can record a single take or record multiple takes.
To record audio in the Mixer, you follow the procedures described in “Recording Audio
in the Timeline” on page 368, with the following differences:
 To enable a track for recording in the Mixer, click the Arm for Recording button (the
red letter R) in the track’s channel strip.
 Depending on the layout you are using, the playhead may not be visible as you
record in the Mixer. In this case, you can set the playhead using the transport
controls or the Playhead Location value slider. If you want to record multiple takes
using a cycle region, you may need to set the cycle region in the Timeline before you
start recording in the Mixer.
Transport controls
Arm for Recording
button
Chapter 13 Recording Audio in Soundtrack Pro 375
Recording Audio in the File Editor Project View
You can record audio to an audio file project in the File Editor project view. When you
record audio in the File Editor, you replace (overwrite) any existing audio in the audio
file or selection you record to.
You can select part of the file in the File Editor to record to. When you record to a
selection, recording starts at the beginning of the selection and ends at the end of the
selection. The part of the file after the end of the selection is unchanged.
If no part of the file is selected, recording starts at the playhead position, and lasts until
you stop recording. If your recording extends past the end of the audio file, the file is
lengthened to include the recording.
To record audio in the File Editor project view:
1 Open an audio file project in the File Editor project view.
2 Select the part of the project you want to record to.
If no part of the audio file is selected, recording starts at the current playhead position
and proceeds until you stop recording.
3 Click the Record button in the transport controls.
As you record, the recorded area appears red in the waveform display. The level meters
in the Recording tab show the levels of the input signal being recorded. If the input
signal clips (rises above 0 dB), the peak indicator lights red.
14
377
14 Creating Podcasts
in Soundtrack Pro
Soundtrack Pro gives you the tools to create professional
podcasts of your projects.
You can quickly and easily produce audio and video podcasts directly from within
Soundtrack Pro projects. And you can take video projects from Final Cut Pro and make
podcasts from them using Soundtrack Pro. Podcasts are audio and video broadcasts
available on the Internet. Unlike traditional radio and television shows with set
schedules, podcasts can be listened to at any time in the iTunes application or on an
iPod. You can even publish your podcast to iTunes and reach a potential audience of
millions. Besides democratizing what used to be known as radio, the podcasting
movement provides new avenues of distribution for recorded lectures and educational
materials, audio tours of museums, conference meeting updates, and so on.
Soundtrack Pro provides professional and prosumer podcasters the tools to create
extremely high-quality podcasts. And with the podcasting workflow built right into
Soundtrack Pro, audio post-production personnel can easily lay off iPod-ready versions
of their sound for picture mix or edit. This way, a small audience of clients and
colleagues can enjoy the convenience of listening to or watching the programs using
iPod or iTunes.
Podcasts fall into three broad categories:
 Audio-only podcasts: At the very least, a podcast contains an audio file. For
information about types of compressed audio files, see “Exporting Audio Podcasts”
on page 387.
 Enhanced podcasts: The audio content may have one or more associated images and
web links that can be synchronized with the audio track. Also, chapter markers can
be embedded that allow listeners to jump to specific sections of the content.
 Video podcasts: Video podcasts typically include both video and audio content. The
technical requirements for video podcasts are more specific. For information about
video file formats for podcasting, see “Exporting Video Podcasts” on page 388.
Podcasts are typically published in a series of episodes. Soundtrack Pro supports the
creation of episodes.
378 Chapter 14 Creating Podcasts in Soundtrack Pro
Podcasting Media Production
Producing podcasts has a lot in common with producing any other audio or video
program. Soundtrack Pro can help you with the audio production, editing, and mixing
steps as well as with some other tasks unique to podcasting.
There are two main ways to create podcasts:
 Take a Final Cut Pro project and create a podcast from it in Soundtrack Pro.
 Create a podcast from scratch in Soundtrack Pro.
Both of these scenarios involve some version of the following steps:
Step 1: Record the sound (and video)
There are many different ways to record a podcast, ranging from one-person shows, to
conference calls, to live events on location, to studio recordings. You can record
multitrack and multichannel sound directly into Soundtrack Pro, or you can import
pre-recorded files.
Step 2: Edit and mix the sound, video, and images
Soundtrack Pro gives you many specialized tools and powerful features that you can
use to create high-quality audio. And the ability to exchange projects and
information between Soundtrack Pro and Final Cut Pro makes video podcasting a
very streamlined process.
Step 3: Podcast-specific editing and authoring
Podcasts range in complexity from a simple audio or video file to enhanced podcasts
with chapter markers and associated web links. Besides its many sophisticated audio
editing and mixing tools, Soundtrack Pro includes a dedicated podcast track for adding
chapter markers, URL links, and images.
Step 4: Compress the audio (and video) files
Soundtrack Proincludes a robust set of export and compression options for both audio
and video podcasting. For complete information about exporting from Soundtrack Pro,
see Chapter 16, “Exporting Multitrack Projects,” on page 395.
Step 5: Upload the compressed files
Once your podcast is complete, you upload the file to your web host using a file
transfer protocol (FTP) utility.You can trigger post-export actions (AppleScript
documents) to do this automatically as a part of the export process. For more
information, see “Using Post-Export Actions” on page 416.
Chapter 14 Creating Podcasts in Soundtrack Pro 379
Using the Podcast Track and Podcast Markers
You can add chapter markers, images, and web links to your podcasts using the
podcast track and the Details tab in Soundtrack Pro.
Note: If you want to make a simple audio or video podcast with no markers, images, or
web links, skip to “Exporting Podcasts” on page 387.
Displaying the Podcast Track and the Details Tab
You use the podcast track in conjunction with the Details tab to add enhanced podcast
features to your podcast. Any Soundtrack Pro multitrack project can include
information on how to output the project as a podcast. This podcast-specific
information can be viewed and edited by showing the podcast track.
To display the podcast track:
m Choose Show > Podcast Track from the Show pop-up menu in the upper-right corner
of the Timeline.
The podcast track appears near the top of the Timeline, just above the audio tracks.
By default, the podcast track appears just below the video track (if you have one in
your project) with a single blue podcast marker “region” that spans the entire length of
the project.
To make the Details tab active, do one of the following:
m Choose Window > Tabs > Details (or press Command-I).
m Click the Details tab.
Choose Podcast Track
from the Show pop-up
menu.
Podcast track
Video track
380 Chapter 14 Creating Podcasts in Soundtrack Pro
To view or enter information for a podcast marker:
1 Select a podcast marker region in the podcast track.
2 Enter or view the information in the Details tab.
Podcast Marker Information in the Details Tab
Use the Details tab to enter and display podcast marker information and attributes. The
Details tab sets properties for the podcast marker region (e.g. what image will be shown
until the next marker in an enhanced podcast) and optionally sets a chapter marker.
 Name field: Enter a name for the marker.
 Measure In pop-up menu: Sets the units shown in the Position value slider.
 Marks a chapter checkbox: Identifies a region as a podcast chapter.
 Position value slider: Sets and displays the time position of the selected marker.
 URL: Enter a web link for the marker.
 URL Title: Enter a name for the website listed in the URL field.
 Image Source pop-up menu: Sets the displayed image for the marker.
Note: The image can be a still image added to the project or a frame from a video
clip, if there is a video track for the project.
Select the podcast
marker region.
Name field
Measure In pop-up menu
Marks a chapter checkbox
Position value slider
URL field
URL Title field
Image Source pop-up
menu
Chapter 14 Creating Podcasts in Soundtrack Pro 381
Adding Markers to a Podcast
Markers can provide visual interest and navigational convenience for your podcast
audience. Podcast markers are frames in a podcast that can display an image or a web
link synchronized to the audio in the podcast. Chapter markers are podcast markers
that provide enhanced navigation. Chapter markers make it easy for listeners and
viewers to skip ahead to the section they want. Chapter markers appear in the chapter
list in both iTunes and QuickTime Player. To adjust markers, including their respective
web links and images, see “Podcast Marker Information in the Details Tab” on page 380.
Using Podcast and Chapter Markers
Using the podcast track, you can add as many markers as you like. By default, the
podcast track makes the first frame of the project a chapter marker.
To add a marker:
1 To display the podcast track, choose Show > Podcast Track from the Show pop-up
menu in the upper-right corner of the Timeline.
2 Click the Blade tool at the top of the Timeline (or press B).
The pointer changes to the Blade tool.
3 Using the Blade tool, click anywhere in the podcast track.
The podcast track is split, creating a new chapter marker at the point you clicked.
Deleting Podcast and Chapter Markers
Deleting markers is as easy as adding them.
To delete a podcast marker or a chapter marker:
1 In the Podcast track, click any marker region.
2 Press Delete.
The marker is removed from the podcast track.
Selected podcast chapter
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Moving Podcast and Chapter Markers
Use the Position value slider to move markers in your podcast.
To move a podcast marker with the pointer:
m In the podcast track, drag the edit point between any two marker regions.
To move a podcast marker or a chapter marker using the Details tab:
1 In the podcast track, click any marker region.
2 In the Details tab, use the Position value slider to adjust the marker position.
For information on using value sliders, see “About Changing Values and Timecode
Entries” on page 75.
Editing Podcast and Chapter Markers
By default, all new podcast markers are chapter markers named “Untitled Chapter.” You
can rename markers at any time. You can also easily change chapter markers into
regular podcast markers or podcast markers into chapter markers with the “Marks a
chapter” checkbox in the Podcast Marker section of the Details tab.
Note: Chapter markers are special markers that tell the playback software (iTunes and
QuickTime Player) to list navigational and image marker information in the chapter list.
To name a chapter or podcast marker:
1 In the podcast track, click any marker region to select it.
2 To make the Details tab active, do one of the following:
 Choose Window > Tabs > Details (or press Command-I).
 Click the Details tab.
3 In the Details tab, enter a name in the Name field.
Drag the edit point to adjust
the podcast marker.
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To change a chapter marker to a podcast marker:
m Deselect the “Marks a chapter” checkbox in the Podcast Marker section of the Details tab.
To change a podcast marker to a chapter marker:
m Select the “Marks a chapter” checkbox in the Podcast Marker section of the Details tab.
To enter web link information for a marker:
1 Enter a web address in the URL field. For example: http://www.apple.com/.
2 Enter a descriptive title in the URL Title field. For example: Apple Inc.
Creating Podcast Markers from Final Cut Pro Chapter Markers
When you send a Final Cut Pro sequence to a Soundtrack Pro multitrack project, you
can create a podcast chapter marker for every Final Cut Pro chapter marker.
To create podcast markers from Final Cut Pro chapter markers:
1 Confirm that the source Final Cut Pro sequence has chapter markers applied to it.
See the Final Cut Pro User Manual for information on Final Cut Pro chapter markers.
2 Send the Final Cut Pro sequence to a Soundtrack Pro multitrack project.
For information on sending Final Cut Pro sequences to a Soundtrack Pro multitrack
project, see “Creating Soundtrack Pro Multitrack Projects from Final Cut Pro
Clips or Sequences” on page 428.
The Final Cut Pro sequence loads into the Soundtrack Pro Timeline, with its markers
arrayed along the top of the Time ruler.
3 In Soundtrack Pro, reveal the podcast track by choosing Show > Podcast Track from the
Show pop-up menu in the upper-right corner of the Timeline.
The podcast track appears just below the video track.
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4 Choose Mark > Create Podcast Markers from FCP Chapters.
The chapter markers from the Final Cut Pro sequence are inserted in the podcast track
as podcast chapter markers. The markers have the same names they did in
Final Cut Pro. By default, this operation sets the Image Source pop-up menu to Video at
Start of Section. For more information about the Image Source pop-up menu, see
“Using the Image Source Pop-Up Menu” on page 386.
Adding Images to a Podcast
Your podcasts can display still images on iTunes and iPod. Using the podcast track
together with the Details tab, you can add a single image for an entire podcast or
create a slideshow of images that plays in sync with the audio portion of your podcast.
If your project has a video track, you can use frames of the video as still images in your
podcast. You can also add other still images to your podcast.
Setting an Episode Image for an Entire Podcast
A common podcasting practice is to insert a single, representative image for an audio
podcast so that it displays (in iTunes and on iPod) during the entire episode.
To set an episode image for a podcast:
1 In the Project tab, scroll down to the Metadata > Episode Image section.
2 Do one of the following:
 Drag a still image from the Finder or from iPhoto to the Episode Image image well or
copy an image in an image editing application and paste it into the image well.
 Click Choose and, in the dialog that appears, navigate to the image file you want to
add and click Open.
Note: You can add any of the following image types using the Image Source pop-up
menu: PDF, EPS, TIFF, JPG, GIF, PNG, PICT, BMP, ICO, and ICNS.
3 To display the podcast track, choose Show > Podcast Track from the Show pop-up
menu in the upper-right corner of the Timeline.
Chapter 14 Creating Podcasts in Soundtrack Pro 385
4 Confirm that the podcast track contains the single, default chapter marker region that
spans the entire length of the project.
5 Click the podcast track to select it.
6 In the Image Source pop-up menu in the Details tab, select Episode Image.
The image is applied to the entire podcast. If there are no subsequent markers with
images, this initial image will be shown for the duration of the podcast.
Note: Once you set the episode image in the Project tab, you can apply the episode
image to any podcast marker region using the Image Source pop-up menu.
For more information on the Image Source pop-up menu, see “Using the Image Source
Pop-Up Menu” on page 386.
Creating a Slideshow in a Podcast
By adding multiple markers to a podcast and adding an image to each marker, you can
create a slideshow that plays in sync with the audio portion of your podcast.
To add a series of images to a podcast:
1 To display the podcast track, choose Show > Podcast Track from the Show pop-up
menu in the upper-right corner of the Timeline.
2 Using the Blade tool, click the podcast track at each point where you want to add
an image.
For more information about adding markers, see “Using Podcast and Chapter Markers”
on page 381.
3 Select a marker region and use the Image Source pop-up menu to apply an image.
For more information on the Image Source pop-up menu, see “Using the Image Source
Pop-Up Menu,” next.
4 Repeat step 3 for each marker in your slideshow.
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Using the Image Source Pop-Up Menu
You can apply images to your podcast in a variety of ways with the Image Source
pop-up menu.
To apply an image to a marker region:
1 Select the marker region in the podcast track.
2 Click the Image Source pop-up menu in the Details tab.
3 Use the Image Source pop-up menu in the Details tab to choose one of the following
methods for adding a still image:
 Episode Image: Drag a still image from the Finder or from iPhoto to the image well or
copy an image in an image editing application and paste it into the image well.
Choose Episode Image again to clear the current marker image.
 Video at Start of Section: If the multitrack project has a video in it, choose this option
to have Soundtrack Pro insert the corresponding video frame from the same
Timeline location.
 Video at: Use the value slider to manually choose a video frame from the video track.
 Other: Click Choose and, in the dialog that appears, navigate to the image file you
want to add and click Open.
Note: You can add any of the following image types using the Image Source pop-up
menu: PDF, EPS, TIFF, JPG, GIF, PNG, PICT, BMP, ICO, and ICNS.
Chapter 14 Creating Podcasts in Soundtrack Pro 387
To remove an image from a podcast:
1 Select the marker region in the podcast track.
2 Choose Episode Image from the Image Source pop-up menu.
The image is removed and no image is displayed for that marker region.
Note: Enhanced podcasts (using still images) and video podcasts are mutually
exclusive. Information for enhanced and video podcasts can co-exist in your multitrack
project, but you must choose one or the other when you export. See “Exporting
Podcasts,” next, for more information.
Exporting Podcasts
After you have completed editing and mixing your project, including adding any
podcast-specific enhancements such as images, chapter markers, or web links, you are
ready to export your podcast.
Compression is an important step in exporting any audio or video podcast file. While it
is technically possible to distribute a podcast using standard (uncompressed) file
formats, it is not very practical nor very common. That’s because podcast files inevitably
encounter bandwidth bottlenecks as they travel to the far reaches of the Internet. So,
when it comes to podcasting, small is beautiful.
Exporting Audio Podcasts
Almost all audio-only podcasts use one of two compressed formats: AAC or MP3. In
fact, a podcast must use either the AAC or the MP3 format to be included in the iTunes
Store. AAC (also known as Advanced Audio Coding codec or MPEG-4/AAC) is a newer,
more efficient format. It provides more clarity than MP3 audio at the same bit rate with
smaller file sizes or files of the same size at higher quality.
For additional general information about exporting audio files see “Exporting a Master
Mix to a Compressed Audio File” on page 399.
The image for the podcast
chapter has been removed.
388 Chapter 14 Creating Podcasts in Soundtrack Pro
Exporting Audio Podcasts as AAC Files
You can export AAC audio files directly from Soundtrack Pro by choosing File > Export
and selecting AAC/Podcast File from the File Type menu. For complete information on
exporting to the AAC format, see “Exporting to AAC/Podcast Files” on page 401. In step
6 of those export instructions, you are presented with the following options:
 No Video: Choose this option to export an audio-only (AAC) file. The resulting
podcast file will have the.m4a extension.
 Enhanced (images): Choose this option to export an enhanced podcast containing
audio and images. The resulting podcast file will have the .m4a extension and will
include chapters and web links if you specified them in Soundtrack Pro.
Note: “Enhanced (images)” is the only option that allows for still images to appear in
the resulting podcast.
 Video Track: This option is discussed in “Exporting Video Podcasts Directly from
Soundtrack Pro,” below.
Exporting Audio Podcasts as MP3 Files
You can export MP3 audio files directly from Soundtrack Pro. For complete information
on exporting to the MP3 format, see “Exporting to MP3 Files” on page 399.
Exporting Video Podcasts
While iTunes can play a wide variety of video formats, iPod only plays videos that are
created to exact specifications. The specifications include AAC for the audio portion
and one of two related formats (H.264 or MPEG-4) for the video portion. You want to
make sure that your video podcast is encoded correctly so that it will sync to iPod
without issue. Through links to its associated application, Compressor, Soundtrack Pro
includes encoding presets to make video podcasts that can play on iTunes, on a video
iPod, or with Apple TV.
Exporting Video Podcasts Directly from Soundtrack Pro
To export a podcast including both video and audio, follow the instructions in
“Exporting to AAC/Podcast Files” on page 401. In step 6 of those export instructions,
choose the third option: Video Track.
This option results in an MPEG-4 (.m4v) file containing both video and audio. The
properties of the exported podcast file are equivalent to the H.264 for iPod Video
640x480 setting that is included in the Compressor application. The resulting podcast
file includes chapters and web links if you specified them in Soundtrack Pro.
Chapter 14 Creating Podcasts in Soundtrack Pro 389
Using this method for exporting video podcasts offers the speed and convenience of
exporting directly from Soundtrack Pro. A tradeoff of this method is you don’t have as
much control over the various details of the transcoding process. For complete control
over all aspects of the transcode, including the various video parameters, use
Compressor (instead of this Export dialog). See “Exporting Video Podcasts Using
Compressor,” next.
Exporting Video Podcasts Using Compressor
Compressor is the high-speed video and audio encoding tool for Final Cut Studio. You
can use it to convert content so that it can be experienced on many different platforms
and devices (including iTunes, Apple TV, and an iPod, among others).
The Export dialog in Soundtrack Pro offers a direct link to the Compressor application.
When you export using Compressor, you can use the presets included with Compressor
for your exported file or use custom presets that you create in Compressor.
To export a video podcast using Compressor:
(For detailed information, see “Exporting a Master Mix Using Compressor” on page 410.)
1 Choose File > Export (or press Command-E).
2 Choose Master Mix from the Exported Items pop-up menu.
3 Choose Using Compressor from the File Type pop-up menu.
4 Select Encode Video.
5 In the associated pop-up menu, choose H.264 for Video Podcasting.
6 Click Export.
Optionally, you could export your podcast project using the Preserve Video option
(retaining the video’s original format and exporting the audio as a standard,
uncompressed, AIFF file) and then import those files into Compressor for final
transcoding. This method gives you the most options in terms of transcoding decisions.
For more information about the Preserve Video option, see “Exporting a Master Mix
Using Compressor” on page 410. Once you create customized versions of the
Compressor iPod presets, they are available in the Soundtrack Pro export via
Compressor options.
For more information on working with Compressor presets, see the Compressor User
Manual. The manual is available from the Compressor Help menu and is included in the
Documentation folder installed with Soundtrack Pro.
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Using Post-Export Actions for Podcast Production
The Soundtrack Pro Export dialog includes post-export actions that can automate parts
of your podcasting workflow and save you time and effort. You can use the feature to
automatically trigger your own AppleScript documents as a part of any export operation.
You can link your Soundtrack Pro podcast export to custom AppleScript documents
that would execute at the end of an export. For example, at the end of an overnight
video podcast transcode, Soundtrack Pro could automatically trigger a custom
AppleScript document that would transfer the exported podcast to a web server via
scriptable FTP software and send you (or a client) an email notification.
For more information about using post export-actions see “Using Post-Export Actions”
on page 416.
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15 Using Control Surfaces
with Soundtrack Pro
You can connect and use control surfaces to automate
recording, mixing, and other tasks in Soundtrack Pro.
Control surfaces provide a set of hardware controls that let you mix and edit your
projects with greater flexibility and precision than using a mouse to move onscreen
controls. You can also change multiple parameters at once using a control surface.
There are a variety of control surfaces available for use with video and audio
production applications. Most control surfaces include faders, knobs, and buttons
similar to those found on a hardware mixing console, including channel strip controls
for volume, pan, mute, solo, and track selection, and a set of transport controls. Control
surfaces also typically provide buttons for selecting parameters to edit and for selecting
different tracks or banks of tracks, a jog wheel for moving the playhead precisely, and
other controls. When you use a control surface with Soundtrack Pro, some controls are
premapped to common functions. You can map other controls to Soundtrack Pro
commands and functions in the Control Surfaces Preferences pane.
To use a control surface, you connect it to your computer, add it to Soundtrack Pro,
map the controls you want to use to Soundtrack Pro commands, then record control
surface automation data in your project. Recorded control surface automation data
appears in the corresponding envelope in the Timeline.
Connecting Control Surfaces
Soundtrack Pro supports control surfaces that use the Mackie Control and Logic
Control protocols to communicate with your computer. In order to use a control
surface, you must first connect the control surface to a MIDI interface, and connect the
MIDI interface to your computer, unless the control surface allows direct connection to
the computer. Before connecting a MIDI interface, be sure your computer supports the
MIDI interface you plan to use. Read the installation instructions included with the MIDI
interface, and install the latest version of any appropriate firmware or driver software if
needed. For more information, refer to the documentation that came with the control
surface and with the MIDI interface.
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Adding and Deleting Control Surfaces
When you have connected the MIDI interface to your computer, and connected the
control surface to the MIDI interface, you add the control surface in Soundtrack Pro
Control Surface Preferences.
To add a connected control surface:
1 Choose Soundtrack Pro > Preferences, then click the Control Surfaces button.
2 Click the Add (+) button to add the control surface.
The visual representation of the control surface appears in the panel in the upper part
of the window.
3 Choose the type of control surface you are adding from the Control Surface Type
pop-up menu.
4 Choose the MIDI input port to use for the control surface from the Input Connection
pop-up menu.
5 Choose the MIDI output port to use for the control surface from the Output
Connection pop-up menu.
6 Click the Close button to dismiss the Preferences window.
You can delete a control surface, if you decide you don’t want to use it any longer.
To delete a control surface:
1 Choose Soundtrack Pro > Preferences, then click the Control Surfaces button.
2 Select the control surface in the Control Surfaces display area.
3 Click the Delete (–) button.
Chapter 15 Using Control Surfaces with Soundtrack Pro 393
Premapped Controls
When you connect a control surface, many controls are premapped to work with specific
Soundtrack Pro buttons and commands. Premapped controls include the following:
Mapping Commands to Control Surface Buttons
Many buttons on control surfaces are not directly assigned to a specific command in
Soundtrack Pro. Some buttons, such as the bank and channel buttons, are premapped
but can also be mapped to other commands. You can map these buttons in the Control
Surface Buttons window and save the mappings or modify them later.
To map a command to a control surface button:
1 Choose Soundtrack Pro > Preferences, then click the Control Surfaces button.
2 Click the Control Surface Buttons button to show the Control Surface Buttons window.
Control Soundtrack Pro button or command
Master fader Master volume (physical output channels 1-2)
Channel strip volume faders Track volume slider
Channel strip rotary knobs Track pan slider
Channel strip record-ready
buttons
Track Arm for Recording button
Channel strip select buttons Select the track.
Channel strip mute buttons Track mute button
Channel strip solo buttons Track solo button
Transport controls Transport controls (Move back, Move forward, Play, Stop, Record)
Jog wheel Moves playhead back or forward.
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3 In the Control Surface Buttons window, drag an action from the Available Commands
list (on the right) to a button in the Control Surface Buttons list (on the left) to map the
command to the button.
4 Optionally, you can search for commands and control surface buttons by typing text in
the Search field, located at the upper-right corner of the window.
Recording Control Surface Automation
Once you have connected a control surface and mapped the controls you plan to use,
you can use the control surface to control volume, pan, and other functions in your
Soundtrack Pro projects. Using the automation modes described in “Automation
Modes” on page 365, you can record control surface movements while a project plays.
To record control surface movements, follow the procedures described in “Recording
Automation Data” on page 365.
You can thin automation data recorded from a control surface. For information on
thinning automation data, see “Thinning Envelope Points in Recorded Automation
Data” on page 366.
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16 Exporting Multitrack Projects
Once you have created a final mix of a multitrack project, you
can choose from several different ways to deliver it. You can
export the project mix or export individual tracks, busses, or
submixes to a wide variety of formats.
You can export a project to a mono, stereo, or multichannel audio file. You can export
all, or selected, tracks, busses, or submixes to either stereo or multichannel audio files,
or to groups of mono files. And you can create as many mixes of your project as you
like by selecting or muting tracks, busses, and submixes; adjusting controls, effects, and
envelopes; and then exporting each version as a separate mix.
Export file formats include the following standard audio file types: AIFF, WAVE, NeXT,
Sound Designer II, MP3, AAC/Podcast, and Dolby Digital Professional (AC-3). You can
also export a project to a variety of formats using Compressor, the Final Cut Studio
transcoding application.
Note: Dolby Digital Professional encoding is available only on computers that have
Final Cut Studio installed.
The Soundtrack Pro Export dialog includes a variety of post-export actions that can
automatically open the exported files in a Final Cut Pro sequence or in File Editor project
view, place exported files on new tracks, or export a mix to Motion, Logic, or Waveburner.
You can also add your own custom Applescript actions using the Export dialog.
To streamline your workflow, you can create custom export presets with any combination
of exported items, file types, bit depths, sample rates, and post-export actions.
You can also export your project using AAF, an industry-standard project interchange
format. And you can save a multitrack project with all of the media files it uses together
in the same folder.
396 Chapter 16 Exporting Multitrack Projects
About the Export Dialog
The Export dialog in Soundtrack Pro is a flexible tool that provides numerous
alternatives for your workflow and distribution needs.
To open the Export dialog for a multitrack project:
m Choose File > Export.
 Preset pop-up menu: Create custom export presets with any combination of exported
items, file types, bit depths, sample rates, and post-export actions. For more
information, see “Using Export Presets” on page 418.
 Exported Items pop-up menu: Choose to export a master mix or export the component
parts of your multitrack project as individual files or as groups of files. For more
information about exporting a master mix, see “Exporting a Master Mix” on page 397.
For more information about exporting the component parts of your multitrack
project, see “Exporting Tracks, Busses, and Submixes Separately” on page 414.
 File Type pop-up menu: Choose the file type for the exported audio file or files. For
more information, see “Exporting a Master Mix to a Standard Audio File” on page 398
and “Exporting a Master Mix to a Compressed Audio File” on page 399.
 Create multiple mono files checkbox: Select this checkbox to export a separate audio
file for each output channel in your multitrack project. For more information, see
“Exporting Multiple Mono Files” on page 415.
 Bit Depth pop-up menu: Choose a bit depth for the exported file.
 Sample Rate pop-up menu: Choose a sample rate for the exported file.
 After Export pop-up menu: Choose a post-export action. For more information about
post-export actions, see “Using Post-Export Actions” on page 416.
Preset pop-up menu
Exported Items
File Type pop-up menu pop-up menu
Create multiple mono
files checkbox
Sample Rate pop-up
menu After Export pop-up
menu
Bit Depth pop-up menu
Chapter 16 Exporting Multitrack Projects 397
Exporting and the Cycle Region
You can export just a portion of your multitrack project by selecting it with the
cycle region.
To select a portion of a multitrack project with the cycle region,
do one of the following:
m Drag in the bottom half of the Time ruler from the beginning of where you want the
cycle region to the end.
m Position the playhead and press I to set the cycle region In point. Position the playhead
and press O to set the cycle region Out point.
m Press X to set the cycle region In and Out points at the boundaries of the clip that
currently intersects the playhead. The clip on the uppermost selected track is used.
If you want to export the entire multitrack project, be sure to first remove the cycle region.
To remove the cycle region, do one of the following:
m Choose Edit > Cycle Region > Remove Cycle Region (or press Option-X).
m Control-click the cycle region, then choose Cycle Region from the shortcut menu and
Remove Cycle Region from the submenu.
For more information about using the cycle region, see “Working with the Cycle
Region” on page 134.
Exporting a Master Mix
A master mix (or project mixdown) is a single audio file that contains all of the
elements and settings in your multitrack project. When you export a master mix, all
unmuted tracks, busses, and submixes that are routed to hardware output jacks are
included in the exported file. You can exclude any tracks, busses, and submixes from
the exported mix by muting them. For more information about routing to hardware
output jacks, see “Setting Hardware Outputs” on page 265 and “Setting the Submix
Outputs to Surround” on page 296.
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Exporting a Master Mix to a Standard Audio File
You can export a mixdown of your project to any of the following standard
(uncompressed) audio formats: AIFF, WAVE, NeXT, and SoundDesigner II.
To export a master mix as a standard audio file:
1 Choose File > Export (or press Command-E).
The Export dialog appears.
2 Choose Master Mix from the Exported Items pop-up menu.
Note: You can also use an export preset to export a master mix. For more information
about using export presets and the Preset pop-up menu, see “Using Export Presets” on
page 418.
3 Use the File Type pop-up menu to choose a file type for the exported audio file.
If you choose any of the last four menu items (MP3 File, AAC/Podcast File, Dolby Digital
Professional (AC-3) File, or Using Compressor), the bottom portion of the Export dialog
displays the options for the selected menu item. For information about these menu
items, see “Exporting a Master Mix to a Compressed Audio File” on page 399.
4 You can optionally select the “Create multiple mono files” checkbox to export a
separate mono audio file for each output channel in your multitrack project. For more
information, see “Exporting Multiple Mono Files” on page 415.
Chapter 16 Exporting Multitrack Projects 399
5 Choose a bit depth for the exported file from the Bit Depth pop-up menu.
6 Choose a sample rate for the exported file from the Sample Rate pop-up menu.
The sample rate is the number of times an analog signal is measured—or sampled—
per second. The higher the sample rate, the higher the quality and the larger the file
size, but don’t choose a sample rate higher than the rate used in your multitrack
project or you’ll waste space.
7 You can optionally use the After Export pop-up menu to choose a post-export action.
For information about post-export actions, see “Using Post-Export Actions” on page 416.
8 Type a name for the exported file, and browse to the location where you want to
save the file.
9 Click Export.
Note: When you bounce or export a project with an effect tail (sound that extends past
the end of the audio file, usually caused by reverb or another effect), the length of the
tail is limited to a maximum of 30 seconds. If the tail extends beyond this amount of
time, it is cut off after 30 seconds in the bounced or exported file.
Exporting a Master Mix to a Compressed Audio File
You can export a mixdown of your project to any of the following compressed audio
formats: MP3, AAC/Podcast, and Dolby Digital Professional (AC-3). These compressed
formats provide reduced file sizes and data rate reduction.
Exporting to MP3 Files
MP3 is a specific type of MPEG encoding known formally as MPEG audio layer 3. MP3
uses perceptual audio coding and psychoacoustic compression to remove all
superfluous information (specifically the redundant and irrelevant parts of a sound
signal that the human ear doesn’t hear anyway). The result is that MP3 encoding
shrinks the original sound data from a CD (with a data rate of 1411.2 kilobits per one
second of stereo music) by a factor of 12 (down to 112–128kbps) without sacrificing very
much sound quality. Proponents of MP3 claim there is no sacrifice in sound quality, but
audio professionals can usually hear the difference on good equipment.
400 Chapter 16 Exporting Multitrack Projects
To export a master mix as an MP3 file:
1 Choose File > Export (or press Command-E).
The Export dialog appears.
2 Choose Master Mix from the Exported Items pop-up menu.
Note: You can also use an export preset to export a master mix. For more information
about using export presets and the Preset pop-up menu, see “Using Export Presets” on
page 418.
3 Choose MP3 File from the File Type pop-up menu.
The bottom portion of the Export dialog displays the MP3 export options. Since
Soundtrack Pro can tap the power of Compressor as a background process, these export
options are identical to the corresponding options in the Compressor application.
4 Choose from the following MP3 export options:
 Stereo Bit Rate pop-up menu: The higher the mono or stereo kilobits per second
(Kbps), the higher the audio quality and the larger the file size. The most common bit
rate for stereo MP3 files is between 128 Kbps and 192 Kbps. Lower bit rates are more
appropriate for sound files containing voice recordings (as opposed to music).
Some example settings and uses include:
 32 kbps: AM radio quality, suitable for medium-quality speech
 96 kbps: FM radio quality, suitable for high-quality speech or medium-quality music
 128 kbps: Suitable for good-quality music
 256 kbps and 320 kbps: Suitable for music that is near audio CD quality
 Use Variable Bit Rate Encoding (VBR): This setting varies the number of bits used to
store the music depending on the complexity of the music. This can help keep file
size to a minimum.
MP3 export options
Chapter 16 Exporting Multitrack Projects 401
 Sample Rate pop-up menu: The sample rate is the number of times an analog signal is
measured—or sampled—per second. The higher the sample rate, the higher the
quality and the larger the file size, but don’t choose a sample rate higher than the
rate used in your multitrack project or you’ll waste space.
 Channels pop-up menu: If your project is monaural or if the target playback device is
mono, choose Mono. (Mono files are about half the size of stereo files.) If your project
output is in stereo and the target playback device is stereo, choose Stereo.
 Joint Stereo: When deselected, your MP3 files contain one track for the right stereo
channel and one track for the left. In many cases, the two channels contain related
information. When the Joint Stereo checkbox is selected, one channel carries the
information that’s identical on both channels, and the other channel carries the
unique information. At bit rates of 160 Kbps and below, this can improve the sound
quality of your converted audio.
 Smart Encoding Adjustments: Select this to have Compressor analyze your encoding
settings and music source, and then adjust settings to maximize quality.
 Filter Frequencies Below 10 Hz: Filtering inaudible frequencies results in smaller, more
efficient files without perceptible loss of quality.
5 You can optionally use the After Export pop-up menu to choose a post-export action.
For information about post-export actions, see “Using Post-Export Actions” on page 416.
6 Type a name for the exported file, and browse to the location where you want to save
the file.
7 Click Export.
Exporting to AAC/Podcast Files
AAC (Advanced Audio Coding) provides audio encoding that compresses much more
efficiently than older formats, such as MP3, yet delivers higher-quality results with
smaller file sizes. AAC is the default audio format for theiPod and iTunes, as well as the
default audio codec for the .m4v format used in all video files sold on iTunes.
To export a master mix as an AAC/Podcast file:
1 Choose File > Export (or press Command-E).
The Export dialog appears.
2 Choose Master Mix from the Exported Items pop-up menu.
Note: You can also use an export preset to export a master mix. For more information
about using export presets and the Preset pop-up menu, see “Using Export Presets” on
page 418.
402 Chapter 16 Exporting Multitrack Projects
3 Choose AAC/Podcast File from the File Type pop-up menu.
The bottom portion of the Export dialog displays the AAC/Podcast export options. Since
Soundtrack Pro can tap the power of Compressor as a background process, these export
options are identical to the corresponding options in the Compressor application.
The AAC/Podcast export options are divided into three separate panes: Audio,
Streaming, and Podcast.
4 Choose from the following export options in the Audio pane:
 Channels pop-up menu: Choose either mono or stereo for the exported media file.
 Sample Rate pop-up menu: Choose from one of the following sample rates:
8, 11.025, 12, 16, 22.050, 24, 32, 44.1, or 48 kHz. You can also choose Recommended to
have Soundtrack Pro automatically choose a sample rate that is suitable for the
Channels and Bit Rate settings.
 Quality pop-up menu: Choose one of the following for the audio quality of your
output media file:
 Low: This allows for fast transcoding, but at the expense of output file quality.
 Medium: The audio quality is better than Low, but this takes longer to transcode.
 High: This is the best audio quality setting available. Use this setting when the
audio quality is important for the output media file and you don’t mind how long
it takes to transcode.
 Bit Rate slider and field: Move the slider to set the overall audio bit rate for an
exported media file between the range of 16 Kbps (2 KB/sec.) to 256 Kbps (32 KB/
sec.), or enter a specific number in the accompanying field.
AAC Audio export options
Chapter 16 Exporting Multitrack Projects 403
5 Choose from the following export options in the Streaming pane:
 Streaming hints enabled checkbox: Make sure that this box is selected if you want the
MPEG-4 Part 2 output format streaming settings to be applied.
 QuickTime Streaming Server Compatibility (pre v4.1) checkbox: Select this checkbox if you
want your exported file to work with an older QuickTime Streaming Server (version 4.1
or earlier). You don’t need to select this box if you are using a newer version of
QuickTime, because any streaming compatibility issues are automatically resolved.
 Maximum Packet Size field: Enter a number to specify the largest file size allowable
(in bytes) for a streaming packet in your output media file. The packet size you
choose should be no larger than the largest packet used on any network between
the streaming server and the viewer.
 Maximum Packet Duration field: Enter a number to specify the longest duration
allowable (in milliseconds) for a streaming packet in your output media file. The
duration affects MPEG-4 Part 2 audio only. It limits the maximum amount of audio
(in milliseconds) in any packet, which limits the audio dropout created by the loss
of a packet.
AAC Streaming
export options
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6 Select one of the following buttons in the Podcast pane:
 No Video: Choose this option to export an audio-only (AAC) file.
 Enhanced (images): Choose this option to export an enhanced podcast containing
audio and chapter marker images. For more information, see Chapter 14, “Creating
Podcasts in Soundtrack Pro,” on page 377.
 Video Track: Choose this option to export an MPEG-4 (.m4v) file containing both
audio and video. For complete control over the various video parameters, use
Compressor (instead of this Export dialog). For more information, see “Exporting a
Master Mix Using Compressor” on page 410.
7 You can optionally use the After Export pop-up menu to choose a post-export action.
For information about post-export actions, see “Using Post-Export Actions” on page 416.
8 Type a name for the exported file, and browse to the location where you want to save
the file.
9 Click Export.
Exporting to Dolby Digital Professional (AC-3) Files
Dolby Digital Professional format (also known as AC-3) is a very common compressed
audio format for DVD-Video discs. AC-3 programs can deliver 5.1-channel surround as
well as a variety of other surround configurations. This format is frequently used to
encode stereo files to greatly reduce their file size.
Note: Dolby Digital Professional (AC-3) encoding is available only on computers that
also have Final Cut Studio installed.
AAC Podcast
export options
Chapter 16 Exporting Multitrack Projects 405
To export a master mix as a Dolby Digital Professional (AC-3) file:
1 Choose File > Export (or press Command-E).
The Export dialog appears.
2 Choose Master Mix from the Exported Items pop-up menu.
Note: You can also use an export preset to export a master mix. For more information
about using export presets and the Preset pop-up menu, see “Using Export Presets” on
page 418.
3 Choose Dolby Digital Professional (AC-3) File from the File Type pop-up menu.
The bottom portion of the Export dialog displays the Dolby Digital Professional (AC-3)
File export options. Since Soundtrack Pro can tap the power of Compressor as a
background process, these export options are identical to the corresponding options in
the Compressor application.
The AC-3 File export options are divided into three separate panes: Audio, Bitstream,
and Preprocessing.
4 Choose from the following export options in the Audio pane:
 Target System pop-up menu: Available settings are limited to those appropriate for
the selected target system. If you’re encoding for use with DVD Studio Pro, choose
DVD Video. Choose DVD Audio only if you are encoding for use in a DVD Audio
authoring application. Choose Generic AC-3 to remove the setting limits.
AC-3 Audio
export options
406 Chapter 16 Exporting Multitrack Projects
 Audio Coding Mode pop-up menu: Specifies the audio channels of the encoded
stream. This setting also has an Automatic button.
For example, “3/2 (L, C, R, Ls, Rs)” means three front channels (left, center, right) and
two rear (surround) channels. “2/0 (L, R)” is essentially a standard stereo file. The
audio coding mode affects settings such as the available bandwidth and surround
channel preprocessing. If you click the Automatic button (next to the Audio Coding
Mode pop-up menu), Compressor makes its best guess at the intended audio coding
mode, based on available source audio files.
Note: In the Audio Coding Mode pop-up menu, “S” stands for a single rear
“Surround” channel.
 Enable Low Frequency Effects checkbox: Select this option to include the LFE channel
in the encoded stream. (Not available for 1/0 mono or 2/0 stereo.)
 Sample Rate pop-up menu: Specifies the sample rate. All files intended for video and
audio DVD authoring must have a 48 kHz sample rate as per the DVD specification.
The 32 kHz and 44.1 kHz sample rates are only available when Generic AC-3 is the
target system.
Choose the audio channel
grouping for the encoded
stream from the Audio
Coding Mode pop-up menu.
3/1 channels 3/0 channels
2/2 channels 2/1 channels 2/0 channels 1/0 channels
(LFE option not available) (LFE option not available)
3/2 channels
L C
LFE
LFE LFE LFE LFE
R
Ls Rs
L R
Ls Rs
L R L R
S
L C
LFE
R
S
L C
C
LFE
R
Chapter 16 Exporting Multitrack Projects 407
 Data Rate pop-up menu: The choices depend on the coding mode and target system.
The higher the rate, the better the quality. Dolby Digital Professional (AC-3) streams
have a constant data rate. At 448 kbps, which is the default for 5.1 encoding, one
minute of AC-3 audio takes about 3.3 MB of storage space. For stereo encoding, rates
of 192 kbps and 224 kbps are typical and will produce good results.
 Bit Stream Mode pop-up menu: Defines the purpose of the encoded audio material.
The information is included in the finished stream and can be read by some
decoding systems.
 Dialog Normalization field: Specifies the average volume of the dialogue, using
decibels of full scale (dBFS), in your sound files relative to full modulation. The
playback device uses this information to maintain similar volume among different
AC-3 streams. The goal is to make all AC-3 encoded audio files have the same
listening level, regardless of the source file.
It is especially important to properly use the Dialog Normalization feature if you have
different audio files (with different volume levels) going on to a DVD. If you know the
average level for each of them, enter that number in the Dialog Normalization field
for each file. For example, if the dialogue in your project averages around -12 dB on
the level meter, enter -12 in the Dialog Normalization field.
Note: This normalization is between the audio streams on the DVD, not within an
individual audio stream itself.
You can enter values from -1 dBFS to -31 dBFS. The difference between the value you
enter and 31 dBFS (which represents the normal dialogue listening level) is the
amount that the source audio is attenuated.
 If you enter -31 dBFS, the attenuation is 0 dB (31 dBFS–31 dBFS), and the source
audio levels are not affected at all.
 If you enter -27 dBFS, the attenuation is 4 dB (31 dBFS–27 dBFS).
 If you enter -12 dBFS, the attenuation is 19 dB (31 dBFS–12 dBFS).
The louder the source file, the smaller the value you enter, and the more the audio in
the encoded file is attenuated during playback.
Important: It is critical that you have set the Dialog Normalization setting correctly if
you intend to use any of the Compression Preset settings. The Compression Preset
settings assume that the audio, after the dialogue has been normalized, is at the
normal listening level of 31 dBFS. Levels that are consistently louder than that result
in distorted sound and erratic levels.
If you want to ensure that the AC-3 encoder does not affect your sound levels, enter
-31 for the Dialog Normalization and choose None from the Compression Preset popup
menu (located in the Preprocessing pane).
408 Chapter 16 Exporting Multitrack Projects
5 Choose from the export options in the Bitstream pane.
These settings are stored in the finished stream for use by the playback device. Leave them
at their default values unless you have a specific technical reason for changing them.
 Center Downmix and Surround Downmix pop-up menus: If your encoded audio has
these channels, but the player does not, the channels are mixed into the stereo
output at the specified level.
 Dolby Surround Mode pop-up menu: When encoding in 2/0 (stereo) mode, specifies
whether the signal uses Dolby Surround (Pro Logic).
 Copyright Exists checkbox: Select this option to specify that a copyright exists for
this audio.
 Content is Original checkbox: Select this option to specify that this audio is from the
original source and not a copy.
 Include Audio Production Information: Select this checkbox and fill in the fields below
to specify how the encoded audio content was mixed. Playback devices may use this
information to adjust output settings.
 Peak Mixing Level field: Specifies peak sound pressure level (SPL) (between 80 dB
and 111 dB) in the production environment when this mix was mastered.
 Room Type field: Specifies information about the mixing studio.
AC-3 Bitstream
export options
Chapter 16 Exporting Multitrack Projects 409
6 Choose from the export options in the Preprocessing pane.
Preprocessing options are applied to the audio data before encoding. With the
exception of the Compression Preset setting, leave these settings at their default values
unless you have a specific technical reason for changing them.
 Compression Preset pop-up menu: Specifies one of the dynamic range processing
modes built in to the Dolby Digital Professional (AC-3) format. The default of Film
Standard Compression should only be used when you are encoding an original mix
intended for cinema. In almost all cases, you should choose None.
Important: It is critical that you have set the Audio tab’s Dialog Normalization setting
correctly if you intend to use any of these Compression Preset settings. The
Compression Preset settings assume that the audio, after the dialogue has been
normalized, is at the normal listening level of 31 dBFS. Levels that are consistently
louder than that result in distorted sound and erratic levels.
Note: If you are building a Dolby Digital Professional 5.1 channel surround sound
DVD, you will use Film Standard Compression.
AC-3 Preprocessing
export options
Choose a compression
setting from the
Compression Preset
pop-up menu.
410 Chapter 16 Exporting Multitrack Projects
 General
 Apply Digital Deemphasis checkbox: Specifies whether input audio data is
pre-emphasized and needs to be de-emphasized before encoding.
 LFE Channel
 Low-Pass Filter checkbox: Select this option to apply a 120 Hz low-pass filter to the
Low Frequency Effects (LFE) channel. Turn off this filter if the digital signal fed to
the LFE’s input does not contain information above 120 Hz.
 Full Bandwidth Channels
 Low-Pass Filter checkbox: Select this option to turn on a low-pass filter with a cutoff
near the available audio bandwidth that is applied to the main input channels. If
the digital signal fed to the main input channels does not contain information
above the available audio bandwidth, you can turn off this filter. Compressor
automatically determines the available bandwidth.
 DC Filter checkbox: Select this option to turn on a DC high-pass filter for all input
channels as a simple way to remove DC offsets. Most mixed audio material is
already free of DC offsets.
 Surround Channels
 90° Phase-Shift checkbox: Select this option to generate multichannel AC-3 streams
that can be downmixed in an external 2-channel decoder to create true Dolby
Surround–compatible output.
 3 dB Attenuation checkbox: Select this option to apply a 3 dB cut to the surround
channels of a multichannel film soundtrack being transferred to a consumer home
theater format. Cinema surround channels are mixed 3 dB “hot” (higher) relative to
the front channels to account for cinema amplifier gains.
7 You can optionally use the After Export pop-up menu to choose a post-export action.
For information about post-export actions, see “Using Post-Export Actions” on page 416.
8 Type a name for the exported file, and browse to the location where you want to save
the file.
9 Click Export.
Exporting a Master Mix Using Compressor
The Export dialog in Soundtrack Pro offers a direct link to the Compressor application.
Compressor is the high-speed video and audio encoding tool for Final Cut Studio. It
provides an efficient way to transcode between professional formats, or to convert
content so that it can be experienced on many different platforms and devices
(including websites, Apple TV, an iPod, CD-ROM discs, DVDs, cell phones, and so on).
When you export using Compressor, you can use custom presets that you create in
Compressor or the presets included with Compressor.
Chapter 16 Exporting Multitrack Projects 411
To export a master mix using Compressor from within Soundtrack Pro:
1 Choose File > Export (or press Command-E).
The Export dialog appears.
2 Choose Master Mix from the Exported Items pop-up menu.
Note: You can also use an export preset to export a master mix. For more information
about using Soundtrack Pro export presets and the Preset pop-up menu, see “Using
Export Presets” on page 418.
3 Choose Using Compressor from the File Type pop-up menu.
The bottom portion of the Export dialog displays the Compressor export options.
Since Soundtrack Pro can tap the power of Compressor as a background process,
many of these export options are identical to the corresponding options in the
Compressor application.
4 Do one of the following:
 To export the video in its original format, select Preserve Video, then choose an
export preset from the adjacent preset pop-up menu. In this option, the video is
copied unchanged to the exported file.
 To export the video in a different format, select Encode Video, then choose an export
preset from the adjacent preset pop-up menu. Encoding the video transcodes it to
the new export format. Transcoding the video can take longer than copying and can
result in a loss of quality. In most cases, when the video format of the exported file is
the same as the source video, you should preserve the video when exporting. If the
video format of the exported file is different than the source video, you should
encode the video when exporting.
For information about using Compressor export presets, see “Using Compressor Export
Presets,”next.
Using Compressor
export options
412 Chapter 16 Exporting Multitrack Projects
5 Optionally, for multichannel projects, click the Edit Channel Layout button to change
the channel layout for the exported file. For information on exporting multichannel
projects, see “Exporting Multichannel Projects with Compressor” on page 413.
6 Click Export.
Using Compressor Export Presets
Compressor includes a large number of export presets for a variety of target formats
and playback devices.
Using Existing Presets
When you export a Soundtrack Pro project using Compressor, you can select an export
preset in the Compressor Export Options dialog. Export presets appear in the pop-up
menus to the right of the Preserve Video and Encode Video buttons.
Editing or Creating Presets
Click the Edit Presets button to open the Compressor application so that you can
modify existing Compressor presets or create new ones.
For more information on working with Compressor presets, see the Compressor User
Manual. The manual is available from the Compressor Help menu and is included in the
Documentation folder installed with Soundtrack Pro.
Choose an export
preset in the
Compressor Export
Options dialog.
Chapter 16 Exporting Multitrack Projects 413
Exporting Multichannel Projects with Compressor
When you export a multichannel project using Compressor, you can edit the channel
layout. By default, Soundtrack Pro uses the SMPTE/ITU standard for routing surround
output channels.
If you are exporting to a file format that uses a different standard for routing output
channels, use the Channel Layout interface to re-assign the channels and outputs.
To edit the channel layout:
1 In the Compressor Export Options dialog, click the Edit Channel Layout button.
The Channel Layout dialog appears. The Channel Layout dialog includes pop-up menus
for Left, Right, Center, LFE, Left Surround, Right Surround, and Center Surround outputs.
You can choose the physical output channel (labeled “Channel 1,” “Channel 2,” and so
forth) for each submix.
2 Choose the physical output channel for each channel in the exported project.
Audio Interface Output Speaker
1 Left
2 Right
3 Center
4 LFE
5 Left Surround (Ls)
6 Right Surround (Rs)
414 Chapter 16 Exporting Multitrack Projects
Exporting Tracks, Busses, and Submixes Separately
As an alternative to exporting a master mix, you can export the component parts of
your multitrack project as individual files or as groups of files. These options are
available for AIFF, WAVE, NeXT, and SoundDesigner II export files.
Note: Muted tracks, busses, and submixes are excluded from all of the following
export combinations.
To export component parts of a multitrack project:
m Follow the steps described in “Exporting a Master Mix to a Standard Audio File” on
page 398, except in step 2, instead of choosing Master Mix, choose any of the following
from the Exported Items pop-up menu:
 Selected Tracks, Busses, and Submixes: Exports selected tracks, busses, and submixes
only. If nothing is selected, each unmuted track, bus, and submix is exported as a
separate file.
 All Tracks, Busses, and Submixes: Exports each unmuted track, bus, and submix as a
separate file.
 All Tracks: Exports each unmuted track as a separate file.
 All Busses: Exports each unmuted bus as a separate file.
 All Submixes: Exports each unmuted submix as a separate file.
Output File Names
Output files are given the same names as the tracks, busses, or submixes being
exported. For example, “Track 1” results in “Track 1.aif.” If you select the “Create
multiple mono files” checkbox, the Mixer object name (for example, “Track 1”) serves
as the base name to which channel codes are appended (for example, “Track 1.R.aif”
and “Track 1.L.aif”). For more information, see “Exporting Multiple Mono Files,” below.
Effect Tails
When you export a project, track, bus, or submix that includes an effect (for example, a
reverb or delay) that produces a tail that extends past the end of the project, the
exported file lengthens to include the tail.
You can also select part of an audio file and add an effect to a selection. When you add
an effect that produces a tail to a selection, the tail is blended with the audio following
the selection until the effect level falls below –96 dB. The project lengthens to include
the tail if necessary.
Chapter 16 Exporting Multitrack Projects 415
Exporting Multiple Mono Files
Select the “Export multiple mono files” checkbox to export a separate mono audio file
for each output channel in your multitrack project.
Selecting this checkbox results in a separate audio file for each hardware output (jack).
For example, by default, all tracks are routed to Submix 1, and Submix 1 is routed to the
Stereo 1, 2 outputs. With this setup, selecting the “Export multiple mono files” checkbox
exports two mono files. The letter L is appended to the filename of the left mono file,
and the letter R is appended to the right mono file.
If the Output pop-up menu is set to Surround >1-6, six mono files are exported, each
with the corresponding code appended to its filename: L, R, C, LFE, Ls, and Rs.
For more information about routing to hardware output jacks, see “Connecting Physical
Outputs” on page 297 and “Setting the Submix Outputs to Surround” on page 296.
416 Chapter 16 Exporting Multitrack Projects
Using Post-Export Actions
The Soundtrack Pro Export dialog includes post-export actions that can automate parts
of your workflow and save you time and effort. The post-export actions range from
opening the exported files in a Final Cut Pro sequence to bouncing mixes to new
tracks. You can also use the feature to automatically trigger your own AppleScript
documents as a part of any export operation.
Default Actions
Soundtrack Pro includes the following list of default actions that can be chosen once
the export is complete:
 Send files to Final Cut Pro sequence: Opens Final Cut Pro and allows you to quickly
create a new sequence, and insert the exported file in the sequence. If you originally
sent the project from Final Cut Pro to Soundtrack Pro, the new sequence looks just
like the original sequence but has additional audio tracks that contain your mixdown.
 Send files to Audio Waveform Editor: Opens the exported file in the File Editor
project view.
 Send files to new tracks: Inserts the exported file into a new track in the Timeline.
 Export Mix to Motion: Opens the exported file in Motion.
 Export Mix to Logic: Opens the exported file in Logic.
 Export Mix to Waveburner: Opens the exported file in Waveburner.
To add a post-export action:
1 Follow any of the export steps described earlier in this chapter.
2 Choose a post-export action from the After Export pop-up menu.
3 Click Export.
The file or files are exported and the post-export action is executed.
Chapter 16 Exporting Multitrack Projects 417
Custom Actions
You can save a series of actions in the File Editor as an AppleScript droplet. Those
droplets will appear as actions in the After Export pop-up menu (provided you save
them to the default location: /Users/username/Library/Scripts/Soundtrack Pro Scripts/).
For more information about creating your own AppleScript droplets in Soundtrack Pro,
see “Scripting Actions in the File Editor Project View” on page 248.
You can also add your own AppleScript scripts (that you create outside of
Soundtrack Pro) to this default location, and they will appear in the After Export
pop-up menu. Such custom actions could include an AppleScript script to send an
email notification or to automatically transfer the exported file to a web server.
To add your own AppleScript scripts to the After Export pop-up menu:
1 Confirm that your AppleScript script uses the following syntax (to ensure that it works
in the in the After Export pop-up menu):
2 Save your AppleScript script to the default Soundtrack Pro AppleScript location: /Users/
username/Library/Scripts/Soundtrack Pro Scripts/.
For more information about writing AppleScript scripts, go to the following websites:
 Apple Developers: http://developer.apple.com/applescript
 General Apple Customers: http://macscripter.net
Custom actions appear
here.
418 Chapter 16 Exporting Multitrack Projects
Using Export Presets
You can streamline your workflow by saving all export settings (any combination of
export objects, formats, and actions) into a collection of presets for future use.
Custom export presets can include any combination of exported items, file type, bit
depth, sample rates, and post-export actions.
To create a new export preset:
1 Choose File > Export (or press Command-E).
The Export dialog appears.
2 Configure the Export dialog to reflect the export options you want to use for the
exported file or files.
 For standard audio file types (AIFF, WAVE, NeXT, and SoundDesigner II), the options
include Exported Items, File Type, the “Create multiple mono files” checkbox, Bit
Depth, Sample Rate, and post-export actions.
 For compressed audio file types (MP3, AAC/Podcast, Dolby Digital Professional/AC-3),
the options include the detailed settings for each of those formats, the choice of
Compressor presets, and post-export actions.
3 Choose Save Preset from the Preset pop-up menu.
4 Type a name for the new preset and click OK.
To apply a saved export preset:
1 Choose File > Export (or press Command-E).
The Export dialog appears.
2 Choose an export preset from the Preset pop-up menu.
The Export dialog displays the corresponding export options.
3 Type a name for the exported file, and browse to the location where you want to save
the file.
4 Click Export.
Chapter 16 Exporting Multitrack Projects 419
Exporting to AAF
Advanced Authoring Format (AAF) is an industry-standard project interchange
format for sharing projects and editing decisions between different video and audio
editing applications.
To export a project to an AAF file:
1 Choose File > Export AAF.
The Save dialog appears.
2 In the Save dialog, type a name for the file and browse to the location where you want
to save it.
For more information on using OMF and AAF files, see “Exchanging OMF and AAF Files
with Other Applications” on page 435.
Saving Multitrack Projects
For information on saving multitrack projects, see “Saving Multitrack Projects” on page 111.
Distributing a Multitrack Project and Its Media Files Together
You can save a multitrack project with all of the media files it uses together in the same
folder. Saving the project and its media files together is useful when you want to move
the project from one computer to another to continue working on it or to archive the
project and media for later use.
To save a project and its audio files together:
1 Choose File > Save As.
2 In the dialog that appears, select the Collect Audio Files checkbox.
This option saves the project file and a copy of every audio file the project uses to the
selected location.
Note: When you check this box, the setting is retained for any subsequent saves. In
other words, the File > Save menu option changes to File > Save (Collected), and any
new media you add to the project will be collected the next time you save the project.
Select this option to save
the video file with the
project.
Select this option to save
the project and its audio
files together.
420 Chapter 16 Exporting Multitrack Projects
3 Enter a name for the saved project, navigate to the folder in which you want to save
the project and its audio files, and click Save.
The project file and a copy of every audio file the project uses are saved in the
selected location.
4 You can optionally create a new folder for the collected project. To create a new folder
for the project, click the triangle next to the Save As field to expand the Save dialog,
then click New Folder. It’s a good idea to save each collected project in its own folder.
5 You can optionally select the Collect Unused Audio Files checkbox to include media
files you have deleted from the project. If you do not want to include these media files,
deselect this checkbox.
6 If the project includes a video, you can optionally select the Collect Video File checkbox
to save the video in the selected folder.
If the folder already contains any of the media files, an alert appears, asking if you want
to replace the existing files.
Note: Because video files are typically very large files, saving a copy of the video file
may take several minutes and may require a large amount of disk space.
7 If the project includes edited audio files, you can optionally select the Save Edited
Media Locally checkbox to save the project’s edited audio files in the same folder as the
project. If this box is not selected, edited media is saved to the Edited Media Location
defined in Soundtrack Pro preferences.
To remove deleted audio files from a project, do one of the following:
m In the Bin, select one of the audio files you want to remove, then choose Remove
Unused from the Media pop-up menu.
m In the Bin, Control-click one of the audio files you want to remove, then choose
Remove Unused from the shortcut menu.
17
421
17 Using Soundtrack Pro
with Other Applications
You can work with media files and projects from
Final Cut Pro, Motion, DVD Studio Pro, and other applications
in Soundtrack Pro projects.
Soundtrack Pro gives you several ways to work with files from Final Cut Pro, Motion,
and DVD Studio Pro, as well as third-party applications.
Using Soundtrack Pro with Final Cut Pro
You can use Soundtrack Pro for every aspect of creating audio for a project, from
multitrack recording to advanced audio processing and mixing. For example, you can
send a clip’s media file directly from Final Cut Pro to Soundtrack Pro, modify it, and then
immediately see the changes to your clip back in Final Cut Pro. You can also batch
process audio files using Applescript documents created in Soundtrack Pro. However,
one of the most powerful advantages of using Soundtrack Pro is the ability to send
entire sequences to Soundtrack Pro and automatically conform them each time you
make editorial changes to a sequence in Final Cut Pro. For information about using
Conform, see Chapter 18, “Using Conform with Final Cut Pro,” on page 439.
About Soundtrack Pro Audio File Projects
A Soundtrack Pro audio file project allows you to edit and process an audio media file
nondestructively, which means you can always alter or remove all of the actions you
applied and even get back to the original state of the audio. A Soundtrack Pro audio
file project is stored in a special Mac OS X format called a package (or bundle). A
Mac OS X package appears to be a single file in the Finder but actually contains a
collection of files, such as the original audio file, render files, and the list of actions
applied to your audio file. To take advantage of nondestructive editing, you can create
a Soundtrack Pro audio file project by either saving one from Soundtrack Pro or
sending a clip or clips from Final Cut Pro to a Soundtrack Pro audio file project.
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Methods for Sending Audio from Final Cut Pro
to Soundtrack Pro
You can take several approaches to working with your Final Cut Pro project’s audio in
Soundtrack Pro. The method you choose depends on your situation:
 Do you need to make specific changes to audio clips in your project? Final Cut Pro allows
you to open one or more clips in the Soundtrack Pro File Editor, where you can
analyze and process the audio using a variety of powerful tools.
 Do you need to batch process multiple audio files? Using customizable Soundtrack Pro
scripts, you can automate repetitive audio processing tasks such as removing clicks,
adding fades, or normalizing levels.
 Do you need a complete audio post-production solution for your movie, including sound
editing, sweetening, and mixing? You can send multiple Final Cut Pro clips—or even an
entire sequence—to a Soundtrack Pro multitrack project, where you can complete
your final mix by adding additional tracks of sound effects, voiceover, and music.
Both stereo and surround sound mixing are supported.
Sending Individual Audio Clips from Final Cut Pro
to Soundtrack Pro
There are three methods you can use to open a clip in the Soundtrack Pro File Editor:
 Send a clip item or items to Soundtrack Pro as a Soundtrack Pro audio file project: A
Soundtrack Pro audio file project is created for each item. This allows you to
nondestructively make changes to the audio in the Soundtrack Pro File Editor. The
original clips in Final Cut Pro are automatically reconnected to the new
Soundtrack Pro audio file projects. You have the option to copy the entire media file
for each clip item, or you can create trimmed versions with handles.
 Process a clip with a Soundtrack Pro script: The clip opens in the File Editor, the actions
in the script are performed automatically, the clip is saved with the changes, and the
File Editor moves to the background so you can continue working in Final Cut Pro. If
your clip’s media file is a standard audio or video file, you have the option to create a
new Soundtrack Pro audio file project, so as to process the file nondestructively. If
you don’t take advantage of this option, the script processes the source media
destructively (permanently). If your clip’s media file is already a Soundtrack Pro audio
file project, the changes are nondestructive.
 Open a clip’s media file destructively in the Soundtrack Pro File Editor: If you do not use a
Soundtrack Pro audio file project for editing and you save the changes to the file in
its native format, or in any flat audio file format (such as AIFF, WAVE, and so on), any
changes you make to the audio file are destructive (permanent).
Chapter 17 Using Soundtrack Pro with Other Applications 423
Sending Clips from Final Cut Pro to the Soundtrack Pro File Editor
When you send an audio clip from Final Cut Pro to the Soundtrack Pro File Editor, a
Soundtrack Pro audio file project is created with the file extension “.stap.” This file can
be edited nondestructively. The Final Cut Pro clip is reconnected to the new
Soundtrack Pro audio file project, so the original media file is not affected by what you
do in the File Editor.
You can send single clips or multiple clips to Soundtrack Pro audio file projects.
To send a single Final Cut Pro clip to the Soundtrack Pro File Editor:
1 Do one of the following:
 Select the clip in either the Final Cut Pro Browser or Timeline, then choose File >
Send To > Soundtrack Pro Audio File Project.
 Control-click the clip in either the Final Cut Pro Browser or Timeline, then choose
Send To > Soundtrack Pro Audio File Project from the shortcut menu.
The Save dialog appears.
2 In the Save dialog, do the following:
a Enter a name for the Soundtrack Pro audio file project.
b Choose a location to save the Soundtrack Pro audio file project.
c Select “Send only referenced media” to copy only the used section of the media
(between the In and Out points) to the new Soundtrack Pro audio file project. This is
recommended unless you intend to edit the entire source file.
d To add media handles when the “Send only referenced media” option is selected,
enter handle durations in the In Handle and Out Handle fields.
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3 Click Save.
A Soundtrack Pro audio file project is created and opened in the Soundtrack Pro File
Editor. The Final Cut Pro clip is reconnected to the new Soundtrack Pro audio file
project instead of its original media file.
4 Modify the audio as needed.
5 Choose File > Save to save the project with the changes.
A dialog appears allowing you to choose whether the Soundtrack Pro audio file project
should include a copy of the original audio media file or simply refer to it.
6 Choose one of the following, then click OK.
 Include Source Audio: This option copies the original audio media file into the
Soundtrack Pro audio file project package. Because the audio file project has its own
copy of the original media, it is self-contained and doesn’t rely on any external audio
files. This option simplifies media management and makes it easier to transfer the
audio file project to other computers. However, this increases the project file size and
therefore requires more disk space.
 Reference Source Audio: This option creates a link to the original source audio file,
resulting in a smaller project file. However, to use this project file, you always need to
keep track of the original source audio file. If you accidentally delete the original
media file, the Soundtrack Pro audio file project can no longer play back. Choose the
Reference Source Audio option only if the media is in a shared location accessible
from any computer you might use to access the Soundtrack Pro audio file project.
When you return to Final Cut Pro, the clip now connects to the new Soundtrack Pro audio
file project.
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To send multiple Final Cut Pro clips to Soundtrack Pro:
1 Select multiple clips in the Browser or Timeline.
2 Do one of the following:
 Choose File > Send To > Soundtrack Pro Audio File Project.
 Control-click the selection, then choose Send To > Soundtrack Pro Audio File Project
from the shortcut menu.
3 In the Save dialog, choose a location to save the new Soundtrack Pro audio file projects.
4 To create a new folder, press Command-Shift-N, enter a name for the folder, then
click Create.
5 Click OK.
6 A Soundtrack Pro audio file project is created for each clip selected in Final Cut Pro.
Each Soundtrack Pro audio file project is then opened in a File Editor tab in
Soundtrack Pro.
Processing a Clip’s Media File with a Soundtrack Pro Script
When you send a Final Cut Pro clip’s media to a Soundtrack Pro script, the following
steps occur for each unique file:
 With your consent, Final Cut Pro generates a Soundtrack Pro audio file project and
replaces the clip’s media file with it.
 The audio file project or the clip’s media file opens in the Soundtrack Pro File Editor.
 The script actions are applied to the audio file project or the media file.
 The audio file project or the clip’s media file is saved with the changes.
If your clip’s media file is a standard audio or video file, you have the option to create a
new Soundtrack Pro audio file project, so as to process the file nondestructively. If you
don’t take advantage of this option, the script processes the source media destructively
(permanently). If your clip’s media file is already a Soundtrack Pro audio file project, the
changes are nondestructive.
About Soundtrack Pro Scripts
Soundtrack Pro scripts are AppleScript droplets containing Soundtrack Pro File Editor
actions. Scripts can be created in Soundtrack Pro or a script editing application such
as Script Editor, the AppleScript application included with Mac OS X.
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To modify one or more clips’ media files using a Soundtrack Pro script:
1 Select the clips in the Final Cut Pro Browser or Timeline.
2 Do one of the following:
 Choose File > Send To > Soundtrack Pro Script.
 Control-click the selection, then choose Send To > Soundtrack Pro Script from the
shortcut menu.
3 Choose the script you want to use from the submenu.
Note: If you have not created custom Soundtrack Pro scripts and saved them to the
default Soundtrack Pro script location, no scripts appear in the submenu.
By default, a dialog appears offering to convert each clip’s media file to a
Soundtrack Pro audio file project, which allows for nondestructive editing.
4 Choose one of the following options:
 Yes: Creates a Soundtrack Pro audio file project for each clip and then prompts you
for a location to save these project files. You can create a new folder by pressing
Command-Shift-N.
 No: This option edits the files destructively, making permanent changes to the
original media files.
 Cancel: Cancels the script operation.
Soundtrack Pro opens and each clip is automatically opened, edited, saved, and closed
in the File Editor.
You can also repeat the last script you used to edit a clip, making it easy to edit several
clips with the same set of actions.
To edit a clip with the last script used:
m Control-click the clip in the Final Cut Pro Browser or Timeline, then choose Send To >
Last Soundtrack Pro Script from the shortcut menu.
To disable the dialog that appears when you use the Send To Soundtrack Pro
Script command:
1 Choose Final Cut Pro > User Preferences, then click the Editing tab.
2 Deselect the Warn on “Send to Soundtrack Pro Script” option, then click OK.
Chapter 17 Using Soundtrack Pro with Other Applications 427
Opening a Final Cut Pro Clip’s Media File Directly in Soundtrack Pro
You can open a Final Cut Pro clip’s media file directly in the Soundtrack Pro File Editor
by choosing the Open in Editor command, or by opening the file from the Finder.
Important: In either of these cases, if you make changes in the Soundtrack Pro File
Editor and save those changes to the original file, your changes will be destructive and
permanent. To edit nondestructively, you can save the file as a Soundtrack Pro audio
file project and import that file into Final Cut Pro.
To open a Final Cut Pro audio clip’s media file directly in the Soundtrack Pro
File Editor:
1 Control-click the audio clip in either the Final Cut Pro Browser or Timeline, then choose
Open in Editor from the shortcut menu.
The audio clip’s media file opens in the Soundtrack Pro File Editor.
2 In Soundtrack Pro, modify the audio as needed.
3 Choose File > Save to save the file with the changes.
The Save dialog appears. By default, the File Type pop-up menu is set to Audio File
Project, which saves the changes nondestructively. If you wish to permanently modify
the original file, choose the original file type and filename. Soundtrack Pro will ask if
you’re sure you want to overwrite the file. Choose OK only if you’re sure that you no
longer need your unedited media.
4 Click Save.
5 If you saved the file with a different filename or different file type, you must manually
add the new file to your Final Cut Pro sequence.
Important: Unless you save a Soundtrack Pro audio file project, this is a destructive
process that permanently modifies the original file.
About the Open in Editor Command
To open Final Cut Pro audio clips in Soundtrack Pro using the Open in Editor
command, choose Final Cut Pro > System Settings, then click the External Editors tab.
Make sure that Soundtrack Pro is the application set to open audio files. This ensures
that Final Cut Pro automatically opens Soundtrack Pro when you choose Open in
Editor and that, when you return to Final Cut Pro, the clip is automatically
reconnected to the updated media file. You can also choose Soundtrack Pro for
editing video files if you work with a lot of linked video and audio clip items. For more
information, see the Final Cut Pro User Manual.
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About Soundtrack Pro Multitrack Projects
Multitrack projects are similar to Final Cut Pro projects: they contain multiple audio
tracks in a timeline that you can use to arrange clips in sequence. Like Final Cut Pro
sequences, clips in a multitrack project refer to media files stored elsewhere, so the
project file size stays small. Multitrack projects also contain a single video track for
synchronizing your audio to picture.
Multitrack projects have track controls for volume, pan, mute, solo, effects, and effect
parameters. You can create additional audio busses and submixes for grouping signals
from audio tracks together or for effect sends. Tracks, busses, and submixes can be
exported to individual audio files or to a stereo or multichannel mixdown. These
Soundtrack Pro features are particularly useful for creating stem mixes that you can
send back to Final Cut Pro.
Creating Soundtrack Pro Multitrack Projects from
Final Cut Pro Clips or Sequences
You can create a Soundtrack Pro multitrack project from a selection of Final Cut Pro
clips or an entire sequence. The multitrack project opens automatically in the
Soundtrack Pro Timeline, and clips appear just as they did in your Final Cut Pro
sequence, complete with level and pan settings and crossfades. In Soundtrack Pro, you
can arrange your clips, add effects, and create a finished mix. The final mix can be
exported from Soundtrack Pro and automatically imported into Final Cut Pro in sync
with your original sequence.
Note: Some information from Final Cut Pro is not included in the multitrack project,
such as pan settings for stereo pairs, generators, and effects applied to clips.
Sending a Final Cut Pro Sequence or Clip Selection
to a Soundtrack Pro Multitrack Project
Creating a Soundtrack Pro multitrack project from within Final Cut Pro is a simple process.
To create a multitrack project from a sequence or a group of clips:
1 Select a sequence in the Final Cut Pro Browser, or select multiple clips in the Timeline.
2 Do one of the following:
 Choose File > Send To > Soundtrack Pro Multitrack Project.
 Control-click the selection, then choose Send To > Soundtrack Pro Multitrack Project.
Chapter 17 Using Soundtrack Pro with Other Applications 429
The Save dialog appears.
3 In the dialog that appears, select from the following options:
 Open in Soundtrack Pro Multitrack Editor: Select this option to open the multitrack
project in Soundtrack Pro after it is created.
 Include Background Video: Select this option to render the video in your Final Cut Pro
sequence. The Soundtrack Pro multitrack project will refer to this file in its video track
so you can see your video while you edit. Select what kind of background video you
want to export:
 Fully Rendered Video (slow): Your entire sequence is rendered at full quality to a
QuickTime movie file. This option is recommended if the project is to be moved to
another computer.
 Base Layer Video (fast): Any sequence segment that requires rendering in Safe RT
mode (in other words, any segment with a red render bar) is exported without
effects. These files are not portable to a different computer. For more information,
see the Final Cut Pro User Manual.
 Save project with latest clip metadata (recommended): Select this option to ensure an
accurate change history by having Final Cut Pro automatically save the project after
the send process.
4 Enter a project name or keep the default name, then click Save.
A Soundtrack Pro multitrack project file is created with the file extension “.stmp.”
Note: This is a small file that refers to the media files used by your Final Cut Pro
sequence clips. Make sure those media files are available when the Soundtrack Pro
multitrack project opens.
If you selected Open in Soundtrack Pro Multitrack Editor, the multitrack project opens
in the Soundtrack Pro Timeline.
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5 Modify the multitrack project as needed.
6 When you finish working on the project in Soundtrack Pro, choose File > Save.
When you have followed the steps described above, you can send a mixdown back to
Final Cut Pro.
Sending a Mixdown Back to Final Cut Pro Automatically
When you create a Soundtrack Pro multitrack project from within Final Cut Pro, all of
the sequence clip information is stored in the multitrack project. When you export a
mixdown of the multitrack project in Soundtrack Pro, you can also choose to open a
new copy of the Final Cut Pro sequence that looks just like the original sequence but
has additional audio tracks that contain your mixdown.
Clip information is sent from Soundtrack Pro to Final Cut Pro using the Final Cut Pro
XML Interchange Format.
To export a mixdown and open a new copy of a Final Cut Pro sequence containing
the mixdown:
1 In Soundtrack Pro, open the multitrack project you want to mix down.
2 Choose File > Export.
3 If you wish, you may choose options from the following pop-up menus:
 Exported Items: Choose an entire mix, or individual tracks, busses, or submixes, or
some combination thereof.
 File Type: The default (AIFF File) is appropriate for Final Cut Pro use.
 Bit Depth: Choose the setting appropriate for your Final Cut Pro project.
 Sample Rate: Choose the setting appropriate for your Final Cut Pro project.
 Preset: Optionally, you can save a preset combining all of the above settings, for
future exports.
4 Choose “Send files to Final Cut Pro sequence” from the After Export pop-up menu.
5 Enter a name for the exported file and click Export.
Soundtrack Pro exports mixdown files from the multitrack project and adds them to a
Final Cut Pro XML file containing the original sequence. For your convenience, the
audio tracks from the original sequence are moved to other tracks and are muted.
Chapter 17 Using Soundtrack Pro with Other Applications 431
In Final Cut Pro, the Import XML dialog appears.
6 Use the Destination pop-up menu to choose your original project, then click OK.
A copy of your original sequence (with the name you specified in step 5) appears in
the Browser.
7 Double-click the new sequence in the Browser to open it in the Timeline.
The sequence opens with the mixdown audio correctly synchronized to your clips in
the Timeline and the original audio tracks muted.
When you want to work on the project in Soundtrack Pro again, you can reopen it from
the Final Cut Pro Timeline.
To open a Soundtrack Pro multitrack project from a mixdown clip in Final Cut Pro:
1 In your Final Cut Pro sequence, Control-click the mixdown clip, then choose Open in
Editor from the shortcut menu.
Make sure that the Open in Editor command is set to open audio files in
Soundtrack Pro. For details, see “About the Open in Editor Command” on page 427.A
dialog appears with the following options:
 Open Audio File: Opens the mixdown audio file in the Soundtrack Pro File Editor.
 Open Project: Opens the Soundtrack Pro multitrack project linked to the mixdown
audio file.
2 Click Open Project.
The Soundtrack Pro multitrack project linked to the mixdown audio file opens in
Soundtrack Pro.
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To update a mixdown clip in your Final Cut Pro sequence:
1 Follow the steps above for opening a Soundtrack Pro multitrack project file from a
mixdown clip in Final Cut Pro.
2 Once the multitrack project opens in Soundtrack Pro, make changes to the multitrack
project, then choose File > Save to save the project.
3 Choose File > Export.
4 Save the mixdown file with the same name, in the same file format, and in the same
location as the previous mixdown file.
5 Switch to Final Cut Pro and open the sequence containing your mixdown.
The mixdown clip remains in the same location, but the media file it refers to has been
replaced by your new mixdown file, so the mixdown is now updated in Final Cut Pro.
Note: For information about using the Soundtrack Pro Conform feature to merge a
picture edit and the sound edit of the same Final Cut Pro sequence, see Chapter 17,
“Using Soundtrack Pro with Other Applications,” on page 421.
Using Soundtrack Pro with DVD Studio Pro
Soundtrack Pro and DVD Studio Pro offer two possible workflows for editing
DVD Studio Pro audio clips.
 You can import two-channel Soundtrack Pro audio file projects into DVD Studio Pro
projects, which allows you to take advantage of the powerful features of the
Soundtrack Pro File Editor to nondestructively modify the original audio source file.
You can import and use Soundtrack Pro audio file projects in your DVD Studio Pro
projects like any other audio files. When you need to make a change to an audio file
project, it opens in Soundtrack Pro. Once you save the project in Soundtrack Pro, it
automatically updates in DVD Studio Pro.
 You can edit a DVD Studio Pro clip destructively by opening it in the Soundtrack Pro
File Editor. Once you have edited and saved the file in Soundtrack Pro, it updates in
DVD Studio Pro. You hear the changes in DVD Studio Pro without having to reimport
the clip.
Chapter 17 Using Soundtrack Pro with Other Applications 433
To make a change to a Soundtrack Pro audio file project from
a DVD Studio Pro project:
1 Import a Soundtrack Pro audio file project into DVD Studio Pro.
Note: If you import a Soundtrack Pro audio file project that includes more than two
channels, DVD Studio Pro only uses the first two channels.
2 Do one of the following to open the audio file project in Soundtrack Pro:
 Select the file in the Assets tab, then choose File > Asset > Open In Editor.
 Control-click the file in the Assets tab, then choose Open In Editor from the
shortcut menu.
Soundtrack Pro opens with this audio file project in its File Editor.
3 Make the needed changes to the audio file project in Soundtrack Pro and save
the project.
4 Switch back to DVD Studio Pro.
The Asset Refresh dialog appears, letting you know that the audio file project has
changed. Play the file to hear the changes in DVD Studio Pro. You can click Show Log in
the dialog to see a list of elements that use this file.
To edit an audio clip destructively in the File Editor:
1 In DVD Studio Pro, Control-click the clip, then choose Open With from the shortcut menu.
2 In the dialog that appears, select Soundtrack Pro and click choose.
Soundtrack Pro opens and the clip appears in the File Editor.
3 Edit the clip in the File Editor.
You can edit the audio file project in the File Editor using the commands and functions
described in Chapter 6, “Editing Audio Files,” on page 191. You can apply actions or
analyze the file and fix analyzed problems.
4 When you are finished editing the clip, choose File > Save.
5 Click Save.
You can also save the clip by choosing File > Save As. If you save the clip using the Save
As command, be sure the name, location, and file type in the Save As dialog are the
same as for the clip’s source file.
Note: You can also save the clip in Soundtrack Pro as an audio file project, which lets you
use the workflow described in “Using Soundtrack Pro with DVD Studio Pro” on page 432.
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Using Soundtrack Pro with Motion
You can edit a Motion audio track nondestructively by sending it to the File Editor as an
audio file project. Sending an audio track to the File Editor as an audio file project lets
you exchange audio media and projects between Motion and Soundtrack Pro. When
you save your changes in the File Editor, the clip is updated in Motion without having
to be reimported.
To edit a Motion audio track nondestructively in the File Editor, you send the clip to the
File Editor as a new audio file project, edit the clip in the File Editor, then save the audio
file project. After following these steps, you can make roundtrips between Motion and
Soundtrack Pro so you can keep working in both applications.
When you send an audio track from Motion to the File Editor, a new audio file project
(with the file type .stap) is created for the track.
To send an audio track from Motion to the File Editor:
1 In the Motion Audio tab or Timeline Layer list, do one of the following.
 Select the audio track, then choose Edit > Send Audio to Soundtrack Pro.
 Control-click the audio track, then choose Send to Soundtrack Pro from the
shortcut menu.
A new audio file project is created for the audio track, and a Save As dialog appears.
2 In the Save As dialog, type a name for the new project, and browse to a location to
save the project.
A new audio file project containing the audio track opens in the Soundtrack Pro
File Editor.
3 Edit the audio file project in the File Editor.
You can use the commands and functions described in Chapter 6, “Editing Audio Files,”
on page 191. You can graphically edit the file, apply actions, analyze the file, and fix
analyzed problems.
When you are finished editing the audio file project of the audio track, you save the
project in Soundtrack Pro.
4 In Soundtrack Pro, choose File > Save.
When you have followed the steps described above, the clip is updated in Motion. You
hear the clip with the changes you made in the File Editor, without having to reimport
the clip. You can make roundtrips between Motion and Soundtrack Pro by opening the
saved audio file project, making changes, then saving the project. Each time you save
the project, the clip is updated in Motion.
Chapter 17 Using Soundtrack Pro with Other Applications 435
Using Soundtrack Pro with Third-Party Applications
You can use Soundtrack Pro to exchange media and project files with
third-party applications.
Exchanging OMF and AAF Files with Other Applications
When you “send” a Final Cut Pro sequence to a Soundtrack Pro multitrack project, you
are using the Final Cut Pro XML Interchange Format to transfer the data between the
two applications. Open Media Framework (OMF) and Advanced Authoring Format
(AAF) are two industry-standard project interchange formats that Soundtrack Pro can
use to share projects and import the editing decisions from other (third-party) video
and audio editing applications. You can also export a multitrack project from
Soundtrack Pro as an AAF file.
For more information on sending Final Cut Pro sequences to Soundtrack Pro multitrack
projects, see “Using Soundtrack Pro with Final Cut Pro” on page 421.
Importing OMF and AAF Files
Follow these steps to import OMF and AAF Files into Soundtrack Pro.
To import an OMF file:
1 Choose File > Import OMF.
The Import OMF dialog appears.
2 Use the dialog to select the file and click Import OMF.
A progress bar shows that the file is being translated and the project opens in
Soundtrack Pro.
To import an AAF file:
1 Choose File > Import AAF.
The Import AAF dialog appears.
2 Use the dialog to select the file and click Import AAF.
A progress bar shows that the file is being translated and the project opens in
Soundtrack Pro.
The multitrack projects created from importing OMF and AAF files include any available
pan and volume information.
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Using OMF and AAF Files
The OMF and AAF formats provide a way to consolidate all of the audio files and audio
edits from a third-party video or audio editing application into one portable package.
The picture editor can choose to include handles (extra footage beyond the In and Out
points of a clip that provides a safety margin in case you need it during the sound edit
and mix). Here are some things to keep in mind when using OMF and AAF files:
 OMF and AAF exports generally omit unused media to keep the overall file size low.
If you want to “steal” a performance from another take, you might be out of luck with
an OMF or AAF export.
 OMF or AAF exported files are usually truncated. If a music piece was edited into
many small clips during the picture edit, the OMF and AAF export process applies
those edits permanently on the file level. Sound editors usually prefer to have one
original piece of music with (nondestructive) edits referring to it.
 It is always a good idea to have single-frame “sync pops” at the top and tail of the
video and every single audio track to verify synchronization.
 OMF and AAF files do not include video, so usually, a video file needs to be
exported separately.
 To exchange OMF and AAF files with ProTools, you will need DigiTranslator, the
Digidesign interchange application, which is sold separately.
 Volume automation and panning automation is not always included in OMF and
AAF files.
 OMF and AAF exports often include audio files with very long and complicated
filenames.
 OMF and AAF exports support a single sample rate. All the audio files in a single
export must have the same sample rate.
 OMF packages (that contain media) are limited to a 2 GB maximum file size.
Exporting to AAF
You can export Soundtrack Pro multitrack projects as AAF files.
To export a project to an AAF file:
1 Choose File > Export AAF.
The Save dialog appears.
2 In the Save dialog, type a name for the file and browse to the location where you want
to save it, then click Save.
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Exporting Audio Files
You can open an audio file exported from Soundtrack Pro (a project mix; an exported
track, bus, or submix; or an audio file project) in any application that supports audio files.
If you save an audio file project as an AIFF file or a QuickTime movie, a link is included
in the AIFF file or movie, letting you reopen the project in Soundtrack Pro and make
changes to action settings and other edits.
If you export a saved multitrack project using File > Export, a link is included in the
exported file, letting you reopen the multitrack project in Soundtrack Pro and make
changes. The project must have been previously saved at least once before you export
the project mix.
When you reopen the exported file, a dialog appears, asking if you want to open the
audio file or the original project. In the dialog, click Open Project.
The multitrack project opens in the Soundtrack Pro Timeline so you can continue
working. When you are finished working in Soundtrack Pro, be sure to save the
multitrack project before exporting a project mix so your changes are retained.
18
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18 Using Conform with Final Cut Pro
The picture editor and sound editor can work in parallel and
then use Conform to easily merge the results of their work.
One of the biggest hurdles faced by sound editors is dealing with picture changes.
When a picture editor moves clips or changes edit durations, the sound editor receives
the new edit and then must manually conform the sound mix to the new picture edit.
This process is time-consuming and it’s easy to make mistakes. Worse, manually
conforming a mix distracts a sound editor from the most important job at hand:
completing the mix.
About Conforming Manually
When manually conforming a sound mix to a new picture cut, a sound editor imports
the picture editor’s new audio clips into an existing multitrack project on new tracks.
Next, the sound editor has to walk through the new edits one by one, comparing the
old placement of clips to the new ones. Clips in the old mix must be adjusted so that
they line up with new cuts in the video. Clips may also need to be deleted or added
because a shot was cut or added.
Using Soundtrack Pro Conform
Soundtrack Pro Conform makes conforming multitrack projects much more efficient.
The picture editor and sound editor can work in parallel and then use Conform to easily
merge the results of their work.
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Here is how a picture editor and a sound editor might work together using Conform:
 A Final Cut Pro sequence is sent to a Soundtrack Pro multitrack project.
 Changes and edits are made in parallel to both the Final Cut Pro sequence and the
Soundtrack Pro multitrack project. The Soundtrack Pro project that the sound editor
uses is referred to as the “original” audio mix.
 An “updated” send is performed to provide Soundtrack Pro with a new version of the
project containing the edits performed in Final Cut Pro. This creates a second
Soundtrack Pro multitrack project, referred to as the “updated project.”
 When you initiate Conform, Soundtrack Pro analyzes both the “original” audio mix
and the “updated” send from Final Cut Pro, including all possible clip moves and
media changes.
 Soundtrack Pro then generates a third project, referred to as the “Result” project, that
has every change made with the highest confidence. You can then use the Conform
interface to review/modify/approve all the changes needed to best perform the
process of editing the audio mix to match the new project.
To conform a Soundtrack Pro multitrack project to changes made to the source
sequence in Final Cut Pro:
1 Select a sequence in the Final Cut Pro Browser.
2 Do one of the following:
 Choose File > Send To > Soundtrack Pro Multitrack Project.
 Control-click the selection, then choose Send To from the shortcut menu and
Soundtrack Pro Multitrack Project from the submenu.
The Save dialog appears.
Select “Save project with
latest clip metadata
(recommended)”
checkbox
Chapter 18 Using Conform with Final Cut Pro 441
3 In the dialog that appears, confirm that the “Save project with latest clip metadata
(recommended)” checkbox is selected.
This ensures an accurate change history by having Final Cut Pro automatically save the
project after the sequence is sent to Soundtrack Pro. If you are planning to use
Conform frequently, the “Save project with latest clip metadata (recommended)”
checkbox should always be selected.
4 Click Save.
For more information on sending sequences to Soundtrack Pro, see “Creating
Soundtrack Pro Multitrack Projects from Final Cut Pro Clips or Sequences” on page 428.
5 At this point, changes and edits are made in parallel to both the Final Cut Pro sequence
and the Soundtrack Pro multitrack project:
 Sound editor: Makes changes to the Soundtrack Pro multitrack project. This project is
referred to as the “original” audio mix project.
 Picture editor: Makes changes to the Final Cut Pro sequence.
6 In Final Cut Pro, do one of the following:
 Choose File > Send To > Soundtrack Pro Multitrack Project.
 Control-click the selection, then choose Send To from the shortcut menu and
Soundtrack Pro Multitrack Project from the submenu.
The Save dialog appears.
Select “Save project with
latest clip metadata
(recommended)”
checkbox
442 Chapter 18 Using Conform with Final Cut Pro
7 In the dialog that appears, confirm that the “Save project with latest clip metadata
(recommended)” checkbox is selected, then enter a new name for the multitrack
project and click Save.
This creates a new Soundtrack Pro project that will be referred to as the “updated” project.
8 Make sure that both the “original” audio mix project and the “updated” project are
open in Soundtrack Pro.
9 Do one of the following:
 Choose File > Conform To Project.
 Open the Conform tab, then click the Conform Projects button.
This initiates the conform process.
10 In the dialog that appears, select the “original” audio mix project (the “sound editor
version”) in the left list. Select the “updated” project (the more recent send from
Final Cut Pro—the “picture editor version”) in the right list.
Note: Only projects that have embedded Final Cut Pro clip metadata (projects sent
from Final Cut Pro or opened via XML documents) appear in this dialog.
11 Click Continue.
Soundtrack Pro analyzes the clip positions in your “original” audio mix and the clip
positions in the “updated” picture edit from Final Cut Pro, and determines the best
position/duration and media to use for each clip. Soundtrack Pro will attempt to
conform the audio mix from the “original” project to match the video from the
“updated” project.
Chapter 18 Using Conform with Final Cut Pro 443
The multitrack Timeline displays the new, untitled “result” project (the results of the
conform process).
The Conform tab displays the Conform worklist: a list of clips that may have moved
or changed.
The selected clip is
highlighted.
Project Selector buttons
Click column header
to sort.
Selected clip
Filters to hide clips from
worklist
Group slider
Details for selected
clip
Use the
Show pop-up menu
to display mini
timelines.
444 Chapter 18 Using Conform with Final Cut Pro
Reviewing and Approving the Changes
in the Conform Result Project
Once you have a Conform worklist, you can inspect the changes, reviewing the
playback in the original, updated or result projects, and can change and accept choices
for each clip individually or multiple clips or groups of clips all at once. The goal is to
walk through the changes made to generate the result project and verify that all the
clips have been moved into the correct positions, and that the correct choices have
been made to satisfy the artistic goals for the audio mix. At any time, you are free to
accept all the changes made by Soundtrack Pro and finish the conform process.
Filtering Out Unchanged Clips
For many clips, the Position/Duration and Media may be unchanged (the clips were the
same in both versions of the project). These show up as “Not Changed” in the Conform
worklist. It can be useful to filter out all the Unchanged clips, so that you can
concentrate on reviewing the clips that actually moved or had media changes.
To filter out unchanged clips from the Conform worklist:
m Select the Hide Unchanged checkbox.
Unchanged clips are removed from the worklist. Only clips that have changed remain
in the worklist.
Using the Project Selector Buttons
Use the Project Selector buttons to select one of three projects to appear in the main
multitrack Timeline. This is helpful if you want to go back to your sound edit (the
“original” project) to quickly see where a clip or group of clips was, then go to the result
project and preview those same clips to verify that they correctly match the picture. By
default, once the Conform process starts, the multitrack Timeline will show the untitled
result project, ready for you to review each clip or group of clips in the worklist.
Select Hide Unchanged.
Chapter 18 Using Conform with Final Cut Pro 445
To use the Project Selector buttons to display a project:
m Click the Original, Updated, or Result button.
The corresponding project appears in the multitrack Timeline.
Grouping Clips in the Conform Work List
It can be useful to group clips together in the Conform work list. You can use the Group
slider to control how clips are grouped together. When you click clips or groups, the
selected clips (or clips in the selected group) are highlighted in the mini timelines.
To automatically form groups in the work list:
m Drag the Group slider to the right.
To reduce or remove groups from the work list:
m Drag the Group slider to the left.
If you drag the slider all the way to the left, you will remove all groups and you can
work with individual clips.
Dragging the slider all the way to the right will remove all groups, and you can work with
individual clips. Sliding the group slider to the right will automatically form groups of clips.
Click a Project Selector
button to display the
corresponding project in
the Timeline.
Groups in the Conform
work list
446 Chapter 18 Using Conform with Final Cut Pro
Showing Selected Clips in the Timeline
If the Show Selected Clip in the Timeline button (the magnifying glass zoom button to
the right of the project selector) is selected, then as clips or groups are selected in the
work list, the main Timeline will scroll and zoom to show the selected group and/or clips.
Approving Changes and Clips
The objective of this part of the conform process is to work through all of the clips on
the work list and verify that the clips are in the correct position.
It can be useful to start with the clips that have the lowest confidence value. To do this,
you can click the header of the Confidence column and sort in ascending order. This
way, you’ll get the clips with the lowest confidence at the top.
You can then click a clip and see the different options for position/duration and media.
To audition and approve changes and clips in the result project:
1 Enable the “Show selected clip in the Timeline” button.
For details, see “Showing Selected Clips in the Timeline,” above.
2 Click Result in the Project Selector buttons to display the result project in the main
multitrack Timeline.
3 Click a clip in the work list and audition the clip in the main Timeline of the result
project to verify the correct position.
Show Selected Clip in the
Timeline button
Chapter 18 Using Conform with Final Cut Pro 447
4 In the Details section, select an option for the clip.
When you select a clip with more than one position, duration, or media option, the clip
will immediately move to that selected location so that you can audition that choice in
the main Timeline.
Note: When the clip moves, any automation that might exist on the track will move
with the clip.
5 Once you are satisfied with your choice, click the Approve button.
The clip is marked with a green checkmark, indicating that it has been reviewed and
approved in the result project.
Note: The process of reviewing and approving changes is simply a tool to help you go
through the work list of clips.
6 Optionally, you can select multiple clips or select a group and then click Approve to
approve all selected clips.
Filtering Out Approved Clips
Once you have a number of clips or groups that you have approved, you may find it
useful to enable the Hide Approved filter. With this filter enabled, clips will pop off the
work list as you approve them, helping you focus attention on the clips that need to be
reviewed and approved.
Approve button
Clip options
448 Chapter 18 Using Conform with Final Cut Pro
To filter out approved clips from the Conform work list:
m Select the Hide Approved checkbox.
Approved clips are removed from the work list. Only clips that are not approved remain
in the work list.
Finishing the Conform Process
Once you are satisfied that all the clips in the Result project are in the correct place, you
can click the Finish button to end the Conform process. You are not required to
approve every single clip. In fact, the approvals do not change the outcome of the
Conform process: the updated project will have all the clips set to their currently
selected position/duration/media regardless of whether the selection is approved or
not. The approval process is really more of a tool to help you manage your progress
through the worklist.
To finish the Conform process:
m Click Finish.
The result is an Untitled project containing the conform results. This project can be
saved and edited just like any other project. Typically, you will use this result project for
subsequent audio edits in Soundtrack Pro. If more changes are made in Final Cut Pro,
the result project from your first conform (plus any edits you’ve made in
Soundtrack Pro) can be used as the “Original” project in a subsequent conform process.
It will be conformed to an even more recent send from Final Cut Pro.
Approved clips
Select the Hide
Approved checkbox.
449
A
Appendix
A Soundtrack Pro
Keyboard Shortcuts
General and File
Keyboard shortcut Function
Creates a new, blank multitrack project.
Creates a new audio file project.
Opens the Open dialog.
Saves the current project.
Opens the Save As dialog to save the project with a new name.
Opens the Save As dialog to save a copy of the project with a
different name.
Adds the selected audio file (in a media tab) to the Bin of the
current multitrack project.
 If the Project pane contains a single tab, closes the
Soundtrack Pro window.
 If the Project pane contains multiple tabs, closes the active tab.
 If a particular tab is active, closes the tab.
Minimizes Soundtrack Pro.
Hides Soundtrack Pro.
Hides all other windows.
Closes all projects and quits Soundtrack Pro.
N
shift N
O
S
shift S
control S
B
W
M
H
option H
Q
450 Appendix A Soundtrack Pro Keyboard Shortcuts
Layouts, Tabs, and HUDs
Shows the Soundtrack Pro Preferences window.
Opens the Soundtrack Pro User Manual.
Keyboard shortcut Function
,
shift ?
Keyboard shortcut Function
Switches the project layout to the Standard layout.
Switches the project layout to the Separate Mixer and Video
layout.
Activates or deactivates the left pane.
Activates or deactivates the lower pane.
Activates or deactivates the right pane.
Activates or deactivates the Video tab.
Activates the Mixer for the current multitrack project.
Activates the Project pane.
Activates the Browser tab.
Activates the Details tab.
Activates the Effects tab.
Activates the Sound Palette.
Moves to the previous (left) tab.
Moves to the next (right) tab.
Activates the Multipoint Video HUD.
Activates or deactivates the video output device or Digital
Cinema Desktop.
F1
F2
control A
control S
control D
1
2
3
4
l
5
shift C
shift [
shift ]
V
control V
Appendix A Soundtrack Pro Keyboard Shortcuts 451
Navigating the Timeline
Project Playback
Keyboard shortcut Function
Moves the playhead to the beginning of the project, or to the
beginning of the cycle region if it is active.
Moves the playhead to the position of the preceding marker.
Moves the playhead to the position of the next marker.
Moves the playhead to the position of the previous frame in the
video clip.
Moves the playhead to the position of the next frame in the
video clip.
return
option M
shift M
option
option
Keyboard shortcut Function
Starts playing the project.
If the project is playing, stops project playback.
Starts playback from the beginning of the project.
Moves the playhead to the beginning of the cycle region, then to
the beginning of the project.
Moves the playhead to the beginning of the cycle region (if
present).
Moves the playhead to the beginning of the project.
Moves the playhead to the end of the cycle region (if present).
Moves the playhead to the end of the project.
Plays in reverse.
Plays in reverse faster (press J repeatedly).
Stops playback.
Plays forward.
space
space
shift return
return return
home
home home
end
end end
J
J
K
L
452 Appendix A Soundtrack Pro Keyboard Shortcuts
Cycle Region
Fast-forwards (press L repeatedly).
Plays in slow motion.
Plays in reverse slow motion.
Starts or stops preview playback.
Keyboard shortcut Function
L
K L
J K
option space
Keyboard shortcut Function
Activates the cycle region, or deactivates it if it is active.
Creates a cycle region around the selected audio clip under the
playhead or the uppermost audio clip under the playhead.
Removes the cycle region.
Creates a cycle region from the current selection.
Sets the cycle region In point.
Sets the cycle region Out point.
Removes the cycle region In point.
Removes the cycle region Out point.
Moves the cycle region playhead to the In point.
Moves the cycle region playhead to the Out point.
C
X
option X
shift A
I
O
option I
option O
shift I
shift O
Appendix A Soundtrack Pro Keyboard Shortcuts 453
General Editing
Editing Audio Clips in the Timeline
Keyboard shortcut Function
Undoes the last command.
Redoes the last undone command.
Cuts the selected item.
Ripple cuts the selected item.
Copies the selected item.
Pastes the cut or copied item.
Ripple deletes the selected item.
Duplicates the selected item.
Selects all items in the window.
Deselects all items in the window.
Ripple cuts to the next edit.
Ripple deletes to the next edit.
Z
shift Z
X
shift X
C
V
shift delete
D
A
shift A
shift option X
shift option delete
Keyboard shortcut Function
Opens the Paste Repeat dialog so that you can paste multiple
copies of the cut or copied audio clip.
Turns snapping on or off.
Splits selected audio clips under the playhead, or splits clips on
selected tracks under the playhead.
Joins the selected clips.
Crossfades the selected clips across the Timeslice selection.
option V
N
S
option S
F
454 Appendix A Soundtrack Pro Keyboard Shortcuts
Moving Audio Clips and Envelope Points
Fades in to the playhead on selected clips or tracks.
Fades out from the playhead on selected clips or tracks.
Trims the clip to the Timeslice selection.
Slips (offsets) a clip.
Spots the selected clip or File Editor selection to the playhead.
Opens the Spot to Timeline dialog for spotting the selected clip
or File Editor selection.
Performs a ripple cut.
Performs a ripple delete.
Shows or hides envelope(s) for the selected track(s).
Switches envelope selection mode (between the Select Only
Clips mode and the Select Envelope Points With Clips mode).
Keyboard shortcut Function
option D
option G
option Z
option drag
shift
shift X
shift delete
E
option E
Keyboard shortcut Function
Moves the clip or envelope point to the previous gridline.
Moves the clip or envelope point to the next gridline.
Moves the clip or envelope point to the previous video frame.
Moves the clip or envelope point to the next video frame.
Locks or unlocks the selected clip(s).
Disables or enables the selected clip(s).
Moves the clip to the previous edit.
Moves the clip to the next edit.
option
option
option control B
control B
Appendix A Soundtrack Pro Keyboard Shortcuts 455
Viewing the Timeline
Moves the clip up one track.
Moves the clip down one track.
Moves the selected envelope point up by a coarse value.
Moves the selected envelope point down by a coarse value.
Moves the selected envelope point up by a fine value.
Moves the selected envelope point down by a fine value.
Adds envelope points at the edges of selected clips.
Keyboard shortcut Function
option
option
option
option
shift E
Keyboard shortcut Function
Zooms out horizontally to the next zoom level.
Zooms in horizontally to the next zoom level.
Increases the track height to the next level.
Decreases the track height to a lower level.
Zooms in on the current selection.
Returns to the default zoom level.
Fits the project in the display size.
Sets the track height to Mini.
Sets the track height to Small.
=
shift
shift
option Z
0
shift Z
6
7
456 Appendix A Soundtrack Pro Keyboard Shortcuts
Timeline Tools
File Editor Project View Tools and Commands
Sets the track height to Medium.
Sets the track height to Large.
Keyboard shortcut Function
8
9
Keyboard shortcut Function
Selects the Selection (arrow) tool.
Selects the Blade (razor) tool.
Selects the Blade All tool.
Selects the Timeslice tool.
Selects the (Sound Palette) Lift tool.
Selects the (Sound Palette) Stamp tool.
Selects the Scrub tool.
A
B
B B
W
U U
U
H
Keyboard shortcut Function
Selects the Selection (arrow) tool.
Selects the Frequency Selection tool.
Selects the Sample Edit (pencil) tool.
Selects the Audio Stretching tool.
Selects the Zoom tool.
Selects the Scrub tool.
A
W
P
T
Z
H
Appendix A Soundtrack Pro Keyboard Shortcuts 457
Processing and Editing Audio Files
Zooms in to the sample level.
Zooms in on the current selection.
Fits the waveform in the display size.
Sets the ambient noise print.
Adds ambient noise.
Replaces with ambient noise.
Adjusts selection inward to zero crossing.
Adjusts selection outward to zero crossing.
Adjusts In point left to zero crossing.
Adjusts In point right to zero crossing.
Adjusts Out point left to zero crossing.
Adjusts Out point right to zero crossing.
Keyboard shortcut Function
control Z
option Z
shift Z
control Y
Y
shift Y
shift I
shift O
[
]
shift [
shift ]
Keyboard shortcut Function
Creates a new file from the current selection.
Creates a new file from the contents of the Clipboard.
Opens the Normalize dialog for the audio file or selection.
Opens the Adjust Amplitude dialog for the audio file or selection.
Opens the Paste Mix dialog so that you can paste audio and mix
it with the existing audio.
control N
shift control N
L
shift L
shift V
458 Appendix A Soundtrack Pro Keyboard Shortcuts
Tracks, Busses, and Submixes
Replaces the audio file or selection with silence.
Flattens audible actions, as indicated by the position of the
Action Insert bar.
Flattens all actions.
A/B last actions.
Sets the ambient noise print.
Adds ambient noise.
Replaces with ambient noise.
Keyboard shortcut Function
delete
control F
shift control F
F1
control Y
Y
shift Y
Keyboard shortcut Function
Adds a new track to the Timeline.
Adds a new bus to the Timeline.
Adds a new submix to the Timeline.
Removes the selected track, bus, or submix from the Timeline.
Selects the track above the currently selected track.
Selects the track below the currently selected track.
Adds the track above to the current selection.
Adds the track below to the current selection.
Locks the selected track.
Shows or hides envelopes for the selected items.
T
control T
option T
shift T
control
control
shift control
shift control
F5
E
Appendix A Soundtrack Pro Keyboard Shortcuts 459
Markers
Selecting Audio Clips in the Timeline
Groups the selected tracks.
Enables groups.
Keyboard shortcut Function
G
control G
Keyboard shortcut Function
Inserts a time marker at the current playhead position.
Adds a region marker for the duration of the selection.
Adds time markers at the beginning and end of the selection.
Inserts a beat marker at the current playhead position.
Displays the Details tab for the selected marker.
M
control M
option control M
option B
option M
Keyboard shortcut Function
Selects all clips between the playhead and the end of the project,
on selected tracks only. If no tracks are selected, selects clips
across all tracks.
Selects all clips on all tracks between the playhead and the end
of the project.
Selects all the clips between the playhead and the beginning of
the project, on selected tracks only. If no tracks are selected,
selects clips across all tracks.
Selects all clips on all tracks between the playhead and the
beginning of the project.
Selects all clips on selected tracks.
Selects all clips on all tracks.
Creates a timeslice from the selection on selected tracks.
Moves the playhead to the previous edit, and reverses the select
state of any clip starting at that edit.
shift end
shift option end
shift home
shift option home
shift T
shift option T
option A
shift
460 Appendix A Soundtrack Pro Keyboard Shortcuts
Video Out
Recording
Moves the playhead to the next edit, and reverses the select
state of any clip ending at that edit.
Moves the playhead to the previous edit, and reverses the select
state of any clip starting at that edit, on selected track(s) only.
Moves the playhead to the next edit, and reverses the select
state of any clip ending at that edit, on selected track(s) only.
Keyboard shortcut Function
shift
shift option
shift option
Keyboard shortcut Function
Plays using the external video output device or Digital Cinema
control V Desktop (set in Soundtrack Pro > Preferences).
Keyboard shortcut Function
Makes Take 1 the active take for the selected clip.
Makes Take 2 the active take for the selected clip.
Makes Take 3 the active take for the selected clip.
Makes Take 4 the active take for the selected clip.
Makes Take 5 the active take for the selected clip.
Makes Take 6 the active take for the selected clip.
Makes Take 7 the active take for the selected clip.
Makes Take 8 the active take for the selected clip.
Makes Take 9 the active take for the selected clip.
control 1
control 2
control 3
control 4
control 5
control 6
control 7
control 8
control 9
Appendix A Soundtrack Pro Keyboard Shortcuts 461
Using Arrow Keys to Move the Playhead
Working with Timeslices
Keyboard shortcut Function
Moves the playhead to the previous edit.
Moves the playhead to the next edit.
Moves the playhead to the previous edit on the selected track.
Moves the playhead to the next edit on the selected track.
Moves the playhead one video frame to the left.
Moves the playhead one video frame to the right.
Moves the playhead one gridline to the left.
Moves the playhead one gridline to the right.
option
option
option
option
Keyboard shortcut Function
Moves the Timeslice location up one row.
Moves the Timeslice location down one row.
Extends the Timeslice location up one row.
Extends the Timeslice location down one row.
Moves the Timeslice location left one gridline.
Moves the Timeslice location right one gridline.
Extends the left edge one gridline.
Extends the right edge one gridline.
Extends the left edge to the next edit.
option
shift
shift
shift
shift
462 Appendix A Soundtrack Pro Keyboard Shortcuts
Extends the right edge to the next edit.
Moves the Timeslice location to the previous edit.
Moves the Timeslice location to the next edit.
Moves the Timeslice location up a track.
Moves the Timeslice location down a track.
Moves the Timeslice location to the previous gridline.
Moves the Timeslice location to the next gridline.
Moves the Timeslice location to the previous frame.
Moves the Timeslice location to the next frame.
Extends the Timeslice to the previous edit.
Extends the Timeslice to the next edit.
Extends the Timeslice to the previous gridline.
Extends the Timeslice to the next gridline.
Extends the Timeslice to the previous frame.
Extends the Timeslice to the next frame.
Keyboard shortcut Function
shift
option
option
option
option
shift
shift
shift
shift
shift option
shift option
463
B
Appendix
B Audio Fundamentals
What Is Sound?
All sounds are vibrations traveling through the air as sound waves. Sound waves are
caused by the vibrations of objects and radiate outward from their source in all directions.
A vibrating object compresses the surrounding air molecules (squeezing them closer
together) and then rarefies them (pulling them farther apart). Although the fluctuations in
air pressure travel outward from the object, the air molecules themselves stay in the same
average position. As sound travels, it reflects off objects in its path, creating further
disturbances in the surrounding air. When these changes in air pressure vibrate your
eardrum, nerve signals are sent to your brain and are interpreted as sound.
Fundamentals of a Sound Wave
The simplest kind of sound wave is a sine wave. Pure sine waves rarely exist in the
natural world, but they are a useful place to start because all other sounds can be
broken down into combinations of sine waves. A sine wave clearly demonstrates the
three fundamental characteristics of a sound wave: frequency, amplitude, and phase.
Frequency
Frequency is the rate, or number of times per second, that a sound wave cycles from
positive to negative to positive again. Frequency is measured in cycles per second or
hertz (Hz). Humans have a range of hearing from 20 Hz (low) to 20,000 Hz (high).
Frequencies beyond this range exist, but they are inaudible to humans.
0
–
+
1 ms
Amplitude
Time
464 Appendix B Audio Fundamentals
Amplitude
Amplitude (or intensity) refers to the strength of a sound wave, which the human ear
interprets as volume or loudness. People can detect a very wide range of volumes, from
the sound of a pin dropping in a quiet room to a loud rock concert. Because the range
of human hearing is so large, audio meters use a logarithmic scale (decibels) to make
the units of measurement more manageable.
Phase
Phase compares the timing between two similar sound waves. If two periodic sound
waves of the same frequency begin at the same time, the two waves are said to be
in phase. Phase is measured in degrees from 0 to 360, where 0 degrees means both
sounds are exactly in sync (in phase) and 180 degrees means both sounds are exactly
opposite (out of phase). When two sounds that are in phase are added together, the
combination makes an even stronger result. When two sounds that are out of phase
are added together, the opposing air pressures cancel each other out, resulting in little
or no sound. This is known as phase cancelation.
Phase cancelation can be a problem when mixing similar audio signals together, or
when original and reflected sound waves interact in a reflective room. For example,
when the left and right channels of a stereo mix are combined to create a mono mix,
the signals may suffer from phase cancelation.
In phase
Separate signals
Mixed signals
Out of phase
Appendix B Audio Fundamentals 465
Frequency Spectrum of Sounds
With the exception of pure sine waves, sounds are made up of many different
frequency components vibrating at the same time. The particular characteristics of a
sound are the result of the unique combination of frequencies it contains.
Sounds contain energy in different frequency ranges, or bands. If a sound has a lot of
low-frequency energy, it has a lot of bass. The 250–4000 Hz frequency band, where
humans hear best, is described as midrange. High-frequency energy beyond the
midrange is called treble, and this adds crispness or brilliance to a sound. The graph
below shows how the sounds of different musical instruments fall within particular
frequency bands.
Note: Different manufacturers and mixing engineers define the ranges of these
frequency bands differently, so the numbers described above are approximate.
Π Tip: The human voice produces sounds that are mostly in the 250–4000 Hz range,
which likely explains why people’s ears are also the most sensitive to this range. If the
dialogue in your movie is harder to hear when you add music and sound effects, try
reducing the midrange frequencies of the nondialogue tracks using an equalizer filter.
Reducing the midrange creates a “sonic space” in which the dialogue can be heard
more easily.
Time
Bass Mid High
Cymbal crash
20 Hz
300 Hz
4 kHz
20 kHz
Violin and flute
Cello
Bass line
Frequency
466 Appendix B Audio Fundamentals
Musical sounds typically have a regular frequency, which the human ear hears as the
sound’s pitch. Pitch is expressed using musical notes, such as C, E flat, and F sharp. The
pitch is usually only the lowest, strongest part of the sound wave, called the fundamental
frequency. Every musical sound also has higher, softer parts called overtones or harmonics,
which occur at regular multiples of the fundamental frequency. The human ear doesn’t
hear the harmonics as distinct pitches, but rather as the tone color (also called the timbre)
of the sound, which allows the ear to distinguish one instrument or voice from another,
even when both are playing the same pitch.
Fundamental
First harmonic
Second harmonic
Time
Time
Time
Appendix B Audio Fundamentals 467
Musical sounds also typically have a volume envelope. Every note played on a musical
instrument has a distinct curve of rising and falling volume over time. Sounds
produced by some instruments, particularly drums and other percussion instruments,
start at a high volume level but quickly decrease to a much lower level and die away to
silence. Sounds produced by other instruments, for example, a violin or a trumpet, can
be sustained at the same volume level and can be raised or lowered in volume while
being sustained. This volume curve is called the sound’s envelope and acts like a
signature to help the ear recognize what instrument is producing the sound.
Measuring Sound Intensity
Human ears are remarkably sensitive to vibrations in the air. The threshold of human
hearing is around 20 microPascals (μP), which is an extremely small amount of
atmospheric pressure. At the other extreme, the loudest sound a person can withstand
without pain or ear damage is about 200,000,000 μP: for example, a loud rock concert
or a nearby jet airplane taking off.
Because the human ear can handle such a large range of intensities, measuring sound
pressure levels on a linear scale is inconvenient. For example, if the range of human
hearing were measured on a ruler, the scale would go from 1 foot (quietest) to over
3000 miles (loudest)! To make this huge range of numbers easier to work with, a
logarithmic unit—the decibel—is used. Logarithms map exponential values to a linear
scale. For example, by taking the base-ten logarithm of 10 (101) and 1,000,000,000 (109), this
large range of numbers can be written as 1–9, which is a much more convenient scale.
Percussive volume envelope Sustained volume envelope
468 Appendix B Audio Fundamentals
Because the ear responds to sound pressure logarithmically, using a logarithmic
scale corresponds to the way humans perceive loudness. Audio meters and sound
measurement equipment are specifically designed to show audio levels in decibels.
Small changes at the bottom of an audio meter may represent large changes in signal
level, while small changes toward the top may represent small changes in signal level.
This makes audio meters very different from linear measuring devices like rulers,
thermometers, and speedometers. Each unit on an audio meter represents an
exponential increase in sound pressure, but a perceived linear increase in loudness.
Important: When you mix audio, you don’t need to worry about the mathematics
behind logarithms and decibels. Just be aware that to hear incremental increases in
sound volume, exponentially more sound pressure is required.
What Is a Decibel?
The decibel measures sound pressure or electrical pressure (voltage) levels. It is a
logarithmic unit that describes a ratio of two intensities, such as two different sound
pressures, two different voltages, and so on. A bel (named after Alexander Graham Bell)
is a base-ten logarithm of the ratio between two signals. This means that for every
additional bel on the scale, the signal represented is ten times stronger. For example,
the sound pressure level of a loud sound can be billions of times stronger than a quiet
sound. Written logarithmically, one billion (1,000,000,000 or 109) is simply 9. Decibels
make the numbers much easier to work with.
In practice, a bel is a bit too large to use for measuring sound, so a one-tenth unit
called the decibel is used instead. The reason for using decibels instead of bels is no
different from the reason for measuring shoe size in, say, centimeters instead of meters;
it is a more practical unit.
Number of decibels Relative increase in power
0 1
1 1.26
3 2
10 10
20 100
30 1000
50 100,000
100 10,000,000,000
Appendix B Audio Fundamentals 469
Decibel Units
Audio meters are labeled with decibels. Several reference levels have been used in
audio meters over the years, starting with the invention of the telephone and evolving
to present day systems. Some of these units are only applicable to older equipment.
Today, most professional equipment uses dBu, and most consumer equipment uses
dBV. Digital meters use dBFS.
 dBm: The m stands for milliwatt (mW), which is a unit for measuring electrical power.
(Power is different from electrical voltage and current, though it is related to both.)
This was the standard used in the early days of telephone technology and remained
the professional audio standard for years.
 dBu: This reference level measures voltage instead of power, using a reference level
of 0.775 volts. dBu has mostly replaced dBm on professional audio equipment. The
u stands for unloaded, because the electrical load in an audio circuit is no longer as
relevant as it was in the early days of audio equipment.
 dBV: This also uses a reference voltage like dBu, but in this case the reference level is
1 volt, which is more convenient than 0.775 volts in dBu. dBV is often used on
consumer and semiprofessional devices.
 dBFS: This scale is very different from the others because it is used for measuring
digital audio levels. FS stands for full-scale, which is used because, unlike analog
audio signals that have an optimum signal voltage, the entire range of digital values
is equally acceptable when using digital audio. 0 dBFS is the highest-possible digital
audio signal you can record without distortion. Unlike analog audio scales like dBV
and dBu, there is no headroom past 0 dBFS.
Signal-to-Noise Ratio
Every electrical system produces a certain amount of low-level electrical activity called
noise. The noise floor is the level of noise inherent in a system. It is nearly impossible to
eliminate all the noise in an electrical system, but you don’t have to worry about the
noise if you record your signals significantly higher than the noise floor. If you record
audio too low, you raise the volume to hear it, which also raises the volume of the
noise floor, causing a noticeable hiss.
The more a signal is amplified, the louder the noise becomes. Therefore, it is important
to record most audio around the nominal (ideal) level of the device, which is labeled
0 dB on an analog audio meter.
The signal-to-noise ratio, typically measured in dB, is the difference between the
nominal recording level and the noise floor of the device. For example, the
signal-to-noise ratio of an analog tape deck may be 60 dB, which means the inherent
noise in the system is 60 dB lower than the ideal recording level.
470 Appendix B Audio Fundamentals
Headroom and Distortion
If an audio signal is too strong, it will overdrive the audio circuit, causing the shape of
the signal to distort. In analog equipment, distortion increases gradually the more the
audio signal overdrives the circuit. For some audio recordings, this kind of distortion
can add a unique “warmth” to the recording that is difficult to achieve with digital
equipment. However, for audio post-production, the goal is to keep the signal clean
and undistorted.
0 dB on an analog meter refers to the ideal recording level, but there is some allowance
for stronger signals before distortion occurs. This safety margin is known as headroom,
meaning that the signal can occasionally go higher than the ideal recording level without
distorting. Having headroom is critical when recording, especially when the audio level is
very dynamic and unpredictable. Even though you can adjust the recording level while
you record, you can’t always anticipate quick, loud sounds. The extra headroom above
0 dB on the meter is there in case the audio abruptly becomes loud.
Dynamic Range and Compression
Dynamic range is the difference between the quietest and loudest sound in your mix.
A mix that contains quiet whispers and loud screams has a large dynamic range. A
recording of a constant drone such as an air conditioner or steady freeway traffic has
very little amplitude variation, so it has a small dynamic range.
You can actually see the dynamic range of an audio clip by looking at its waveform. For
example, two waveforms are shown below. The top one is a section from a well-known
piece of classical music. The bottom one is from a piece of electronic music. From the
widely varied shape of the waveform, you can tell that the classical piece has the
greater dynamic range.
Notice that the loud and soft parts of the classical piece vary more frequently, as
compared to the fairly consistent levels of the electronic music. The long, drawn-out
part of the waveform at the left end of the top piece is not silence—it’s actually a long,
low section of the music.
Waveform from a well-known
classical piece
Waveform from an excerpt of
electronic music
Appendix B Audio Fundamentals 471
Dynamic sound has drastic volume changes. Sound can be made less dynamic by
reducing, or compressing, the loudest parts of the signal to be closer to the quiet parts.
Compression is a useful technique because it makes the sounds in your mix more
equal. For example, a train pulling into the station, a man talking, and the quiet sounds
of a cricket-filled evening are, in absolute terms, very different volumes. Because
televisions and film theaters must compete with ambient noise in the real world, it is
important that the quiet sounds are not lost.
The goal is to make the quiet sounds (in this case, the crickets) louder so they can
compete with the ambient noise in the listening environment. One approach to making
the crickets louder is to simply raise the level of the entire soundtrack, but when you
increase the level of the quiet sounds, the loud sounds (such as the train) get too loud
and distort. Instead of raising the entire volume of your mix, you can compress the loud
sounds so they are closer to the quiet sounds. Once the loud sounds are quieter (and the
quiet sounds remain the same level), you can raise the overall level of the mix, bringing
up the quiet sounds without distorting the loud sounds.
When used sparingly, compression can help you bring up the overall level of your mix
to compete with noise in the listening environment. However, if you compress a signal
too far, it sounds very unnatural. For example, reducing the sound of an airplane jet
engine to the sound of a quiet forest at night and then raising the volume to maximum
would cause the noise in the forest to be amplified immensely.
Different media and genres use different levels of compression. Radio and television
commercials use compression to achieve a consistent wall of sound. If the radio or
television becomes too quiet, the audience may change the channel—a risk advertisers
and broadcasters don’t want to take. Films in theaters have a slightly wider dynamic
range because the ambient noise level of the theater is lower, so quiet sounds can
remain quiet.
Stereo Audio
The human ear hears sounds in stereo, and the brain uses the subtle differences in
sounds entering the left and right ears to locate sounds in the environment. To recreate
this sonic experience, stereo recordings require two audio channels throughout
the recording and playback process. The microphones must be properly positioned to
accurately capture a stereo image, and speakers must also be spaced properly to recreate
a stereo image accurately.
If any part of the audio reproduction pathway eliminates one of the audio channels,
the stereo image will most likely be compromised. For example, if your playback system
has a CD player (two audio channels) connected to only one speaker, you will not hear
the intended stereo image.
472 Appendix B Audio Fundamentals
Important: All stereo recordings require two channels, but two-channel recordings are
not necessarily stereo. For example, if you use a single-capsule microphone to record
the same signal on two tracks, you are not making a stereo recording.
Identifying Two-Channel Mono Recordings
When you are working with two-channel audio, it is important to be able to distinguish
between true stereo recordings and two tracks used to record two independent mono
channels. These are called dual mono recordings.
Examples of dual mono recordings include:
 Two independent microphones used to record two independent sounds, such as two
different actors speaking. These microphones independently follow each actor’s voice
and are never positioned in a stereo left-right configuration. In this case, the intent is
not a stereo recording but two discrete mono channels of synchronized sound.
 Two channels with exactly the same signal. This is no different than a mono recording,
because both channels contain exactly the same information. Production audio is
sometimes recorded this way, with slightly different gain settings on each channel. This
way, if one channel distorts, you have a safety channel recorded at a lower level.
 Two completely unrelated sounds, such as dialogue on track 1 and a timecode audio
signal on track 2, or music on channel 1 and sound effects on channel 2.
Conceptually, this is not much different than recording two discrete dialogue tracks
in the example above.
The important point to remember is that if you have a two-track recording system,
each track can be used to record anything you want. If you use the two tracks to record
properly positioned left and right microphones, you can make a stereo recording.
Otherwise, you are simply making a two-channel mono recording.
Identifying Stereo Recordings
When you are trying to decide how to work with an audio clip, you need to know
whether a two-channel recording was intended to be stereo or not. Usually, the person
recording production sound will have labeled the tapes or audio files to indicate
whether they were recorded as stereo recordings or dual-channel mono recordings.
However, things don’t always go as planned, and tapes aren’t always labeled as
thoroughly as they should be. As an editor, it’s important to learn how to differentiate
between the two.
Appendix B Audio Fundamentals 473
Here are some tips for distinguishing stereo from dual mono recordings:
 Stereo recordings must have two independent tracks. If you have a tape with only
one track of audio, or a one-channel audio file, your audio is mono, not stereo.
Note: It is possible that a one-channel audio file is one half of a stereo pair. These are
known as split stereo files, because the left and right channels are contained in
independent files. Usually, these files are labeled accordingly: AudioFile.L and AudioFile.R
are two audio files that make up the left and right channels of a stereo sound.
 Almost all music, especially commercially available music, is mixed in stereo.
 Listen to a clip using two (stereo) speakers. If each side sounds subtly different, it is
probably stereo. If each side sounds absolutely the same, it may be a mono
recording. If each side is completely unrelated, it is a dual mono recording.
Interleaved Versus Split Stereo Audio Files
Digital audio can send a stereo signal within a single stream by interleaving the digital
samples during transmission and deinterleaving them on playback. The way the signal
is stored is unimportant as long as the samples are properly split to left and right
channels during playback. With analog technology, the signal is not nearly as flexible.
Split stereo files are two independent audio files that work together, one for the left
channel (AudioFile.L) and one for the right channel (AudioFile.R). This mirrors the
traditional analog method of one track per channel (or in this case, one file
per channel).
Digital Audio
Digital audio recording works by recording, or sampling, an electronic audio signal at
regular intervals (of time). An analog-to-digital (A/D) converter measures and stores
each sample as a numerical value that represents the audio amplitude at that particular
moment. Converting the amplitude of each sample to a binary number is called
quantization. The number of bits used for quantization is referred to as bit depth.
Sample rate and bit depth are two of the most important factors when determining
the quality of a digital audio system.
474 Appendix B Audio Fundamentals
Sample Rate
The sample rate is the number of times an analog signal is measured—or sampled—
per second. You can also think of the sample rate as the number of electronic
snapshots made of the sound wave per second. Higher sample rates result in higher
sound quality because the analog waveform is more closely approximated by the
discrete samples. Which sample rate you choose to work with depends on the source
material you’re working with, the capabilities of your audio interface, and the final
destination of your audio.
For years, the digital audio sample rate standards have been 44,100 Hz (44.1 kHz) and
48 kHz. However, as technology improves, 96 kHz and even 192 kHz sample rates are
becoming common.
Bit Depth
Unlike analog signals, which have an infinite range of volume levels, digital audio
samples use binary numbers (bits) to represent the strength of each audio sample. The
accuracy of each sample is determined by its bit depth. Higher bit depths mean your
audio signal is more accurately represented when it is sampled. Most digital audio
systems use a minimum of 16 bits per sample, which can represent 65,536 possible
levels (24-bit samples can represent over 16 million possible levels).
To better understand bit depth, think of each digital audio sample as a ladder with
equally spaced rungs that climb from silence to full volume. Each rung on the ladder is
a possible volume that a sample can represent, while the spaces between rungs are
in-between volumes that a sample cannot represent.
Audio sample rates When used
8 kHz–22.225 kHz These lower sample rates are used strictly for multimedia files.
32 kHz 32 kHz is generally used with 12-bit audio on DV.
44.1 kHz This sample rate is used for music CDs and some DAT recorders.
48 kHz Almost all digital video formats use this sample rate.
88.2 kHz A multiple of 44.1 kHz. This is useful for high-resolution audio that
needs to be compatible with 44.1 kHz. For example, if you eventually
plan to burn an audio CD, this sample rate is a good choice.
96 kHz A multiple of 48 kHz. This is becoming the professional standard for
audio post-production and music recording.
192 kHz A multiple of 48 and 96 kHz, this is a very high-resolution sample
rate used mostly for professional music recording and mastering.
Appendix B Audio Fundamentals 475
When a sample is made, the audio level of the analog signal often falls in the spaces
between rungs. In this case, the sample must be rounded to the nearest rung. The bit
depth of a digital audio sample determines how closely the rungs are spaced. The more
rungs available (or, the less space between rungs), the more precisely the original
signal can be represented.
Quantization errors occur when a digital audio sample does not exactly match the
analog signal strength it is supposed to represent (in other words, the digital audio
sample is slightly higher or lower than the analog signal). Quantization errors are also
called rounding errors because imprecise numbers represent the original analog audio.
For example, suppose an audio signal is exactly 1.15 volts, but the analog-to-digital
converter rounds this to 1 volt because this is the closest bit value available. This
rounding error causes noise in your digital audio signal. While quantization noise may
be imperceptible, it can potentially be exacerbated by further digital processing.
Always try to use the highest bit depth possible to avoid quantization errors.
The diagram on the far right shows the highest bit depth, and therefore the audio
samples more accurately reflect the shape of the original analog audio signal.
For example, a 1-bit system (a ladder with only two rungs) can represent either silence
or full volume, and nothing in between. Any audio sample that falls between these
rungs must be rounded to full volume or silence. Such a system would have absolutely
no subtlety, rounding smooth analog signals to a square-shaped waveform.
Analog waveform Audio sample
Sine Square
476 Appendix B Audio Fundamentals
When the number of bits per sample is increased, each sample can more accurately
represent the audio signal.
To avoid rounding errors, you should always use the highest bit depth your equipment
supports. Most digital video devices use 16- or 20-bit audio, so you may be limited to
one of these bit depths. However, professional audio recording devices usually support
24-bit audio, which has become the industry standard.
1-bit 2-bit
4-bit 16-bit
Bit depth When used
32-bit floating point This allows audio calculations, such as fader levels and effects
processing, to be performed at very high resolution with a
minimum of error, which preserves the quality of your digital audio.
24-bit This has become the audio industry standard for most audio
recording formats. Most professional audio interfaces and
computer audio editing systems can record with 24-bit precision.
20-bit Used in some video formats such as Digital Betacam and audio
formats such as ADAT Type II.
16-bit DAT recorders, Tascam DA-88 and ADAT Type I multitracks, and
audio CDs all use16-bit samples. Many digital video formats, such
as DV, use 16-bit audio.1
8-bit In the past, 8-bit audio was often used for CD-ROM and web video.
Today, 16-bit audio is usually preferred, but available bandwidth
and compatibility with your target user’s system are your chief
considerations when outputting audio for multimedia use.
1 Many consumer DV camcorders allow you to record four audio channels using 12-bit mode, but this is
not recommended for professional work.
477
C
Appendix
C Working with Professional Video
and Audio Equipment
About Video Interfaces, Signals, and Connectors
This section describes common types of video interfaces, signal formats, and connectors.
Video Interfaces
Final Cut Studio allows you to use a wide variety of video interfaces for capture and
output. The following section shows examples of the most common types of video
interfaces available.
FireWire for DV
You can use the built-in FireWire port on your computer to capture and output to
almost any DV device, including DV, DVCAM, DVCPRO, DVCPRO 50, and DVCPRO HD
devices.
In this configuration, you only need your computer and a supported DV device.
H
FireWire 400
(6-pin)
FireWire 400
(4- or 6-pin)
Computer DV VTR
478 Appendix C Working with Professional Video and Audio Equipment
FireWire for Uncompressed Digital Video
Interfaces such as the AJA Io connect to your computer via FireWire. However, instead
of transferring compressed DV signals, the AJA Io transfers an uncompressed
component 4:2:2 signal via FireWire. The AJA Io has a wide range of digital and analog
connectors, as well as RS-422 device control.
Important: Although this type of video interface uses FireWire, it is not used to
connect DV devices. If you want to capture or output DV video, you can connect your
DV device directly to the FireWire port on your computer.
PCI Video Interface Card
If you are using professional analog or digital formats (either standard definition or
high definition) without native FireWire connectivity, you need to purchase and install
a PCI video interface card to connect your video deck or camcorder to your computer.
Many PCI interface cards come with a breakout box where video, audio, and perhaps
even 9-pin remote connectors are located (rather than on the PCI card itself ). Interface
cards are also referred to as video cards or capture cards. This is not the same as the
video graphics card used to send signals to your main computer display.
Note: Some broadcast-quality video output devices receive both the video and audio
from a project. When you use a video output device that supports both video and
audio output, Soundtrack Pro automatically routes your audio output to this device to
provide the best possible synchronization of the audio and video.
H
Computer AJA Io Analog or digital VTR
FireWire 400
(6-pin) BNC connector
Appendix C Working with Professional Video and Audio Equipment 479
PCI Video Interface Card with Built-in Connectors
PCI cards allow you to capture and output video with high data rates, such as
uncompressed standard definition (SD) and high definition (HD) video. PCI cards are
necessary for high-end applications such as compositing, online editing, and
uncompressed video editing. Many PCI cards have BNC or RCA connectors mounted
directly on the back of the card. In this configuration, you connect your video
equipment directly to the PCI card connectors on the back of your computer.
PCI Video Interface Card with Breakout Box
Many PCI cards aren’t big enough to fit all of the necessary video and audio
connectors. In these situations, a breakout box is connected to the PCI card via a
multipin connector on a long cable, and the connectors are accessible on the breakout
box instead of the back of the PCI card. A breakout box is also useful because it allows
you to place the connectors somewhere more convenient than the back of your
computer, such as on an equipment rack or a desktop.
Computer Analog or digital VTR
(PCI card with
connectors)
BNC
connector
Computer Analog or digital VTR
(with PCI card)
Breakout box
BNC connector
480 Appendix C Working with Professional Video and Audio Equipment
USB Video Interface
USB video interfaces cannot support the high data rates required for professional video
use, so they are not commonly used. USB video interfaces are usually used for
converting analog video sources to a digital signal for capture.
Video Signals and Connectors
When you capture and output, the type of video signal you use to connect your
equipment is a critical factor that goes into determining the quality of your video.
Video camcorders, decks, and monitors can use different types of signals, depending
on the environment they are intended for. Consumer equipment usually has limited
video signal choices; professional equipment gives you the greatest range of options.
Here are the most common video signals used on today’s video devices:
 Composite
 S-Video (Y/C)
 Component YUV (Y´CBCR)
 Component RGB
 FireWire (IEEE 1394 or i.LINK)
 SDI
 HD-SDI
 HDMI
 SCART
USB interface
USB RCA connector
Computer Analog VTR
Appendix C Working with Professional Video and Audio Equipment 481
Composite
Composite is the lowest common denominator of video signals. A composite signal
runs all color and brightness information on a single cable, resulting in lower-quality
video compared to the quality of other formats. Nearly all video devices have a
composite input and output. This format uses a single RCA or BNC connector.
In professional editing environments, composite video signals are most commonly
used for troubleshooting, for menu outputs, and for low-quality preview monitoring.
For consumer and home use, composite signals are often used to connect VCRs or
DVD players to televisions.
S-Video
S-Video, also known as Y/C, is a higher-quality video signal used by high-end
consumer video equipment. The image looks sharper and has better color than a
composite video image because S-Video keeps the color and brightness information
separate on two cables. Most low-cost analog-to-digital video interfaces have S-Video
as their highest-quality video connector. Use care when working with S-video
connectors; the four delicate pins can be bent easily.
Component YUV and Component RGB
Professional video equipment, such as Betacam SP decks, has component YUV (Y’CBCR)
video inputs and outputs. Component YUV separates color and brightness information
into three signals, which keeps the color quality more accurate than that of other
systems. Component YUV is as good as analog video gets. High-end consumer devices,
such as DVD players and televisions, have increasingly begun to support component YUV.
Note: Another form of component video, component RGB, is not as widespread on
professional equipment as component YUV.
RCA connector
BNC connector
S-Video connector
482 Appendix C Working with Professional Video and Audio Equipment
Both component YUV and RGB signals use from three to five connectors. You can use
three BNC connectors, plus a fourth (typically labeled “genlock” or “house sync”) to
send a timing signal. Sync can also be embedded in the Y or G part of the signal (using
three connectors), a separate composite signal on a fourth connector, or separate
H and V drive signals (using five connectors). See your equipment’s documentation for
more information.
FireWire 400
FireWire 400, also called IEEE 1394a or i.LINK, is the consumer and professional standard
for formats such as DV, DVCAM, DVCPRO, DVCPRO 50, DVCPRO HD, and HDV. FireWire is
an inexpensive and easy way to capture and output high-quality digital video using a
variety of camcorders and decks and is capable of data rates as high as 400 Mbps.
Standard FireWire cables can be up to 4.5 meters long.
There are two kinds of FireWire connectors: a 4-pin connector (typically found on video
equipment such as camcorders or decks) and a 6-pin connector (used for computer
equipment). However, some newer video equipment uses the 6-pin connector, and
some video interfaces use the 4-pin connector. See your equipment’s documentation
for more information.
Component
Y or green
YUV
RGB
R or red On some equipment,
you can switch between
RGB and YUV modes.
B or blue
FireWire 400 (4-pin)
FireWire 400 (6-pin)
Appendix C Working with Professional Video and Audio Equipment 483
FireWire 800
FireWire 800, also called IEEE 1394b, is the next generation of FireWire after IEEE 1394a,
a higher-bandwidth version capable of data transfer speeds of up to 800 Mbps.
FireWire 800 is also capable of supporting cable distances of up to 100 meters.
In addition to the standard 9-pin-to-9-pin FireWire 800 cables, 9-pin-to-4-pin and
9-pin-to-6-pin FireWire 400 to FireWire 800 cables are also available to connect older
devices to a FireWire 800 interface.
Note: FireWire 800 is commonly used to connect hard disks and other data peripherals
to your computer, but this connector is rarely used to connect video devices.
SDI
Serial Digital Interface (SDI) is the standard for high-end, uncompressed digital video
formats such as D1, D5, and Digital Betacam. If you want to capture digital video from
these formats at the highest possible quality, you need a video interface with an SDI
input and output, as well as a high-performance disk array (a set of disk drives grouped
together to read and write in parallel), to accommodate the high data rates you’ll work
with. Many devices can send both video and audio data through a single SDI
connection.
HD-SDI
High Definition Serial Digital Interface (HD-SDI) is a higher-bandwidth version of SDI
designed for the extremely high data rates required by uncompressed HD video. Like
SDI, HD-SDI is capable of sending both video and audio through a single connection.
The following decks have HD-SDI interfaces: DVCPRO HD, D-5 HD, and HDCAM decks.
Some devices provide even higher data rates by pairing two HD-SDI channels together
(known as dual-link HD-SDI). Uncompressed HD RGB video and other digital cinema
formats can be transmitted using dual-link HD-SDI.
FireWire 800 (9-pin)
BNC connector
484 Appendix C Working with Professional Video and Audio Equipment
SDTI
Serial Digital Transport Interface (SDTI) is based on SDI, allowing native video formats
to be sent in real time within an SDI video stream. SDTI does not define a specific video
signal format but instead uses the structure of SDI to carry any kind of data. This allows
video facilities to use their existing SDI patchbays and routers to transfer other native
video formats, or transfer any kind of data. For example, some DV decks can transfer
DV via SDTI, which means native DV can be transferred long distances over existing
coaxial cable instead of the usual FireWire connection. Other formats, such as HDCAM
and MPEG, can also be transferred via packets within an SDTI transport stream.
HDMI
High-Definition Multimedia Interface (HDMI) supports both digital television and
computer signals and can also include multiple digital audio channels. HDMI devices
are compatible with single-link digital DVD signals via an adapter, although no audio or
additional metadata can be included. Many HD display devices and digital television
set-top boxes include HDMI connectors.
SCART
Consumer PAL equipment sometimes has a special connector called a SCART connector.
A SCART connector has multiple pins that run composite, component RGB, and stereo
audio in one bundle. SCART input or output can be broken up into individual
connections using special adapters available from video and home electronics stores.
HDMI connector
SCART connector
Appendix C Working with Professional Video and Audio Equipment 485
About Audio Interfaces, Signals, and Connectors
This section describes common types of audio interfaces, signal formats, and connectors.
Setting Up an Audio Interface
By default, Soundtrack Pro uses one of the built-in audio interfaces included with your
Macintosh computer, such as a stereo headphone jack or a stereo speaker output. If
you need to capture audio from a professional device, you may need a separate
third-party interface.You can connect a third-party audio interface to your computer,
and then connect microphones and musical instruments to the audio interface for
recording. You can also connect output devices, such as monitors or speakers, a mixer,
or an amplifier to the third-party audio interface.
Built-in Audio Interfaces
The following audio interfaces are included with your Macintosh computer (though
some computer models may not include all interfaces).
Built-in Analog Audio
You can capture and output audio using the built-in audio ports on your computer. The
built-in audio interface on your computer usually uses a stereo miniplug connector. If
necessary, you can buy an adapter to connect the miniplug connector to two stereo
RCA or 1/4" tip-ring-sleeve (TRS) connectors, which can then be connected to your
video or audio device.
For basic mixing, you can connect the built-in audio output on your computer to a pair
of external speakers. This gives you two output channels, which can be configured for
dual mono or stereo playback.
Computer Analog Audio or video device
Stereo miniplug
connector
RCA connector (2)
486 Appendix C Working with Professional Video and Audio Equipment
Built-in S/PDIF Digital Audio
Some computers have built-in S/PDIF optical digital ports (sometimes called TOSLINK)
that you can connect to some CD players, DAT recorders, and other digital audio devices.
DV FireWire
If your post-production project uses a DV codec, you can output audio via the FireWire
port on your computer. This allows you to use a DV deck, DV camcorder, or
DV-to-analog converter as an audio interface. In this case, you connect your FireWire
cable to your DV device and then connect the audio outputs of the DV device to
external speakers or a television monitor.
Choosing a Third-Party Audio Interface
Before you purchase a separate audio interface, consider that most third-party video
interfaces may have enough audio connectors to meet your requirements. You should
consider a separate audio interface when:
 You are trying to capture or output more audio channels than your built-in audio
interface or third-party video interface supports.
 You need to capture or output in a format not supported by your existing interfaces
(for example, if you need to capture audio at a sample rate of 96 kHz but your video
interface only supports a sample rate of 48 kHz).
Benefits of a Third-Party Audio Interface
Third-party audio interfaces can provide many more features than your computer’s
built-in interfaces, such as:
 More than two audio channels—eight channels is common, but some interfaces
have 24 or more input and output channels
 Professional connectors such as XLR or 1/4" TRS
 High-quality analog-to-digital and digital-to-analog converters supporting sample
rates as high as 192 kHz and 24 bits per sample
 Support for analog and digital audio formats
 Stable, “jitter-free” digital audio clocks
TOSLINK optical
digital connector
Computer Audio or video device
Appendix C Working with Professional Video and Audio Equipment 487
Tips for Selecting a Third-Party Audio Interface
When you select an audio interface, make sure it has the following:
 Connectors that match your audio equipment, such as XLR, 1/4" TRS, RCA, or TOSLINK
 Support for audio signal formats that your audio equipment uses, such as AES/EBU,
S/PDIF, or ADAT Lightpipe
 Enough audio inputs and outputs to connect your equipment
 Sample rate and bit depth at least as high as your audio equipment. For example, if
you have an audio device with a sample rate of 96 kHz and 24 bits, your audio
interface should at least match this.
Note: Soundtrack Pro supports input from digital audio interfaces up to a maximum
sample rate of 96 kHz and a maximum bit depth of 24 bits. If you connect an
interface that uses sample rates or bit depths outside the range supported by
Soundtrack Pro, an alert message appears, telling you that data from the audio
interface is not compatible with the application.
 Mac OS X compatibility. When choosing an audio interface, check the manufacturer’s
specifications to make sure the interface is compatible with Mac OS X.
 Up-to-date driver software, if needed. If the device requires a driver, make sure an
up-to-date driver is included with the device, or is available from the manufacturer.
Important: If you are considering purchasing an interface, make sure it supports
Mac OS X Core Audio. Soundtrack Pro supports any audio interface that is compatible
with Mac OS X Core Audio.
All digital audio interfaces can be susceptible to latency, a noticeable delay between
the time the audio signal is produced and the time you hear it. When connecting an
audio interface, you should connect the interface directly to the computer, rather than
connecting it through a hub or daisy-chaining it through another device. Connecting
an audio interface through a hub or an intermediary device can cause an unacceptable
amount of latency, particularly with slower protocols such as USB.
488 Appendix C Working with Professional Video and Audio Equipment
FireWire for Digital Audio
FireWire is a professional and consumer standard for both audio and video equipment.
The combination of fast data-transfer rates, high storage capacities, and plug-and-play
connection makes FireWire an attractive choice for working with digital audio files.
FireWire is included on all current Macintosh computers, and a number of FireWire
audio interfaces are available. These third-party interfaces are not DV devices, but
merely devices that use FireWire as a means of transferring digital audio data. FireWire
interfaces are more convenient to switch between computers than PCI cards, and they
can be used with both desktop and portable computers. A FireWire interface typically
supports ten or more inputs, and at least eight outputs.
Important: Although a FireWire bus supports a very high data rate, connecting too many
devices, such as a DV video device, a FireWire hard disk, and a FireWire audio interface,
could potentially exceed the bus speed, resulting in audio with missing samples.
USB Audio Interfaces
There are a wide variety of USB audio interfaces available. USB supports plug-and-play
operation and the ability to connect several devices in sequence (daisy-chaining). USB
is included on all current Macintosh computers.
Most USB audio interfaces support two or four audio channels at one time. USB audio
interfaces vary in quality considerably, so take some time to research them before you
purchase one. The connectors on USB interfaces vary; some interfaces have RCA
connectors and others have both XLR and 1/4" TRS connectors. Very inexpensive USB
audio interfaces may only have a stereo miniplug.
H
Computer Breakout box
FireWire 400
(6-pin)
XLR connector (2)
Analog or digital VTR
Computer
USB
RCA connector (2)
Audio interface Analog or digital VTR
Appendix C Working with Professional Video and Audio Equipment 489
Make sure you don’t exceed the total bandwidth of the USB bus. USB 1.1 has a fairly low
data rate, so be careful not to add too many USB items to the bus. Ideally, USB audio
interfaces are always directly connected to your computer, not connected via a hub or
to the computer’s display, keyboard, or another peripheral. If you are having audio
problems with a USB interface connected to a hub, try removing USB devices and
eliminating the hub from the connection.
USB 2.0 audio interfaces are also available. Because USB 2.0 devices can handle high
data rates (similar to FireWire 400), you can treat them similarly to FireWire audio
interfaces (see “FireWire for Digital Audio” on page 488).
PCI Audio Interface Cards
Peripheral Connect Interface (PCI) interfaces, unlike FireWire and USB interfaces, require
that you install a dedicated sound card in your computer. Of all the audio interfaces,
PCI audio interfaces provide the maximum transfer speed and can support many
channels with high sample rates. Many PCI audio interface cards come with a separate
breakout box where the audio input and output connectors are located.
PCI Audio Interface Card with Built-in Connectors
Some PCI audio interface cards have audio connectors attached directly to the card.
Because there is limited space on a PCI card to mount audio connectors, RCA
connectors are typically used.
Computer
(PCI card with
connectors)
Audio or video device
RCA connector (2)
490 Appendix C Working with Professional Video and Audio Equipment
PCI Audio Interface Card with Breakout Box
The majority of PCI audio interface cards have a breakout box with a large number of
XLR or 1/4" TRS connectors. The breakout box is attached to the PCI card via a long
cable with a multipin connector. The long cable allows you to place the breakout box
in a convenient location, so you can easily connect and disconnect your video and
audio devices without going behind your computer.
Audio Connectors, Cables, and Signal Formats
Different audio connectors and cables are suited for different purposes. They are
available for professional and consumer audio equipment, at a range of prices and
levels of quality. Audio connectors are often indicative of the kind of signal they
transmit. However, there are enough exceptions that it’s important to know what kind
of audio signal you are connecting, in addition to the connector type. An important
distinction is whether an audio connector carries a balanced or an unbalanced signal.
When connecting microphones and musical instruments to an audio interface or a
mixer, make sure the interface has the proper input jacks for the type of connectors
and cables you plan to use.
Analog Audio Connectors, Cables, and Signal Formats
The following is a cross-section of available industry-standard analog audio connectors,
cables, and signal formats.
1/8" Mini Connectors
These are very small, unbalanced audio connectors. Many computers have 1/8" mini
inputs and outputs at –10 dBV line level, and many portable audio devices such as
CD players, iPod digital music players, and MP3 players use these connectors for
headphone outputs. Portable MiniDisc and DAT recorders often use 1/8" mini
connectors for connecting microphones.
Computer Breakout box
(with PCI card)
Analog or digital VTR
XLR connector (2)
Mono miniplug connector
Stereo miniplug connector
Appendix C Working with Professional Video and Audio Equipment 491
Note: Some Macintosh computers and portable audio recorders also use a connector
that combines both a stereo miniplug and a 1/8" optical digital connection (see “S/PDIF”
on page 492) in a single jack.
RCA Connectors
Most consumer equipment uses RCA connectors, which are unbalanced connectors
that usually handle –10 dbV (consumer) line levels. RCA connectors are used on
consumer audio equipment such as home stereo systems and videocassette recorders.
1/4" Audio Connectors
1/4" connectors (sometimes called phone plugs) are used on a wide variety of
professional and consumer musical equipment, including musical instruments and
amplifiers, speakers, and external effects devices.
1/4" Tip-Sleeve Connectors
1/4" tip-sleeve (TS) connectors with a tip and a sleeve are unbalanced connectors often
used for musical instruments like electric guitars, keyboards, amplifiers, and so on.
1/4" Tip-Ring-Sleeve Connectors
Professional equipment often uses 1/4" tip-ring-sleeve (TRS) audio connectors with
+4 dBu line level. 1/4" TRS connectors connect to three wires in an audio cable—hot,
neutral, and ground—and usually carry a balanced audio signal. In some situations,
the three wires may be used to send left and right (stereo) signals, making the
signals unbalanced.
Note: Tip-sleeve and tip-ring-sleeve connectors look almost identical. Some audio
devices (especially mixers) accept a TS connector in a TRS jack, but you should always
check the equipment documentation to be sure. Remember that most 1/4" TS
connectors connect to –10 dBV line level equipment, whereas 1/4" TRS connectors
usually expect a +4 dBu line level.
RCA connector
1/4" tip-sleeve (TS) connector
1/4" tip-ring-sleeve (TRS) connector
492 Appendix C Working with Professional Video and Audio Equipment
XLR Connectors
These are the most common professional audio connectors. They almost always carry
a balanced signal. Many cables use an XLR connector on one end and a 1/4" TRS
connector on the other. The signal may be microphone level (when using a
microphone) or +4 dBu/dBm (professional) line level.
Digital Audio Connectors, Cables, and Signal Formats
Although digital audio signals are completely different from analog signals, the same
connectors are often used for convenience. For example, an XLR connector can be
used to carry an analog audio signal or an AES/EBU digital audio signal. The following
is a cross-section of available industry-standard digital audio connectors, cables, and
signal formats.
S/PDIF
Sony/Philips Digital Interface Format (S/PDIF) is a consumer-level variation of the AES/
EBU digital audio protocol. S/PDIF audio data can be transmitted several ways, including:
 Via coaxial cables with an RCA connector
 Via optical TOSLINK
Connectors for S/PDIF signals are found on most consumer digital equipment, such as
DAT recorders, CD players, DVD players, MiniDisc equipment, and some audio interfaces.
TOSLINK Optical and ADAT Lightpipe
TOSLINK is a connector for optical digital signals. TOSLINK is used for several digital
signal formats, although most devices support only one of these formats:
 S/PDIF (stereo digital)
 AC-3 and DTS (5.1-channel surround)
 ADAT Lightpipe (an 8-channel digital signal)
XLR connector
S/PIDF optical digital connector
Appendix C Working with Professional Video and Audio Equipment 493
Some Macintosh computers have a single interface that combines a TOSLINK connector
with an analog stereo miniplug.
ADAT Lightpipe is an eight-channel digital audio format developed by Alesis. This
signal format uses TOSLINK optical connectors. Eight channels are supported at sample
rates of 44.1 and 48 kHz using 24 bits per sample. Higher sample rates are available by
pairing channels (this format is sometimes called sample multiplexing, or S/MUX). For
example, a sample rate of 192 kHz is possible, but the number of channels is reduced to
two. However, not all equipment supports channel pairing and increased sample rates.
AES/EBU
The AES/EBU (Audio Engineering Society/European Broadcasting Union) standard for
transferring digital audio typically uses XLR connectors in professional studio
environments. The data protocol is essentially identical to S/PDIF.
TDIF Connectors
Tascam Digital Interface (TDIF) is a signal format for transferring digital audio between
Tascam digital multitrack recorders or digital mixers. Connections are made via a 25-pin
D-subminiature connector and data is carried on shielded cable. Eight channels are
supported at sample rates of 44.1 and 48 kHz using 24 bits per sample. Higher sample
rates are available by pairing channels. The TDIF standard is currently one of two major
formats (the other being ADAT optical) widely used in professional products for digital
transfer of more than two tracks of audio simultaneously using only one cable.
TOSLINK connector
XLR connector
TDIF connector
494 Appendix C Working with Professional Video and Audio Equipment
About Microphone, Instrument, and Line Level
Audio equipment can output line level at –10 dBV (consumer level), +4 dBm/dBu
(professional level), or microphone level, which is around 50 or 60 dB less than line
level. When you use a microphone, the level is very low, requiring a preamplifier to raise
the signal to line level before it can be recorded or processed. Most audio mixers,
cameras, and professional portable recording devices have built-in preamplifiers.
Instrument level is between microphone and line level, around –20 dBV or so. Guitars
and keyboards usually output at instrument level.
About Balanced Audio Signals
Audio cables can be either balanced or unbalanced, depending on their intended use.
For long cable runs, especially when using relatively low microphone levels, a three-wire
balanced audio circuit reduces noise. Balanced audio cables use the principle of phase
cancellation to eliminate noise while maintaining the original audio signal.
Signal Differences Between Pro and Consumer Equipment
Professional audio equipment typically uses higher voltage levels than consumer
equipment, and it also measures audio on a different scale.
 Professional analog devices measure audio using dBu (or dBm in older equipment).
0 dB on the audio meter is usually set to +4 dBu, which means optimal levels are
4 dB greater than 0 dBu (.775 V), or 1.23 V.
 Consumer audio equipment measures audio using dBV. The optimal recording level
on a consumer device is –10 dBV, which means the levels are 10 dB less than 0 dBV
(1 V), or 0.316 V.
Therefore, the difference between an optimal professional level (+4 dBu) and
consumer level (–10 dBV) is not 14 dB, because they are referencing different signals.
This is not necessarily a problem, but you need to be aware of these level differences
when connecting consumer and professional audio equipment together.
Appendix C Working with Professional Video and Audio Equipment 495
A balanced audio cable sends the same audio signal on two wires, but inverts the
phase of one signal by 180 degrees.
When noise is introduced into the cable, it is introduced equally to both the original
and the inverted signal.
When the signal arrives at its destination, the inverted signal is put back in phase and
both signals are combined. This puts the original and inverted signals back in phase,
but it causes the noise signals on each line to be out of phase.
Original signal
Inverted signal (reverse phase)
Noise on line
(affects both signals)
Inverted signal
(inverted again)
496 Appendix C Working with Professional Video and Audio Equipment
Now, both audio signals are in phase, but the noise is inverted, causing the noise to be
canceled. At the same time, the original signal gets a little stronger because it is sent
on two wires and combined. This helps compensate for the reduction in signal strength
that occurs naturally on a long cable run.
Any noise introduced into the cable across its long run is almost completely eliminated
by this process.
Note: Unbalanced cables have no way of eliminating noise and are therefore not as
robust for long-distance cable runs, microphone signals, and other professional
applications.
Tips for Choosing Speakers and an Amplifier
Professional audio engineers have to be able to trust the sound coming from their
speakers. When you mix your audio, you need audio monitors that can handle the full
range of audio intensities and frequencies. Ideally, your monitors will have a flat
frequency response from 20 Hz to 20,000 Hz (or 20 kHz). This means that they neither
attenuate nor amplify any frequencies. Flat frequency response is important for critical
listening because the speakers themselves are not “coloring” the sound.
In addition to the speaker quality itself, additional factors affect your audio monitoring
environment:
 Size and materials of the room
 Placement of the speakers within the room, such as distance from walls and angle of
speakers
 Listener position between speakers
Combined signals
(noise eliminated)
Appendix C Working with Professional Video and Audio Equipment 497
Frequency Response and Dynamic Range
Speaker quality varies greatly depending on their purpose as well as their price. For
example, speakers in a portable stereo or television are designed to play audio that has
already been mastered by a mixing engineer. Mastered audio such as audio CD, radio,
television, and movie sound has a compressed dynamic range (meaning levels are fairly
consistent and loud).
Speakers and amplifiers that are designed for mastered audio often intentionally
emphasize certain frequencies, as is done with the bass enhancement feature found on
many systems. This may make an audio CD sound better, but it is not recommended for
mixing production sound because you get a false impression of the audio signal. For
example, if your speakers overemphasize frequencies around 2 kHz, you may
compensate during mixing by reducing the intensity of audio around 2 kHz. If you then
play your mix on a different set of speakers with a flat frequency response, the
frequencies around 2 kHz will sound too muffled.
Self-Powered Versus Passive Speakers
Speakers powered by an external amplifier are called passive speakers. When you use
separate amplifiers and passive speakers, a number of factors affect the overall
frequency response and quality of your audio. Instead of using a separate amplifier and
speakers, a simpler option is to use self-powered speakers (speakers with built-in
amplifiers). These have become increasingly popular, especially for studio monitoring
and video editing.
Self-powered speakers deliver more consistent performance because both components
are designed to work together and are housed in a single enclosure. For video editing
systems, self-powered speakers are a good, easy-to-use solution. Self-powered speakers
accept line level inputs, so it’s fairly easy to connect them to your audio interface.
Flat Not flat
20 Hz 200Hz
– dB
+ dB
– dB
+ dB
1 kHz 5 kHz 20 kHz 20 Hz 200 Hz 1 kHz 5 kHz 20 kHz
498 Appendix C Working with Professional Video and Audio Equipment
Amplifiers and Signal Levels for Unpowered Speakers
Unpowered speakers require signals with higher voltage than consumer and
professional equipment can provide directly. These levels are known as speaker level
audio signals, while audio devices such as tape recorders and audio mixers usually
provide line level signals. An audio amplifier boosts line level signals to speaker levels
to properly drive speakers. Wide-gauge speaker cables that can handle the higher
electrical strength of speaker levels are used to connect the amplifier to speakers.
Connecting Professional Video Devices
Regardless of what format or video interface you use, the same basic steps apply when
you connect a VTR or camcorder to your computer.
Connecting Professional SD Video Devices
If you’re using a format other than DV, such as Betacam SP or Digital Betacam, you
need to install a third-party video interface that supports the proper signal for the
format you’re using. Some video interfaces can digitize analog video input and output
(for analog formats like Betacam SP), while others capture video only if it is already
digital. In either case, the video interface encodes the video information using a codec,
which may or may not apply compression to the video data to make it smaller while
stored on disk. Compression settings used by video interfaces are typically controlled
by software and use a variation of the M-JPEG codec (although the name of the codec
itself may not reflect this).
Unlike DV video devices (which use a single FireWire cable), third-party interfaces send
and receive video, audio, and device control data on separate cables. For remote device
control connections on professional equipment, 9-pin (DB9) connectors are used.
Appendix C Working with Professional Video and Audio Equipment 499
The following illustration shows a typical SD setup:
Following are basic instructions for connecting a video device to a third-party video
interface in your computer, as well as connecting remote device control.
A Recommended System Using a Third-Party Video Interface
To set up a system using a third-party video interface, you need the following
equipment:
 Your computer and display
 A non-DV format video device (a camcorder or deck)
 Audio and video cables for your system
 A third-party capture interface installed in or connected to your computer
Note: Some third-party video interfaces have a breakout box connected to the card
with a special cable, which is included.
 A USB-to-serial adapter or internal modem serial port adapter
 An RS-422 video deck control cable
 A blackburst generator, with the appropriate cables to connect it to both your
third-party video interface and your video and audio devices
Computer
PCI card
USB-to-serial
adapter
Video
Reference video
Breakout box
Video
Audio
USB RS-422 serial
Amplified speakers
Audio
Blackburst
generator
Reference video
Analog
or digital VTR
Standard definition
monitor
500 Appendix C Working with Professional Video and Audio Equipment
To connect video and audio outputs from your VTR to your third-party
video interface:
1 Install a supported third-party PCI video interface in your computer or connect a
FireWire or USB video interface.
For detailed information, see the documentation that came with your video interface
and your computer.
2 If you are using a PCI card video interface that came with a breakout box, connect the
breakout box to the PCI card using the cables provided.
3 Connect the video output of your VTR or camcorder to the video input of your
video interface.
4 Connect the audio outputs of your VTR or camcorder to the audio inputs of your video
or audio interface.
5 Connect the 9-pin remote device control cable to your deck, and to your breakout box
or serial port adapter.
6 To genlock your video interface with your camcorder or deck:
a Connect one of the blackburst generator’s outputs (there should be several) to the
genlock or external sync input on your deck (usually you use a cable with a
BNC connector).
b Connect another of the blackburst generator’s outputs to the genlock or external
sync connector on your video interface.
7 Plug in and turn on your blackburst generator.
8 Turn on your deck.
9 If you’re using Soundtrack Pro or Final Cut Pro to control your camcorder or deck, make
sure that the device control switch on your VTR is set to Remote.
For more information about VTR settings, see the documentation that came with your
VTR and your video interface.
For information about synchronizing Soundtrack Pro to an external video deck or audio
recorder, see “Synchronizing Soundtrack Pro to External Timecode” on page 506.
Note: Some broadcast-quality video output devices receive both the video and audio
from a project. When you use a video output device that supports both video and
audio output, Soundtrack Pro automatically routes your audio output to this device to
provide the best possible synchronization of the audio and video.
Appendix C Working with Professional Video and Audio Equipment 501
Connecting Professional Component Analog Video Devices
The most prevalent component analog video format still in use today is Betacam SP. It is
an SD video format, but because it is analog, your video interface must have analog-todigital
converters to digitize the analog signal before encoding it and writing a digital
media file to the computer hard disk. Unlike digital capture interfaces, analog-to-digital
interfaces often allow you to adjust luma and chroma levels (using controls in the
Final Cut Pro Log and Capture window) when you digitize.
The steps for connecting an analog VTR to a video interface are essentially the same as
for digital SD and HD devices. The main difference is that you need to make three
physical connections, one for each of the three analog video components: Y, R-Y, and
B-Y (also called YUV or Y´CBCR, depending on the country and the specifics of the
format). For more information, see the Final Cut Pro User Manual.To connect equipment,
see “Connecting Professional SD Video Devices” on page 498.
Connecting Consumer Analog Video Devices
If you want to digitize video from an analog consumer format, such as VHS or 8 mm
video, you need a video interface that has an analog composite video input. Also, older
consumer decks rarely support remote device control, which means you can’t remotely
control the deck or capture timecode from these formats. If you need the ability to
recapture the video accurately using timecode, it’s often easiest to dub (copy) the
video to a digital format like DV, or a professional format you are using for your project.
There are fairly inexpensive capture interfaces that can accept an analog composite
input and convert it to a DV video signal transferred via FireWire. Some more expensive
interfaces may also accept an analog component input.
Connecting Non-DV Devices to a DV Converter
You can use a DV converter to convert a device in a non-DV format, such as Betacam SP
or Digital Betacam, to DV. This allows you to capture footage using the built-in FireWire
port on your computer. However, unlike a complete DV FireWire setup, this kind of
deck still requires serial (RS-422 or RS-232) remote device control.
This kind of setup is used mainly for low-resolution capture and offline editing. Because
Final Cut Pro can edit DV video natively, you can capture your video as if it were DV
footage, edit at DV resolution, and then recapture only the necessary media files for
your finished movie at full resolution using one of the third-party video interface
solutions described earlier.
Important: If you plan to recapture footage later, make sure timecode is captured
accurately.
502 Appendix C Working with Professional Video and Audio Equipment
The following illustration shows a typical non-DV-to-DV setup:
To connect video and audio outputs from your VTR to your analog-to-DV
or digital-to-DV converter:
1 With your DV converter turned off, connect the 6-pin connector on the FireWire cable
to the FireWire port on your computer.
2 Connect the 4-pin connector on the FireWire cable to the DV converter.
3 Connect the video output of your VTR to the video input of the DV converter.
4 Connect the audio output of your VTR to the audio input of the DV converter.
Note: The DV converter mentioned above could possibly be a DV VTR that can convert
analog video and audio input to DV FireWire. Some decks need to be in record mode
to allow this conversion. Other decks may not support this.
5 Connect the remote device control.
A Recommended Non-DV-to-DV System Using Serial Device Control
You need the following equipment:
 Your computer and display
 A non-DV format playback device, such as a Betacam SP or Digital Betacam deck
 An analog-to-DV or digital SDI-to-DV converter
Note: Some DV camcorders and VTRs can also act as an analog-to-DV converter.
 A 4-to-6-pin FireWire cable, available at an electronics store or an Apple Authorized
Reseller
 A USB-to-serial adapter or internal modem serial port adapter
 An RS-422 video deck control cable
FireWire
USB
Computer Analog or digital VTR
USB-to-serial
adapter
DV converter Standard definition
monitor
Video
Audio
RS-422 serial
Audio
Video
Amplified speakers
Appendix C Working with Professional Video and Audio Equipment 503
Connecting Professional Audio Devices
The steps for connecting audio playback and recording devices are similar to the steps
for connecting professional video devices. (For information on connecting professional
video devices, see “Connecting Professional Video Devices” on page 498.) Many
professional audio-only devices such as DAT recorders and Tascam DA-88/DA-98
multitracks also support remote device control and audio insert editing.
If you plan to capture footage using separate video and audio interfaces, you may need
to set up additional synchronization between your audio device and audio interface.
For more information, see “Synchronizing Equipment with a Blackburst Generator” on
page 504 as well as the documentation that came with your audio interface.
Connecting Professional Digital Audio Devices
Professional digital audio devices often use balanced XLR connectors. Each XLR carries
two AES/EBU digital audio channels. Connect the digital audio outputs of your video or
audio device to your audio interface (or its breakout box). If your video interface has
the appropriate connectors, you can also connect the audio outputs of your device to
the audio inputs on the video interface.
Note: Professional analog audio devices also use XLR connectors, but the signal is
incompatible with AES/EBU digital audio.
Connecting Consumer Digital Audio Devices
Consumer devices such as CD players, MiniDisc recorders, and some DAT recorders use
either an optical or RCA (coax) connector for S/PDIF digital audio. S/PDIF carries two
channels of digital audio, usually at a sample rate of 44.1 or 48 kHz and a bit depth of
16 bits. Connect the S/PDIF output of your audio device to the S/PDIF input on your
audio or video interface, if available.
Connecting Professional Analog Audio
Professional analog audio devices use balanced XLR or 1/4” TRS connectors for each
audio channel. Most audio interfaces that support multiple audio channels come with a
breakout box that contains all the connectors.
To connect multiple analog audio channels from a VTR or audio device to a
multichannel audio interface:
m Connect each audio output channel on the VTR or audio device to each audio input
channel on the audio interface or corresponding breakout box, if included.
504 Appendix C Working with Professional Video and Audio Equipment
Synchronizing Equipment with a Blackburst Generator
With most professional editing systems, you capture video, audio, and timecode via
separate cables. It’s important that when you capture, the VTR and the video and audio
interfaces are synchronized via a common video timing signal. If digital audio samples
and video lines and frames are not precisely synchronized, they eventually drift apart
because they are captured at slightly different rates.
Using a common sync source is especially important when you are independently
capturing long segments of video and audio to synchronize together later. If your
audio deck and capture interface are not both receiving the same timing information,
the sync between the audio and video portions of clips might drift over time.
A blackburst generator provides a common timing signal (or clock) to lock together the
timing clocks of all devices in a system. This is sometimes referred to as external sync or
house sync because every device in an entire facility can be timed to this common
reference.
Professional VTRs, camcorders, audio devices, and interfaces often have the ability to
accept sync signals from an external device. These connectors are labeled “genlock”
(short for generator lock), “external sync”, “reference input”, or “reference video”. On some
equipment, the normal composite video input of a device can be used to lock to
external sync.
Important: To synchronize your video or audio devices and interfaces, they must all
accept an external clock source (such as a blackburst generator).
A Recommended Audio System Using a Third-Party Audio Interface
To set up a system using a third-party audio interface, you need the
following equipment:
 Your computer and display
 A device-controllable audio deck, such as a DAT or multitrack deck
 Appropriate analog cables for your system
 An audio interface
Note: Some third-party PCI interface cards have a breakout box connected to the
card with a special cable.
 A USB-to-serial adapter or internal modem serial port adapter
 A blackburst generator, with the appropriate cables to connect it to both your
third-party audio interface and your audio deck. (For more information, see
“Synchronizing Equipment with a Blackburst Generator,” next.)
 An RS-422 video deck control cable
Appendix C Working with Professional Video and Audio Equipment 505
When you genlock a deck and a video or audio capture interface, one output of the
blackburst generator should be connected to the external sync input of the video or
audio deck, and another output should be connected to the external sync input of your
audio interface.
To connect your audio deck outputs to a third-party audio interface for
synchronized, genlocked audio capture:
1 Install a supported audio interface card in your computer, or connect a supported
audio interface.
For more information, see the documentation that came with the audio interface and
your computer.
2 If you are using a PCI card audio interface that came with a breakout box, connect the
breakout box to the PCI card using the included cable.
3 Connect the audio outputs of your audio device to the audio inputs of your audio
interface.
4 Connect the remote device control cable.
5 To genlock your audio deck to your audio or video interface:
a Connect one of the blackburst generator’s outputs (there should be several) to the
genlock or external sync input on your audio deck.
b Connect another of the blackburst generator’s outputs to the genlock or external
sync connector on your video or audio capture interface (depending on which one
you are using to capture audio).
For more information, see “Synchronizing Equipment with a Blackburst Generator” on
page 504.
6 Plug in and turn on your blackburst generator.
7 If you are using a blackburst generator, choose Final Cut Pro > User Preferences, and in
the General tab of the User Preferences window, make sure that “Sync audio capture to
video source if present” is selected.
PCI card
Computer Analog or digital VTR
Video
Reference video Reference video
Breakout box
Audio
Blackburst
generator
506 Appendix C Working with Professional Video and Audio Equipment
8 If you’re using Final Cut Pro to control your audio deck, make sure that the device
control switch on the equipment is set to Remote.
9 Once your deck and video capture interface are genlocked together, you still need to
calibrate the timecode capture offset (found in the Device Control Presets tab in the
Audio/Video Settings window) prior to capture.
For more information about calibrating timecode for capture, see the Final Cut Pro User
Manual.
Synchronizing Soundtrack Pro to External Timecode
There may be times when you will wish to synchronize Soundtrack Pro to an external
video deck or audio recorder. Soundtrack Pro can “chase” (synchronize to) timecode
sent by an external video deck or other LTC sources.
Note: This is not the same thing as device control, which allows you to remotely control
a video or audio device for capturing and output. See the Final Cut Pro User Manual for
information on device control.
There are two types of signal involved in this process. LTC (Linear Time Code) is an
audio signal sent by a video deck or audio recorder. This signal can’t be read directly by
the computer; it must be converted to MIDI Time Code (MTC) first. MTC can send via
USB to the computer, and via MIDI cables for distribution to other connected MIDI
compatible devices.
You will need the following equipment to synchronize Soundtrack Pro to external
timecode:
 A video deck or audio recorder capable of sending LTC time code
 A device capable of converting LTC to MTC, such as the MotU MIDI Timepiece AV or
Emagic Unitor 8 MKII
 An RCA-to-1/4-inch audio cable, or a 1/4-inch-to-1/4-inch audio cable
 A USB connection to the MIDI device
 Possibly, a BNC-to-RCA female adapter
Setting Up the LTC Source Device
The LTC generator should be set up as the master sync device. All timecode settings
should be set to “internal.” If available, Jog should be turned off. See the documentation
for your particular video deck or audio recorder for specific instructions.
Appendix C Working with Professional Video and Audio Equipment 507
Setting Up the MTC Generator
Set the MTC generator to receive LTC signals:
 In the case of the MIDI Timepiece, use the “Clockworks” control panel.
 In the case of the Unitor 8 MkII, use the “Unitor Control” application.
Setting Up Soundtrack Pro to Sync to External Timecode
You can set up Soundtrack Pro to sync to external timecode.
To sync Soundtrack Pro to external timecode, do the following:
1 Choose Soundtrack Pro > Preferences, then click the Synchronization button at the top
of the Preferences window.
2 In the Input section, select the Sync to MIDI Time Code checkbox.
3 In the Output section, choose the frame rate for your project from the Frame Rate popup
menu.
4 In the Time Code Offset section, enter your tape’s offset in the Bar 1 At field. This is
typically 01:00:00;00.
5 Close the Preferences window.
6 Depending on your timecode source, choose either View > Time Ruler Units > Drop
Frame or View > Time Ruler Units > Non-Drop Frame.
7 Choose View > Time Ruler Units > Set Starting Timecode.
508 Appendix C Working with Professional Video and Audio Equipment
8 In the dialog that appears, enter the SMPTE position where you would like the
sequence to start.
This often is the same as the tape offset. If your timecode source is drop frame, be sure
to select the Drop Frame checkbox.
9 Click the MIDI Sync button in the transport controls.
Soundtrack Pro will now “chase” (synchronize to) timecode sent by the tape deck or
other LTC sources.
MIDI Sync button
509
D
Appendix
D Working with Apogee Hardware
in Soundtrack Pro
Soundtrack Pro offers a dedicated control panel that allows you to configure selected
Apogee hardware. Currently, this control panel supports the Apogee Ensemble only.
Refer to the Apogee website for details on supported hardware models.
To open the Apogee control panel:
1 Confirm that your Apogee unit is connected and turned on.
2 Choose Soundtrack Pro > Open Apogee Control Panel.
The Apogee control panel offers two parameter types: Global and Unit.
 Global parameters are relevant only if more than one Apogee device is connected to
your system; they define how several devices work together.
 Unit parameters configure individual hardware units.
510 Appendix D Working with Apogee Hardware in Soundtrack Pro
Global Parameters
The Global parameters at the top of the Apogee hardware control panel define how
multiple Apogee hardware devices work together.
Unit Selection
The Unit Select pop-up menu defines the hardware device (when multiple units are
connected). The parameters of the selected device are displayed in the Unit tabs below.
Selecting the Identify Unit checkbox next to the Unit Select pop-up menu illuminates
all LEDs on the corresponding hardware interface.
Loop Sync
Loop Sync facilitates the proper clocking of multiple units. It allows simple
reconfiguration of clock signals, accommodating nonsynchronous digital inputs on all
connected units.
The Loop Sync Master pop-up menu determines the hardware unit that you want to
use as the clock master. Once a device is designated as master, all other units are
automatically locked to its word clock.
Selecting the Disable Loop Sync checkbox allows you to manually adjust
synchronization settings.
Note: Multiple Apogee device configuration (and the way Apogee devices interact) is
determined by the Apogee driver version. Refer to the information included with the
Apogee driver or device for details.
Appendix D Working with Apogee Hardware in Soundtrack Pro 511
Units Parameters
The Units parameters configure the individual hardware units in your system. They are
spread over three tabs: General, Inputs, and Outputs.
General Tab
The settings in this tab control a variety of features, such as the clock source, UV22HR
dithering algorithm, and level meter behavior.
 Clock Source pop-up menu: Sets the clock source for the chosen unit. Options are
Internal, Optical, Coax, and Word Clock.
 Format section: These settings determine the format of the optical input and output
channels. Options are ADAT/SMUX and S/PDIF.
 UV22HR pop-up menu: This specifies the target signal path for the UV22HR dithering
algorithm. Options are Off, Analog In 1–2, Analog In 3–4, Analog In 5–6, Analog In 7-8,
Optical In 1–2, Optical In 3–4, Optical In 5–6, Optical In 7–8, S/PDIF In, and S/PDIF Out.
 Sample Rate Conversion section: The Conversion pop-up menu allows you to enable
sample rate conversion for the S/PDIF Input or Output signal path. If you decide to
engage sample rate conversion on the S/PDIF Out channel, you can set the
destination sample rate in the Sample Rate pop-up menu (next to the Conversion
pop-up menu). Sample rate options are 44.1, 48, 88.2, and 96 kHz.
512 Appendix D Working with Apogee Hardware in Soundtrack Pro
 Meter Display pop-up menu: This pop-up menu determines the type of metering
displayed by your units. Options are input level, output level, or no signal at all. If you
select the Hold Overloads checkbox, your hardware displays overloads permanently.
Clicking the Clear Overloads button (alongside the Meter Display pop-up menu)
resets the overload LEDs of your meters.
 CD Mode checkbox: Selecting this checkbox turns on CD mode, which sends a
44.1 kHz, 16-bit stereo signal to the S/PDIF output, regardless of the input. In effect,
selecting this checkbox automatically switches the Conversion pop-up menu to
S PDIF Out, the Sample Rate pop-up menu to 44.1 kHz, and the UV22HR pop-up
menu to S/PDIF Out. If any of these automatically set parameters are then changed
manually, the CD Mode checkbox is automatically disabled.
Inputs Tab
This tab is used to configure the inputs of your Apogee hardware. The tab contains four
identical parameter sets for microphone inputs 1 to 4 and a parameter section for line
inputs 5 to 8.
Appendix D Working with Apogee Hardware in Soundtrack Pro 513
Inputs 1 to 4
Inputs 1 to 4 feature built-in pre-amps. These can be configured individually via the
four identical sets of Pre-Amp parameters.
 Level pop-up menu: This pop-up menu allows you to switch the respective channel
between microphone and line inputs. If you choose the Line option, the +4 dBu and
–10 dBV options shown in the pop-up menu below are used to set the reference
level of the line input. All microphone-related settings (Gain, Group, 48V Phantom
Power, and Phase Invert) will be dimmed.
 Gain slider: Sets the gain level of the chosen input (only available for microphone
channels).
 Group pop-up menu: The gain controls of the microphone inputs can be assigned to
a group. Groups allow you to link the Gain sliders of the microphone inputs.
Changing the Gain slider of any microphone input assigned to a group also changes
the Gain sliders of all microphone inputs in this group. Individual gain relationships
(relative levels between microphone inputs)—at the time the Gain sliders were
assigned to the group—are retained. Options are Group 1, Group 2, and None. The
Group pop-up menu is only available to channels used as microphone inputs.
 Soft Limit checkbox: Select to apply Apogee’s soft limiting to the inputs.
 Phase Invert checkbox: Select this checkbox to reverse the phase of the input signal
(available only if the channel is used as microphone input).
 48V Phantom Power checkbox: Select to activate a 48-volt phantom power supply for
inputs 1 to 4. This checkbox is available only if the channel is used as a microphone input.
Line Inputs 5 to 8
The Analog Line Inputs section offers the following parameters for line inputs 5 to 8:
 Level pop-up menu: Sets the input level of line inputs 5 to 8. Options are +4 dBu
and –10 dBV.
 Soft Limit checkbox: Select to apply Apogee’s soft limiting to the analog line inputs.
514 Appendix D Working with Apogee Hardware in Soundtrack Pro
Outputs Tab
This tab is used to configure the outputs of your Apogee hardware.
Headphone Parameters
These options configure the output signal for the headphone outputs.
 Source pop-up menu: Determines which output pair is sent to the headphone outputs.
Options are Analog Out 1–2, Analog Out 3–4, Analog Out 5–6, Analog Out 7–8,
Optical Out 1–2, Optical Out 3–4, Optical Out 5–6, Optical Out 7–8, and S/PDIF Out.
 Level slider: Sets the level of the headphone outputs.
Main Parameters
The Format pop-up menu allows you to choose the output channels that you wish to
control with the Main Level slider. Values are Stereo, 5.1 Surround, and 7.1 Surround.
Analog Line Output Level Settings
Choose either the +4 dBu or –10 dBV option from the respective Channel pop-up
menu to determine the reference level for each of your eight analog line outputs.
Setup Buttons
The bottom of the Apogee hardware control panel offers three buttons that allow you
to load and save your configuration settings.
 Recall Setup From Song: Loads the configuration saved with the song.
 Load Setup: Opens a file selector box, allowing you to load a stored configuration.
 Save Setup: Opens a file selector box, allowing you to save the current configuration.
515
E
Appendix
E Solutions to Common Problems
and Customer Support
If you run into problems while working with Soundtrack Pro, there are several resources
you can use to find a solution.
 This appendix: This appendix includes information about some of the most frequent
issues users encounter.
 Release Notes: A late-breaking news page in the Soundtrack Pro Help menu provides
last-minute information that didn’t make it into the manual. Be sure to consult this
help page as soon as you install or upgrade Soundtrack Pro.
 AppleCare Knowledge Base: AppleCare Support maintains a database of common
support issues that is updated and expanded to include new issues as they arise. This
is an excellent, free resource for Soundtrack Pro users. To access the AppleCare
Knowledge Base, go to the AppleCare support page at http://www.apple.com/
support.
 AppleCare Support: There are a variety of support options available to Soundtrack Pro
customers. For more information, see the Apple Professional Software Service
& Support Guide that comes with your Soundtrack Pro documentation.
516 Appendix E Solutions to Common Problems and Customer Support
Solutions to Common Problems
The following tips address some common issues.
Audio Files and Audio Interfaces
There are several factors that can affect performance when working with digital audio
files. Observing the following guidelines will help you maintain the highest possible
performance when working with Soundtrack Pro projects:
 Because digital audio files require intensive processing by the computer’s processor,
do not perform other processor-intensive tasks while working in Soundtrack Pro.
 External audio interfaces connected to your computer can be susceptible to latency,
a noticeable delay between the time the audio signal is produced and the time it
reaches the computer. Some hardware and software manufacturers offer guidelines
for reducing the amount of latency for their equipment. Be sure to read the
documentation that came with your audio interface.
 If you are using a USB audio interface, make sure the audio interface is directly
connected to your computer. Do not connect a USB audio interface through a USB
hub, or chain it through another USB device.
 If you experience unwanted noise or hiss, check the connections between your
computer and any external audio devices. Refer to the documentation that came
with each device for any additional instructions on dealing with noise.
Eliminating Recording Latency
You can use the Latency Compensation setting in the Preferences Recording pane to
eliminate any latency inherent in your recording device. You calculate the latency by
playing a loop and recording it at the same time, as described below:
1 Use an appropriate cable to connect the audio output port you are using to the input
port for the device from which you plan to record.
2 Choose a loop with a large number of transients, such as a drum loop.
3 Set the tempo to 60 bpm (to simplify the latency calculation).
4 Click the Arm for Recording button in the header of the track to which you want to record.
5 In the Recording tab, set the Input device to the recording device.
6 Set Monitor to None and ensure that hardware monitoring on your recording device is
turned off. You may also need to reduce input or output volumes of your devices in
order to avoid feedback.
7 Click the Record button and let the loop play for a few seconds. Then click Stop.
Appendix E Solutions to Common Problems and Customer Support 517
8 Visually compare the original track and the newly recorded track. Zoom in to identify a
place where the tracks have identical waveforms but are not lined up. Set the playhead
at the corresponding identical points on the two waveforms and subtract the two
Beats field values. This is the latency in milliseconds. If the recorded audio is late (to the
right), you enter a positive value; if it’s early (to the left), you enter a negative value. For
example, if the location in beats of the selected point in the source loop is 1.2.002 and
the location in beats of the corresponding point in the recording is 1.2.008, the latency
is 6 milliseconds.
9 Enter the latency value in the Recording Preferences pane.
10 Mute the recorded track and test record the loop again to make sure the latency
is eliminated.
Calling AppleCare Support
Included in your Soundtrack Pro package is documentation about the support options
available from Apple. Several levels of support are available, depending on your needs.
Whatever your issue, it’s a good idea to have the following information immediately
available. The more of this information you have ready to give to the support agents,
the faster they will be able to address your issue.
 The registration number that came with Soundtrack Pro. This number is different
from the software serial number that is used to activate your copy of Soundtrack Pro
 Which version of Mac OS X you have installed. This information is available by
choosing About This Mac from the Apple menu.
 The version of Soundtrack Pro you have installed, including updates if applicable. The
version number can be viewed by choosing Soundtrack Pro > About Soundtrack Pro.
 The model of computer you are using
 How much RAM is installed in your computer, and how much is available to
Soundtrack Pro. You can find out how much RAM is installed by choosing About This
Mac from the Apple menu in the Finder.
 What other third-party hardware is connected to or installed in the computer, and
who are the manufacturers. Include hard disks, video cards, and so on.
 Any third-party plug-ins or other software installed along with Soundtrack Pro
AppleCare Support can be reached online at:
http://www.apple.com/support/soundtrackpro
519
F
Appendix
F Using Apple Loops Utility
Some audio files you use in Soundtrack Pro can include metadata called tags. Tags
provide information about the audio recorded in a file. Soundtrack Pro uses tags in one
of two ways:
 To help locate files using the Search feature in Soundtrack Pro
 To provide information that Soundtrack Pro uses when matching the file’s tempo and
key to the project tempo and key, for the best possible playback quality
Both AIFF and WAV file formats can include tags. Libraries of audio files created for use
with loop-based music software are usually tagged, and Soundtrack Pro recognizes the
tags used in most popular file formats.
What Is Apple Loops Utility?
Apple Loops Utility is a companion application to Soundtrack Pro that you can use to view
and manage tags in audio files. You can add and change tags using Apple Loops Utility;
you can also tag multiple files, a process known as batch tagging.
Apple Loops Utility can read both AIFF and WAV file formats. When you save changes
you make to either type of file, the file is saved as an AIFF file, the default file format for
Soundtrack Pro. The set of tags you can work with using Apple Loops Utility includes all
of the tags in WAV files tagged for use with Sony’s ACID music application, as well as
additional tags.
Tagged audio files can also contain information about transients. Transients indicate
where beats occur in the file, and Soundtrack Pro uses transients to play back audio
files at the highest level of quality. Apple Loops Utility can detect transients present
in an audio file, and you can use Apple Loops Utility to add markers for additional
transients and move them to new locations.
520 Appendix F Using Apple Loops Utility
The Apple Loops Utility Interface
The interface consists of a window with two tabs: the Tags tab and the Transients tab.
The bottom of the window includes a set of playback controls and file management
buttons. Apple Loops Utility also includes an Assets drawer, located to the right of the
main window, where you manage open files.
Playback controls Assets drawer
Tabs Main window
Appendix F Using Apple Loops Utility 521
Tags Tab
The Tags tab includes areas for different types of tags, and also includes a set of
playback controls you can use to listen to a file open in Apple Loops Utility. Listening to
a file can help you decide which tags are appropriate for the file.
Property Tags
 Number of Beats field: Displays the number of beats in the file.
 File Type buttons: Set the file type, which can be Non-looping or Looping.
 Key pop-up menu: Sets the key of the file.
 Scale Type pop-up menu: Sets the file’s scale type. The choices are Major, Minor, Good
for Both, and Neither.
 Time Signature pop-up menu: Sets the file’s time signature. The choices are 4/4, 3/4,
5/4, 6/8, and 7/8.
 Author field: Displays the name of the file’s author. You can enter a new name by
typing in the field.
 Copyright field: Displays the file’s copyright data, if it exists. You can enter new data
by typing in the field.
 Comment field: Displays any comments about the file. You can enter comments by
typing in the field.
522 Appendix F Using Apple Loops Utility
Search Tags
These tags are used by the Search feature in Soundtrack Pro when you search for files
matching specific criteria.
 Collection: Displays the name of the collection the file is affiliated with, if one exists.
You can enter new data by typing in the field.
 Theme: Displays the name of the theme the file is affiliated with, if one exists. You
can enter new data by typing in the field.
 Genre pop-up menu: Displays choices for the musical genre of the file.
 Instrumentation list: Displays choices for the musical instrument or instrument
category recorded in the file. Selecting an instrument category in the left column
displays the list of instruments in that category in the right column.
File Info
This area of the Tags tab includes rows with Kind, Length, Date Modified, Sample Rate,
Channels, Tempo, and File Location information. This information is for viewing only,
and cannot be edited in the Tags tab.
Descriptors
Descriptors are complementary pairs of keywords describing the mood or character of
the music recorded in the file. Each pair of keywords has a row of buttons, allowing you
to choose either one keyword from the pair, or neither keyword.
Appendix F Using Apple Loops Utility 523
Transients Tab
The Transients tab contains a large waveform display, with a Beat ruler and a horizontal
scroll bar. Markers indicate the position of transients in the file. Typically, transients
correspond to the peaks or most pronounced amplitude changes in a sound’s
waveform. The Transients tab includes controls for the beat division and sensitivity with
which Apple Loops Utility detects transients in the file. You can also listen to the file
using the playback controls to help determine where transients occur.
The Transients tab includes the following controls:
 Transient Division pop-up menu: Sets the beat value at which Apple Loops Utility
detects transients.
 Sensitivity slider: Sets the degree of sensitivity at which Apple Loops Utility
detects transients.
Waveform of audio file
Transient marker
Sensitivity slider
Transient Division
pop-up menu
524 Appendix F Using Apple Loops Utility
Assets Drawer
The Assets drawer lists the files open in Apple Loops Utility. The drawer, which is open
when you open Apple Loops Utility, contains a Name column with the name of each
open file, and a Changes column, which indicates any files to which you have
applied changes.
Add File and Remove
File buttons
Changes column
Appendix F Using Apple Loops Utility 525
Playback and File Management Controls
The bottom of the Apple Loops Utility window contains a set of playback controls so
that you can listen to the file in Apple Loops Utility. The playback controls do not affect
the file’s tags, only the playback of the selected file.
 Go to Beginning button: Starts playback from the beginning of the selected file.
 Play button: Plays back the selected file.
 Stop button: Stops playback of the selected file.
 Key pop-up menu: Transposes the selected file to a new key for playback.
 Tempo slider: Sets the playback tempo of the selected file. You can also enter a value
in the field.
 Volume slider: Sets the playback volume of the selected file. You can also enter a
value in the field.
When multiple files are selected, the playback controls are not available. You cannot
play more than one file at a time.
There are two additional buttons at the bottom of the window, the Assets button and
the Save button.
 Assets button: Shows and hides the Assets drawer.
 Save button: Saves your changes to the currently selected files in the Assets drawer.
Play button
Stop button
Assets button
Go to Beginning button
Tempo slider Volume slider
Key pop-up menu
526 Appendix F Using Apple Loops Utility
Opening Files in Apple Loops Utility
You can open audio files from within Apple Loops Utility, or directly from a Soundtrack Pro
project. You can have up to 2000 files open at the same time. When you open files in
Apple Loops Utility, the files are displayed in the File list of the Assets drawer.
To open an audio file in Apple Loops Utility, do one of the following:
m Choose File > Open, then select the file in the Open dialog.
m Choose File > Open Recent, then choose a file from the submenu.
m Click the Add File button in the Assets drawer.
m Drag files from the Finder to the Assets drawer.
To open an audio file from Soundtrack Pro into Apple Loops Utility:
m Control-click the file in Soundtrack Pro, then choose Open in Apple Loops Utility from
the shortcut menu.
To open multiple files in Apple Loops Utility, do one of the following:
m Choose File > Open, then Shift-click the files in the Open dialog.
m Drag the volume or folder containing the files from the Finder to the Assets drawer.
You can have multiple Apple Loops Utility windows open at the same time so that you
can compare different files. Each time you open an Apple Loops Utility window, an
Open dialog appears, letting you choose the file or files to open in that window. You
can change the open window behavior in the Apple Loops Utility Preferences window.
See “Apple Loops Utility Preferences” on page 531 for more information.
Appendix F Using Apple Loops Utility 527
Tagging Files in Apple Loops Utility
To tag files, you select the files in the Assets drawer, and then make changes to the
selected files’ tags in the Tags tab. When you change the settings in the Tags tab, the
changes are applied only to the currently selected files.
When you make changes to a file’s tags, a dot appears in the Changes column next to
the filename to indicate that the file has been changed. You can select a file or group of
files and make one or several changes, and then select another file or group of files and
make different changes. Apple Loops Utility remembers all the changes you make as
you work with different files. When you finish making changes, you can save changes
to only the currently selected files, or save changes to all files marked in the Changes
column of the Assets drawer.
Note: Changing a file’s tags has no effect on the actual audio data recorded in the file.
Changing the tag for the number of beats, for example, only changes the information
used when Soundtrack Pro searches for files, not the actual number of beats recorded
in the audio file. Similarly, changing the tag for key has no effect on the actual musical
key of the audio file.
To tag a single audio file:
1 Select the file in the Assets drawer. (If the drawer is closed, click the Assets button
to open it.)
Note: When a single file is selected, you can use the Up and Down Arrow keys to
move up and down the files in the Assets drawer. You can listen to the file using the
playback controls.
2 Make the changes you want to the file’s tags in the Tags tab.
See “Tags Tab” on page 521 for information about the options in the Tags tab.
3 Click Save to save changes to the selected file, or click Save All to save all changes.
528 Appendix F Using Apple Loops Utility
Tagging Multiple Files
When multiple files are selected, only the tags that apply to all the selected files can be
changed. Items in the Tags tab that do not apply to all the currently selected files are
dimmed and unavailable.
Each tag has a checkbox. Select the checkbox next to the tags for which you want
to save changes.
To tag multiple files:
1 Select the files in one of the following ways:
 Shift-click to select adjacent files in the Assets drawer.
 Command-click to select nonadjacent files in the Assets drawer.
 Press Command-Shift-A to select all files in the Assets drawer.
2 Make the changes you want to the available tags for the selected files in the Tags tab.
See “Tags Tab” on page 521 for information about the options in the Tags tab.
3 Select the checkboxes next to the tags for which you want to save changes.
4 Click Save to save changes to the selected files, or click Save All to save all changes.
There are many keyboard shortcuts to simplify the task of tagging files. For a complete
list of keyboard shortcuts, see “Apple Loops Utility Keyboard Shortcuts” on page 532.
Working With Transients
Transients are the points in an audio file where beats occur. Typically, transients occur at
the widest areas of a waveform in the waveform display. During playback, Soundtrack Pro
adjusts looping files using a technique called stretching to achieve the best audio quality,
based on the loop’s transients. Non-looping files are not affected by stretching.
When you open a file in Apple Loops Utility, it looks for transients at every 16th note
position, based on the file’s tags for tempo and the number of beats. You can change
the beat value at which Apple Loops Utility detects transients using the Transient
Division pop-up menu.
To display a file in the Transients tab:
m Select the file in the Assets drawer, then click the Transients tab.
The Transients window can display only one file. If multiple files are selected, no
waveform is displayed in the window. The waveform display in the Transients tab
displays both the transients detected by Apple Loops Utility and transients you add to
the file. You can add transients and move existing transients in the Transients tab.
Appendix F Using Apple Loops Utility 529
To add a new transient:
m Click in the darker area above the Beat ruler in the waveform display.
To move a transient marker:
m Drag the marker by its handle in the area above the Beat ruler.
To change the beat value of detected transients:
m Choose a beat value from the Transient Division pop-up menu.
Choosing a larger beat value results in fewer transients being detected. Choosing a
smaller beat value results in more transients being detected, if they are present in the
audio recorded in the file.
Sometimes transients occur at points in the audio file other than on a beat value. You
can have Apple Loops Utility detect additional transients in the file using the Sensitivity
slider. When you increase the sensitivity of transient detection, Apple Loops Utility
considers points of higher amplitude in the waveform as transients, regardless of
whether or not they occur at a beat value.
To change the sensitivity of transient detection:
m Drag the Sensitivity slider to the left to decrease the sensitivity, or to the right to
increase the sensitivity of transient detection.
To remove a transient, do one of the following:
m Click the transient’s handle in the area above the Beat ruler, then press the Delete key.
m Drag the transient out of the area above the Beat ruler.
530 Appendix F Using Apple Loops Utility
Saving Changes to Files
When you save changes in Apple Loops Utility, you can save changes to only the
currently selected files, or to all files marked in the Changes column of the Assets
drawer. Any other file tags are unchanged. This is especially useful when working with a
large group of files.
When saving multiple files, the checkbox next to the tag must be selected if changes to
that tag are to be saved. For information about tagging multiple files, see “Tagging
Files in Apple Loops Utility” on page 527.
To save changes to the currently selected files:
m Click the Save button.
Saving changes to a large number of files may take several minutes.
To save all changes:
m Click the Save All button in the Assets drawer.
To save multiple files to the same directory:
1 Choose File > Save As.
2 Navigate to the directory where you want to save the files, then click Save.
When you save multiple files using the Save As dialog, the files are saved to the
selected directory, and their names are unchanged.
When you save changes to files in the WAV format, by default they are converted to the
AIFF format and saved in the same location as the original WAV files. The new AIFF files
have the same name as the WAV files, but with the .aiff file suffix. You can change this
default behavior in the Apple Loops Utility Preferences window. See the following
section, “Apple Loops Utility Preferences,” for more information.
Removing Files From the Assets Drawer
You can remove files from the Assets drawer.
To remove files:
m Select the file or files in the Assets drawer, then click the Remove File button at the top
of the drawer (or press the Delete key).
If you remove files to which you have applied changes, a dialog appears letting you
choose whether to save or discard your changes.
Appendix F Using Apple Loops Utility 531
Apple Loops Utility Preferences
You can set preferences for the startup behavior and default file saving behavior in the
Apple Loops Utility Preferences window.
Startup
 Show Open Panel On Launch: When selected, an Open dialog appears each time you
open Apple Loops Utility.
Saving
 When Converting a WAV to AIFF:
 Show Conversion Alert: Shows the conversion alert dialog when you try to save a
WAV file.
 Close WAV and Edit AIFF: Automatically converts the WAV to an AIFF, closes the WAV
file, and opens the AIFF for editing.
 Keep Working in WAV: Leaves the WAV file open.
532 Appendix F Using Apple Loops Utility
Apple Loops Utility Keyboard Shortcuts
General and File
Navigation
Key command Function
Creates a new, blank Apple Loops Utility window and opens the
Open dialog.
Opens the Open dialog, from which you open files in
Apple Loops Utility.
Closes the current window.
Closes the selected files.
Saves changes to the currently selected files. If any of the files are
WAV files, a dialog appears asking if you want to continue editing
the files as WAV files or save them as AIFF files.
Opens the Save As dialog to save the currently selected file with a
new name.
Saves all open files.
Selects the file above the current file in the Assets drawer.
Selects the file below the current file in the Assets drawer.
Selects all files in the Assets drawer.
N
O
W
shift W
S
shift S
option S
shift A
Key command Function
Makes the Tags tab active.
Makes the Transients tab active.
Makes the Assets drawer active.
F1
F2
F3
Appendix F Using Apple Loops Utility 533
Key and Scale Type Tagging
Key command Function
Turns on keyboard tagging.
Sets the key to A.
Sets the key to A# (A-sharp).
Sets the key to B.
Sets the key to C.
Sets the key to C# (C-sharp).
Sets the key to D.
Sets the key to D# (D-sharp).
Sets the key to E.
Sets the key to F.
Sets the key to F# (F-sharp).
Sets the key to G.
Sets the key to G# (G-sharp).
Sets the scale type to Major.
Sets the scale type to Minor.
Sets the scale type to Both.
Sets the scale type to Neither.
esc
A
shift A
B
C
shift C
D
shift D
E
F
shift F
G
shift G
M
shift M
shift B
N
534 Appendix F Using Apple Loops Utility
Descriptor Tagging
For the following descriptor keyboard shortcuts, pressing the key once selects the first
(left) item, pressing the key again selects the second (right) item, and pressing the key
a third time selects Neither (the center button).
Key command Function
Single/Ensemble
Part/Fill
Acoustic/Electric
Dry/Processed
Clean/Distorted
Cheerful/Dark
Relaxed/Intense
Grooving/Arrhythmic
Melodic/Dissonant
Sets Batch Tagging to All.
Sets Batch Tagging to None.
1
2
3
4
5
6
7
8
9
F5
F6
Appendix F Using Apple Loops Utility 535
Transients
Key command Function
Increases sensitivity.
Decreases sensitivity.
Increases sensitivity five times.
Decreases sensitivity five times.
Nudges the selected marker by one pixel to the left.
Nudges the selected marker by one pixel to the right.
Selects the previous marker.
Selects the next marker.
=
-
shift =
shift -
537
Index
Index
1/4" phone plug connectors 491
1/4" tip-ring-sleeve connectors 491
1/4" tip-sleeve connectors 491
1/8" mini connectors 490
3 dB attenuation 410
3rd-party applications 435–436
3rd-party effects 23
3rd-party interfaces
audio interfaces 486, 504
uses for 25
video interfaces 498
5.1 surround sound. See surround sound
48V phantom power supply 513
90° phase-shift options 410
1394a connectors 482
1394b connectors 483
A
A/B Last Two Actions command 234
AAC files 67, 79, 193, 387, 388, 404
AAC/Podcast files 398, 399, 401–404
AAF files
exporting 313
using in other applications 435–436
AC# output 311
AC-3 files 312, 398, 399, 407
ACID music application 519
Action Insert bar 62, 232
actions
Action Insert bar 232
Actions tab 62
adjusting selections for 231
applying 180, 230
comparing 234
deleting 235
described 43, 230
displaying 44
droplets 248, 417
editing 231
file length and 235
flattening 233
limitations of 235
podcasts 390
post-export actions 378, 390, 416–417
processing effects as 328
rendering effects as 229, 329
rendering realtime effects 243–244
reordering 232
replacing 180
resampling and 229
scripting in File Editor 248
settings 231
turning on/off 231
working with in File Editor 230–235
Actions list 62, 230, 232–233
Actions pop-up menu 62
Actions tab 44, 62
adapters 498
See also specific adapter names
audio equipment 490–493
video equipment 477–484
ADAT Lightpipe connectors 493
Add Ambient Noise command 227
Add Effect button 60
Add Send button 60
Add Submix command 264
Add Take command 256
adding effects
to busses 144–145
to submixes 144–145
to channel strips 284
to tracks 144–145
Adjust Amplitude command 221
ADR (automatic dialogue replacement) 252
Advanced Audio Coding. See AAC files
AES/EBU connectors 493
AES/EBU digital audio channels 503
After Export pop-up menu 396, 416, 417
AIFF files 66, 79, 192, 212, 246, 312, 389, 398, 519–
535
AJA Io 478
alert preferences 98
aligning clips with markers 186
ambient noise, adding 227
amplifiers 26, 485, 496, 497
538 Index
amplitude
adjusting 221
described 464
measuring 467
zero crossings 205
analog audio
capturing 485
connecting equipment 503
output 514
analog video
composite 481
connecting equipment 498–500, 501
consumer devices 501
analog-to-digital capture cards 481
analog-to-digital converters 501
analog-to-DV converters 502
analog-to-DV systems 498–500
Analysis Results list 63, 236
Analysis tab 63
analysis tools 236–240
Analysis tab 63
fixing analyzed problems 240
parameters 238
results 238
windows 216, 217
zooming in on problems 239
Analysis Type list 63, 236
analysis types 236–237
clicks/pops 236
clipped signal 237
DC offset 237
listing 63
phase issues 237
power line hum 236
silence 237
Analyze button 63
annotation metadata 90
Apogee hardware 509–514
Apple Cinema Display 319
Apple Core Audio Format 66, 79, 192, 246
Apple Loops files
searching 81
tagged information 90
tails on 230
Apple Loops Utility 80, 519–535
Apple Store 20
Apple TV 389
Apple websites 19–20
AppleCare Knowledge Base 515
AppleCare Support 515–517
AppleScript 390
AppleScript droplets 248, 417
AppleScript Script Editor 248
AppleScript websites 417
applications, using Soundtrack Pro with 435–437
Apply button 220
Apply Digital Deemphasis option 410
Apply Equalization command 228
approving Conform changes 444, 446
Arm for Recording button 41, 45, 280, 368, 374
Arrow tool 461
artifacts 481
ASIO plug-in 23
Asset Refresh dialog 433
Assets drawer 520, 524–528, 530
attack 333
attenuating sound 302
audio
amplitude 467
analysis 63, 236–240
balanced signals 494
bit depth 474
channels 406
cleaning up 342
clicks 236
clipping 237, 288, 289–290, 333
compressed formats 193
copying in File Editor 206
cutting in File Editor 206
DC offset 237
decibels 468
digital audio overview 473–476
distortion 470
Dolby Digital AC-3 format 404
dynamic range 470
editing sound 294
effects. See effects
fading in/out 220
frequencies 465
gain 221, 341
headroom 470
inserting noise in 222
inserting waveforms in 223
mixing sound. See mixing audio
monitoring environment 26
multitake 46
normalizing 221
overloaded signal 237
pasting in File Editor 206
phase issues 237
pops 236
postproduction 334
power line hum 236
professional vs. consumer equipment 476
pullup/pulldown conversion controls 56
recording preferences 100
recording. See recording audio
reducing noise in 225–226
sample rates 399, 401, 474
signal formats 487, 490–496
signal-to-noise ratio 469
silence in 221–222
Index 539
silence threshold 237
sound, described 463
sound waves 463
stereo 471–473
summing 263
synced 46
synchronization preferences 101
temporary mono mix 290–291
in video clips 321
volume. See volume
audio channels
multiple channel capture 503
separating 122
audio clips
aligning with markers 186
in Bin hierarchy 88
changing offset of 157
channel selections 120
colors 116
combining into multichannel clips 123
conforming 432, 439
copying 151
crossfades between 158–160
cutting 151
dates 115
described 113
deselecting 148
duration of 156–157
editing 162–182
editing Final Cut Pro audio 423
editing in place 166, 195
editing source media files and 166, 195
enabling or disabling 115, 118
Final Cut Pro and 422
grouping 445
information in Bin 88
joining 173
keyboard shortcuts 453–455
locking or unlocking 115, 118
metadata 58, 115
moving 154–155
moving envelope points with 359
multiple instances of 167, 197
multitake clips 252
muting 118
name of 116
overlapping 108, 162
pasting 151–152
playback mode 188
properties 58, 114–116
redoing changes 93
removing 151, 152
replacing source audio in 189–190
resizing 156–157
selecting 147–148
snapping 94–95, 156
soloing 120
splitting 164, 170–173
spotting in Timeline 153
transposing 188
truncating 162
unchanged clips 444
undoing changes 93
zooming in/out 129–130
Audio Coding Mode pop-up menu 406
audio effects. See effects
audio equipment
amplifiers 26
Apogee hardware 509–514
cables 490
connecting 23–26, 503
connectors 490–492
input and output devices 24
microphone levels 494
microphones 26
mixers 26
monitors 25, 26, 496
professional vs. consumer 494
recording equipment 367
recording quality 476
selecting 487
signals and cables 490–496
speakers 27, 496
stereo mixing systems 32
surround sound 298
synchronizing 504
audio file projects
about 66, 421
automating effects in 243
closing 242
creating 241
editing in File Editor 198–211
exporting. See exporting items
file extensions 65
importing video into 315, 316
opening 198
opening in File Editor project view 240–241
overview 11
playing 71–78, 199
processing in File Editor 219–244
recording. See recording audio
saving 244–247
soloing 199
source file editing and 196
waveform editing 193
audio files
adding to multitrack projects 113–114
adding to Timeline 113–114
ambient noise in 227
amplitude 221
analyzing in File Editor 236–240
collecting and saving 111, 419
540 Index
common problems 516
creating 214
Cycle Region and 200
displaying information 92–93
editing in File Editor 198–211
exporting projects to 398–413
finding 52, 78–87
formats for 79, 192
Frequency Spectrum view 214
gain of 221
graphically editing 164–165, 208–211
information in Bin 88
inserting noise in 222
length of 235
looping 79, 188
matching equalization 228
missing files 96
moving between selections 205
multichannel files 212–214
non-looping 79, 188
normalization 221
opening in Apple Loops Utility 526
opening in File Editor 198
opening in File Editor project view 240–241
opening in native format 241
phase of 221
playing in File Editor 199
podcasts 377
previewing 91–92
processing in File Editor 219–244
reconnecting 96
reducing noise in 225–226
referenced files 245
resampling 229
sample rates 107
saving 246–247
saving with projects 111, 419–420
scratch locations 112
scrubbing 200
selecting in File Editor 202–205
selecting parts of 202–204, 208
silence in 221–222
size of 22, 367
soloing 92, 199
Sound Designer files 79
source 113, 148, 189–190
storing in Bin 87–90
tagged 81
tagging with Apple Loops Utility 519–535
time stretching 210, 224
unused 420
WAV 79
audio interfaces 485
advantages 25
FireWire 29
as output devices 100, 280
third party 486
types of 485–490
USB 28
audio levels
measuring 468
audio meters
decibels 468, 469
Audio MIDI Setup utility 23
audio mixing
compression 471
Audio pane 405
Audio Pulldown pop-up menu 99
Audio Stretching tool 210
audio tracks
colors 116
locking or unlocking 119
selecting all clips on 149
selecting items forward or backward on 150
stereo recordings 473
in Timeline 39
Audio Units plug-ins 23, 327
audio-only AAC files 404
audio-only podcasts 387
See also podcasts
author metadata 90
Auto Gain parameter 341
Automatic dialogue replacement (ADR) 252
automation 355–366
control surface movements 394
described 355
envelopes 355–364
modes for 365
podcasting and 390
post-export actions 416–417
processing effects 354
realtime effects 243, 351
recording automation data 365–366
recording in Mixer 291
recording sensitivity 98, 366
surround sound pan settings 303
Automation Mode pop-up menu 39, 43, 44
automation modes 106
Latch 365
Read 365
Touch 365
auxiliary busses 124, 270
B
Back button 51, 54
background noise 227
background video 429
balanced audio signals 494
balanced XLR connectors 503
band-pass filters 306, 335
Index 541
bands
frequency ranges 465
bandwidth 335, 489
base layer video 429
bass frequencies 226, 334, 335, 465
bass management 311
batch processing 422
batch tagging 519
Beat display 73
beats
beat divisions 56, 109
beat markers 59, 183–185
displaying time 56, 109, 133
items in Bin 90
Beats-based format
entering units 74
metronome 146
multitrack projects 56
playhead and 73
project format 109
scoring markers 186
snapping to notes 95
Time ruler and 133
Beats-based ruler 56
Beginning value slider 59
bels. See decibel
Betacam SP 498, 501
Bin tab
adding audio files from 114
deleting files 420
described 48
shortcut menus 89
storing files in 87–90
bit depth 67, 79, 99, 193
audio interfaces 487
consumer audio 503
digital audio 474
saving 246
Soundtrack Pro and 487
Bit Depth pop-up menu 396
Bit Rate slider 402
bit rates 400, 402
Bit Stream Mode pop-up menu 407
Bitstream pane 408
blackburst generators 499, 504–506
Blade and Blade All tools 164, 170, 171, 253
blue noise 341
BMP files 384
BNC connectors 479, 481, 482
boosting signals 26, 334–335
bouncing projects. See effect tails, exporting items
breakout boxes 31, 478, 479, 490
brightness (sound) 26
Broadcast Wave files 79, 212, 316
Browser tab 51, 80
built-in analog audio 485
built-in digital audio 486
bundles 66, 421
busses
adding 135
adjusting pan position 142
adjusting volume 142
auxiliary busses 270
changing icon for 141
channel strip controls 274
channel strips 44, 140
controls 124, 142–144
copying 141
described 124, 127
effects 144–145
envelopes for 145, 356
exporting 414
grouping 136–139
icons 40
including in submixes 263
Master bus 126
in mixing process 270–272
moving 141
muting 143
numbered 141
removing 147
renaming 141
routing signals to physical outputs 263
routing tracks to 125
selecting 136
sends routed to 350
setting height of 132
setting submixes for 264
soloing 143–144
in submixes 125
in Timeline 39
working with 135–147
Button view 52, 81, 83–85
Button View button 52, 81
buttons
control surface 393–394
mapping commands to 393–394
Toolbar 70
BWF files 316
Bypass button 220
Bypass Effects button 40
bypassing
effects 349, 351
sends 351
C
cables 490–496
CAF files 66, 79, 192, 246
camcorder audio quality 476
542 Index
camcorders
connecting 24
video capture 24
Can’t Find File dialog 96
Cancel button 220
capture cards. See video cards
Category list 60
Category pop-up menu 52
CD mode 512
CD players 503
center
phantom 304
stereo plus center 309
Center Bias slider 302
center channel 310
Center Downmix pop-up menu 408
center frequency 335
chaining effects 347–348
channel layout, editing 413
Channel Strip pop-up menu 44
channel strips 44–45
adding to Mixer 275
changing icon for 281
copying 276
described 273
effects 284–286
enabling for recording 280
muting 280
pan position 278–279
removing 283
renaming 281
reordering 276
selecting 276
sends 286–287
setting outputs for 279–280
soloing 280
stereo level meters 282
Tracks tab 61, 138, 140
volume levels 277
working with 273–283
channels
AAC/Podcast files 402
center 310
Compressor settings 412, 413
dialogue 268
Dolby Digital 406
editing multichannel files 212–214
enabling or disabling 213
export settings 401
full-bandwidth 410
input 369
items in Bin 90
LFE 306, 311, 410
mono audio 121
multichannel audio capture 503
in new files 214
numbers of 67
preferences 97, 100
recording sound for 306
reordering 229
selecting 120, 202–203, 213
stereo mixdowns 267
surround 297, 306, 310, 410
swapping 229
using in Dolby Digital programs 404
valence 256
voiceover and dialogue 309
Channels pop-up menu 401
Channels submenu 41
chapter markers 381–384
chapters in podcasts 380
chasing timecode 506
chorus effects 336
Clear Fixed button 63
clicks 236
Clicks and Pops Threshold slider 237
Clip Speed pop-up menu 58, 115
clipping 236, 237, 288, 289–290, 333
clipping indicators 289
clips. See audio clips; video clips
Clock Source menu 511
closing
audio file projects 242
multitrack projects 106
window panes 34
windows 67
Collapse slider 302
collecting
audio files 111, 419
unused files 420
video files 111, 420
Color pop-up menu 57, 115, 217
color space 481–482
colors
audio clip colors 116
track colors 116
track labels 40, 45
video clips 116
Column view 52, 81, 82–83
Column View button 52, 81
Columns pop-up menu 48
combining clips into multichannel audio 123
comments for markers 59
common sync sources 504
comp tracks 253
compacting projects 111
comparing
action results in files 234
most recent actions 234
Component analog video 501
Component RGB 481–482
Component video 481–482
Index 543
Component YUV 481–482
composite tracks 253
composite video
capture interfaces 501
inputs 504
signals 481
compression
audio formats 193, 399
audio mixing 471
compressors 332
podcasts 387
results of 332
settings 409
sound waves and 463
Compression Preset pop-up menu 409
Compressor 410–413
export presets 412
exporting files and 398
exporting master mixes 410–413
exporting podcasts with 389
multichannel projects in 413
compressors 332–333
Computer button 51
Configure Device button 50
Conform To Project command 442
Conform tool 47, 439–448
Conform worklist 443, 445
connecting
control surfaces 391
professional audio devices 503–504
surround sound physical outputs 297
connectors 490–492
1/4" phone plug 491
1/4" tip-sleeve 491
1/8" mini 490
ADAT Lightpipe 493
AES/EBU 493, 503
BNC 479, 481, 482
digital audio 492–493
FireWire 482
Genlock 482
HD-SDI 483
PCI cards 479, 489
RCA 479, 481, 485, 491
S-Video 481
SCART 484
SDI 483
TDIF 493
TOSLINK 492
TRS 485, 491
TS 491
USB-to-serial adapters 498
video equipment 477–484, 498–502
XLR 488, 490, 492, 503
consumer equipment
audio devices 503
audio quality 476
compared to professional 494
connecting 501
Content is Original setting 408
contextual menus 71, 89
control surfaces 391–394
adding 392
automation modes 394
connecting 391
deleting 392
described 391
FireWire audio interface 29
mapping commands to 393–394
preferences 102
premapped controls 393
recording movements 394
support of 26
types of 391
using 391
Control Surfaces preferences 102
controls 393
Convert to Looping or Non-Looping commands 188
Convert to Mono command 228
Copy from Next Point button 59
Copy from Previous Point button 59
copying items
audio clips 151
audio files for editing 167, 197
audio in File Editor 206
busses 141
channel strips 276
envelope points 361, 362
Lift and Stamp tools 179
properties 165
submixes 141
Timeslices 177
tracks 141
Copyright Exists setting 408
copyright metadata 90
Core Audio Format 66, 79, 192, 246, 487
Correlation meter 339
creation dates 58, 115
crossfade mode 108, 160
crossfades
adjusting 158, 159, 160, 255
creating 108, 160
defined 160
moving 160
types of 161
customer support 515–517
Customize dialog 70
customizing keywords 85
cut edits 453
cutoff frequency 335
cutting frequencies 334
544 Index
cutting items
audio clips 151
audio files 206
envelope points 362
frequencies 335
peak levels 332
Timeslices 177
Cycle button 38, 78, 372
Cycle Region 72
dragging 325
exporting items and 397
keyboard shortcuts 452
linking to selections 200
cycling playback 134–135
D
daisy-chaining 487
DAT devices 24, 503
Data Rate pop-up menu 407
data rates 407
dates 58, 115
dB. See decibel
dBFS units 469
dBm units 469
dBu units 469
dBv units 469
DC Filter option 410
DC filters 410
DC offset 237
“dead” rooms 26
decay time 339
decibel units 469
decibels 464, 467, 468
decoders, stereo playback and 311
decompressing audio files 193
Default Fade Type pop-up menu 99
delay effects 331, 337
delay rate 337
delay time 337
deleting items
actions 235
audio clips 151, 152
beat markers 185
busses 147
channel strips 283
control surfaces 392
Cycle Region 135, 397
directories from Search paths 87
effects 286
effects presets 330
envelope points 362–363
envelopes 364
files 420
groups or group items 140
images 387
layouts 69
markers 185
podcast and chapter markers 381
presets 182
realtime effects 352
scoring markers and 185
submixes 147
takes 256
time markers 185
Timeslices 177
tracks 147
transition points 255
video clips from projects 325
Denoiser effect 341
depth 337
descriptors 522, 534
destructive editing 422, 427, 433
detaching tabs 68
Details tab 57–59, 320, 360, 379
device control
compared to synchronizing 506
consumer devices 501
non-DV devices 501
presets 506
diagnostic effects 331, 339–341
Dialog Normalization setting 407, 409
dialogue
creating submixes 266
foreign language channels 268
in mixing process 262
normalization 407, 409
sending to busses 272
surround sound mixes 309
diffusion 339
digital audio
See also audio
connecting equipment 503
connectors 492–493
hard disk space 22
overview 473–476
digital audio interfaces 487
digital audio tape recorders. See DAT devices
Digital Betacam format 498, 501
Digital Cinema Desktop 319
digital video 107
See also video
digital-to-DV converters 502
DigiTranslator 436
directories 86–87
disabling
actions 231
audio clips 118
channels 213
effects 285
groups 139
properties 181
Index 545
sends 287
speakers 303
disk space 367
displaying
audio file information 92–93
effects presets 330
envelope point details 360
envelopes 146, 243
file information 88
Frequency Spectrum view 214
markers 184
Mixer in separate window 274
Mixer options 281–282
podcast tracks 379
video frames 323
Video tab in separate window 274
window elements 36
distortion 333
distortion effects 331
distortion, audio 470
distributing projects 419–420
dithering 246, 511
Dock, minimizing windows to 67
docked tabs, detaching 68
docking window tabs 36
document file management controls 56
Dolby Digital Professional format 311, 312, 399,
404–410
Dolby Laboratories website 311
Dolby Surround Mode pop-up menu 408
downmixes
bitstream settings 408
LFE signals in 311
stereo playback 312
downsampling 107
drop frames 109, 321
droplets 248, 417
dry signals 337, 339
dual mono channels
identifying 472
dual-link HD-SDI connectors 483
duration
changing 156
items in Bin 90
markers 185
Timeslice selections 178
Duration value slider 57, 59, 115
DV codec 486
DV formats 477
DV-to-analog converter box 502
DVCAM format 477
DVCPRO 50 format 477
DVCPRO format 477
DVCPRO HD format 477
DVD Studio Pro
Dolby encoding options 405
editing clips from 432
using Soundtrack Pro with 432–433
DVDs, video for 107
DVD-Video format 405
dynamic range
audio 470, 497
DC offset and 237
dynamics effects and 332
external speakers 25
Spectrum Analyzer and 340
dynamics effects 331, 332–333
E
early reflections 32, 339
echo chambers 338
editing items
actions 231
applying actions 230
audio clips 162–182
audio clips without editing sources 167, 197
audio files in File Editor 198–211
channel layout 413
clip properties 114–116
Conform worklist 443
destructive editing 427, 432, 433
DVD Studio Pro clips 432–433
envelope points 360, 360–361
Final Cut Pro audio 423
in Frequency Spectrum view 218–219
graphically 208–211
in place editing 162, 166, 194, 195
keyboard shortcuts 453–454, 457
Motion audio tracks in File Editor 434
multichannel files 212–213
multitake clips 373
in Multitake Editor 254–255, 257–259
in multitrack projects 166, 193–197
in Multitrack Timeline and File Editor 168–169
nondestructive editing 193, 423, 434
numerically 209
podcast and chapter markers 382
reviewing and approving changes 446
samples 209
scripts and 425
source media files 113, 166, 195
time stretching 210
Timeline editing tools HUD 165
waveform editing 11, 193
waveform tools 208–211
zero crossings and 205
education users 20
Effect list 60, 145, 343, 344
effect parameters 60
Effect Parameters area 60, 145
effect tails 345, 399
546 Index
effects 327–354
adding 144, 284
adding with sends and busses 270–271
applying 219, 229, 242
automating 243, 363
busses 144–145
channel strips 284–286
chorus 336
delay 331, 337
deleting 286
Denoiser effect 341
described 327
diagnostic 331, 339–341
distortion 331, 333
dynamics 331, 332–333
effects chains 344
envelopes and 356, 363
EQ 331, 334–336
filter 331, 334–336
included with Soundtrack Pro 331–342
meters 331, 339–341
miscellaneous 331, 341–342
Mixer 284–286
modulation 331, 336–337
music and effects submixes 268–269
parameters 60, 343
plug-ins 23, 311
presets 330
processing. See processing effects
realtime. See realtime effects
rendering to actions 229, 243
reordering 285
replacing 286
reverb 331, 338–339
settings 284–285
spotting 170
Stereo Spread plug-in 342
submixes 144–145
surround sound 306, 311
tails 110, 230, 244, 345, 414
third-party 23
time-based 337–339
tracks 144–145
turning off 285
turning on 285, 287
types of 331–342
effects chains 329, 344, 347–348
effects slots 45
Effects submenu 219–220, 328
Effects tab
adding effects to channel strips 284–285
adding effects to Timeline items 144–145, 344
adjusting parameters 347
overview 60
realtime effects 242, 343
embedded timecode 153
Enable Low Frequency Effects setting 406
Enabled checkbox 58
enabling tracks for recording 280, 368
encoding
analysis 401
Compressor settings 410–413
video 411
End value slider 59
end-of-project marker 110
enhanced podcasts 377, 387, 388, 404
envelope points 357–363
adding 357
changing position of 360, 361
changing values of 361
copying 361, 362
cutting 362
deleting 362–363
displaying details 360
editing 360, 360–361
information about 59
moving 108, 324, 355, 358
nudging 362
pasting 362
preferences 99
reducing number of 366
scoring markers and 186
selecting 108, 357–358
Envelope selection mode 108
envelopes 355–366
about 355–364
adding 363
automating parameters 363
automating processing effects 354
automating realtime effects 351
busses 145, 356
described 467
displaying 146, 243, 356
displaying details 360
editing points 360
effects and 356, 363
envelope selection mode 359
hiding 146
master 42, 364
moving points with clips 359
overview 355–356
percussive 467
removing 364
reverb 339
sends and 363
submixes 145, 356
surround sound position 303
sustained 467
Timeslice tool and 359
track 145, 356
track pan 356
volume 356
Index 547
envelopes disclosure triangle 41
episodes 377, 384, 386
EPS files 384
EQ (equalization)
frequency ranges used with 334–335
graphic 336
Lift and Stamp tools 181
matching 228
overview 334–336
parametric 336
prints 228
EQ effects 331, 334–336
equipment
See also audio equipment, video equipment
connecting audio equipment 23–26
connecting video devices 498–502
consumer devices 501
example hardware setups 27–29
non-DV devices 501
professional audio equipment 503
setting up. See system setup
synchronizing 504
exclusive solo 144
exponential fades 159
Export Bit Depth pop-up menu 99
Export dialog 396
Exported Items pop-up menu 396
exporting items
AAC files 401–404
audio file projects 313
busses 414
components of multitrack projects 414
compressed formats 399
Compressor and 389, 410–413
Cycle Region and 397
effect tails and 414
Export dialog 396
file formats 395
file names 414
mixdowns for Final Cut Pro 430
mono audio files 415
multitrack projects 395–420
multitrack projects to Final Cut Pro 430
muted tracks and 414
podcasts 387–389
post-export actions 416–417
presets for 396, 412, 418
project mixes 397–413
submixes 414
surround sound 312, 405–410
tracks 414
updating mixdowns 432
video podcasts 388
external audio speakers 25
external monitors 27
external sync 500, 504, 505
external timecode 506
external video output devices 319
F
Factory Presets pop-up menu 330
Fade In command 220
Fade Out command 220
Fade Selector 255
fade-ins and fade-outs 158, 220
Favorites list 54, 81
Favorites tab 54, 81
feedback 337
File Editor 191
analyzing audio files in 236–240
applying effects in project view 242
automating realtime effects 243
closing projects 242
copying audio in 206
creating projects 241
cutting/pasting in 206–207
Cycle Region 200
editing audio files in 198–211
editing DVD Studio Pro clips in 432
editing items with Multitrack Timeline 168–169
editing Motion audio tracks in 434
filling screen with 35
Frequency Spectrum view 214–219
Global Waveform view 249
keyboard shortcuts 457
markers in 183, 249
moving between selections 205
opening Final Cut Pro audio in 422, 423, 427
opening projects in 198, 240–241
overview 43
playing audio file projects in 199
processing audio files in 219–244
project view 43, 240–242, 246, 247, 248
realtime effects in 345
recording in 367, 375
Sample units 212
saving files in project view 246
saving projects 244–247
scripting actions in 248
scrubbing audio in 77, 200
selecting channels in 202–204
selecting parts of audio files 202–204, 208
selection details 59
soloing audio files in 199
source media files and 196
spotting sound effects 170
supported audio formats 192
tab view 43
Time Ruler units 242
548 Index
Timeline controls and 247
working with actions 230–235
zooming in/out 207–208
file extensions 65
file formats. See formats
File Info area 522
File list 51
file management
controls 56
preferences 98
file size 90, 115, 245
File Type pop-up menu 53, 396
files
See also audio files, video files
audio file projects 421
bundles or packages of 66
keyboard shortcuts 449
looping 79, 173, 188
metadata 58
missing files 96
mono 228
multitrack projects 428
non-looping 79, 188
output file names 414
preferences 98
previewing 91–92
properties 58
recorded audio 112
scratch locations 112
sizes 58
source 148, 189–190
stereo 228
supported formats 79
tagged 81, 519–535
temporary render files 112
Film Standard Compression setting 409
filter effects 331, 334–336
Filter Frequencies setting 401
filtering
approved clips 447
Clipboard contents 219
unchanged clips 444
Final Cut Pro
creating multitrack projects from 106, 428–432
exporting multitrack projects to 430
importing video from 315
opening audio in File Editor 241, 427
podcast markers in 383
post-export actions 416
processing audio with scripts 425
saving droplets to clips in 248
scoring markers 185–187
sending mixdowns to 430
using Conform with 439–448
using Soundtrack Pro with 421–432
Final Cut Pro XML Interchange Format 430, 435
Final Cut Studio
Compressor 410–413
Soundtrack Pro integration 13
workflow features 16
Finder, adding audio files from 114
finding items
Bin information categories 88
with Browser tab 80
directories in Search database 86–87
with Favorites tab 81
files 78–87
keywords 52–53
missing media files 96
refining searches 83, 84
with Search tab 52–53, 81–87
Finish button 448
finishing systems 25
FireWire
audio interfaces 29, 488
audio outputs 486
connectors for 482
described 482
digital audio devices 488
FireWire 400 482
FireWire 800 483
video interfaces 477
website 19
Fix All button 63
Fix button 63, 240
fixing audio problems 240
flangers 337
flat frequency response 496
flattening
actions 233
audio files 229
floating window tabs 36
folders. See directories
Foley recordings 306
foreign language channels 268
formats
Apogee settings 511
audio 79, 192
compression and 399
export formats 395
image files 384
opening files in native format 241
saved files 246
time 109, 321, 322
uncompressed 398
video 79, 315
Forward button 51, 54
Frame Rate pop-up menu 101
frame rates 322
frames for podcast markers 380
Index 549
frequencies
average frequency spectrum 228
delay rates 337
EQ and 334
filtering 401
range controls 216
reverb 339
waveforms 223
frequency bands 340, 341, 342
frequency ranges 334–335
described 463, 465
editing 218–219
effects 334
narrow 219
paste edits 219
selecting 218
frequency response 497
Frequency Scale setting 216
Frequency Selection tool 208, 219
Frequency smoothing slider 342
frequency spectrum 214–219, 228
Frequency Spectrum view 43, 191, 214–219
editing in 218–219
shortcut menu 217
Spectrum View HUD 216
switching to 215
Frequency Spectrum View button 43
Full Bandwidth Channels settings 410
fully rendered video 429
fundamental 466
G
gain 221, 333, 335, 341
Gain slider 513
General preferences 97–98
General settings, Preprocessing tab 409
genlocking devices 482
audio devices 505
genlock connectors 504
professional equipment 504
video interfaces 500
genres 90
GIF files 384
glass-noise effect 342
Global parameters 510
Global Timeline view 40, 133
Global Waveform view 43, 249
Go buttons 290
Go to Beginning button 38, 77
Go to End button 38, 78
Goniometer 340
graphic EQs 336
graphics cards 478
grid lines 110, 127
Group menu 513
Group slider 445
grouping
applying changes to groups 137
busses 136
clips in Conform workflow 445
creating groups 61
deleting groups or group items 140
Groups outline 139
renaming groups 140
submixes 136
tracks 136
Groups outline 61, 138, 139
H
H.264 format 388
handle length 98
handles on markers 183
hard disks 22
hardware
See also audio equipment, equipment
outputs 265
requirements 21
sample rates 107
harmonics 334, 465, 466
HD format 79, 315
HD-SDI connectors 483
HDMI connectors 484
HDMI interface 484
headers 40–41
headphones 514
headroom 470
heads-up displays. See HUDs
Height control 42
help
keyboard shortcuts 450
onscreen 18
hiding
approved clips 447
envelopes 146
Mixer sections 281
window elements 36
High Definition Serial Digital Interface
connectors 483
high frequency ranges 334
High-Definition Multimedia Interface
connectors 484
high-frequency ranges 334
high-frequency reverb 339
high-pass filters 335, 410
hinting 82, 90, 403
hiss 516
Home button 51
house sync 482, 504
hubs 487
550 Index
HUDs 64
keyboard shortcuts 450
Multipoint Video HUD 322
Spectrum View HUD 216
Surround Panner HUD 300, 304
Timeline editing tools HUD 165
hum 236
hyperlink URLs 380
I
i.LINK 482
ICNS files 384
ICO files 384
icons
busses 40, 141
channel strips 45, 281
headers 40
outputs 40
showing in Toolbar 70
submixes 141
tracks 40, 141
IEEE 1394a 482
See also FireWire
IEEE 1394b connectors 483
Image Source pop-up menu 380, 386
images
changes to 47
deleting 387
podcast markers 380
in podcasts 384–387
slideshows 385
Import XML dialog 431
importing items
audio formats supported 79
OMF and AAF files 435
QuickTime movies 79, 315
video formats supported 79
video from Final Cut Pro 315
video into projects 315, 316
Include Audio Production Information setting 408
Include Source Audio setting 424
increments in value sliders 75
indexed directories 86–87
Initial Timecode value slider 56
Input Channel pop-up menu 50, 369
input channels 369
Input Device pop-up menu 41, 50, 369
input devices 24
Input pop-up menu 100
input ports 487
Input Routing buttons 41, 50
input signal 372
Input synchronization settings 101
Insert command 222–224
inserting
actions 232
noise 222
silence 222
submixes 264
waveforms 223
instrument levels 494
instruments 90, 334
intensity
amplitude 464
depth 337
measuring 467
interchange formats 435
interface cards. See video cards
interfaces. See audio interfaces, video interfaces
interlaced video 27
interleaved stereo files 473
Invert command 221
iPhoto 384
iPods 377, 389
Items pop-up menu 48
iTunes 377, 389
J
joining audio clips 173
Joint Stereo setting 401
JPG files 384
K
key
items in Bin 90
transposing clips 188
key (musical) 519, 521, 525, 533
Key pop-up menu 100
keyboard shortcuts
Apple Loops Utility 532–535
Arrow tool 461
Cycle Region 452
editing 453, 457
File Editor 457
HUDs 450
layouts 450
listed 449–462
markers 458
moving clips 155
navigation 451, 455
nudging items 454
playback 78, 317, 451
playhead 131
puck position 303
recording audio 460
scrubbing audio 201
selecting items 459
shuttling through clips 130, 317
Index 551
tabs 450
Timeline 451, 455
Timeslice tool 178, 461
tracks 458
video out 460
window panes 36
keyword buttons 52, 53, 84–85
keywords 52–53, 82–85
adding 85
multiple 83, 85
Keywords list 52, 53, 82
knee parameter 333
L
labels 45
Latch automation mode 106, 291, 365
latency
described 487
eliminating 516
increased 30
Latency Compensation slider 100
layouts
choosing 69
deleting 69
described 68
keyboard shortcuts 450
saving 68
length of files 235
Level menu 513
level meters
channel strips 282, 288
effects 340
Meters tab 49
Mixer 45
peak indicators 283
recording audio and 370
Recording tab 50
surround sound 304
Level smoothing slider 342
levels
audio 468
instrument levels 494
line levels 494
reverb 339
LFE (low frequency effects)
balancing 302
channels 306, 311, 410
enabling 406
interference and 311
limitations 311
multichannel sound and 306
surround sound and 293
LFE Balance slider 302
LFO (low-frequency oscillator) 336–337
Lift tool 165, 179
limiters 333
line levels 494
linear fades 159
linear scale 217
Linear Time Code (LTC) 506
linking items 200
locating recorded files 374
Locked checkbox 58
locking
audio clips 118
tracks 119
logarithmic fades 159
logarithmic scale 217
Logic Control protocol 26, 391
Logic post-export actions 416
Loop Sync Master menu 510
looping
converting non-looping files to 188
file indicator 90
joining looping files 173
looping files 79
playback 134–135
resizing looping clips 156
low frequency effects. See LFE
low-frequency oscillator (LFO) 336–337
low-frequency reverb 339
Low-Pass Filter option 410
low-pass filters 335, 410
LTC (Linear Time Code) 506
M
M & E submixes 268–269
M-JPEG format 498
.m2v files 79, 315
.m4p files 404
.m4v files 388
Mac OS X Core Audio 487
Mac OS, version of 517
Mackie Control protocol 26, 391
Magnify button 63, 239
mapping commands to control surfaces 393
marker titles, viewing 184
markers
aligning audio clips to Timeline with 186
beat 183–185
chapter markers 381–384
deleting 185, 381
duration 185
editing 382
Final Cut Pro 185–187
images for 380, 386
information about 59
inserting 183
keyboard shortcuts 458
moving 184, 382
552 Index
naming 184, 382
podcast markers 379, 380, 381–384
region markers 185
scoring 185–187
time 183–185, 186
types of 183
URLs 380
uses for 183
using in File Editor 249
using with video 185–187
video frames and 325
working with 183–187
MAS plug-in 23
Master bus
about 290
defined 126
envelopes in 364
routing signals to physical outputs 263
in Timeline 39
master envelopes 42, 364
Master Envelopes button 42, 247
master mixes 397–412
master Timeslice 176
mastering process 292
Match EQ effect 181
Matches list 52, 53, 82, 83
matching equalization 181, 228
Maximum Packet Duration field 403
Maximum Packet Size field 403
Measure in pop-up menu 57, 59, 115, 380
measures 56, 109, 133
media files
missing files 96
multiple instances of clips based on 167, 197
reconnecting 96
saving with projects 111, 419–420
storing 22
Media pop-up menu 48, 51, 53, 54, 89, 92
memory 21
metadata
adding 57
audio clips 115
clips 58
files 58
items in Bin 90
in Project tab 55
saving for Conform projects 441
saving projects with 429
searching for files by 81
working with tagged clips 188
Meter Display menu 512
meters
diagnostic 331
effects 339–341
level meters 288–289
preferences 97
recording audio and 370
surround sound controls 304–305
Meters tab 49, 288–289, 304
microphones 26, 485, 494
MIDI Clock pop-up menu 101
MIDI Clock signal 38, 78, 101
MIDI Clock Virtual MIDI Device checkbox 101
MIDI input port 392
MIDI interface 29, 391
MIDI output port 392
MIDI Setup utility 23
MIDI Sync button 38, 78
MIDI Time Code (MTC) 38, 78, 101, 506
MIDI Time Code pop-up menu 101
MIDI Time Code Virtual MIDI Device checkbox 101
midrange frequencies 334, 335
midrange frequencies (sound) 465
mini surround panner 299
MiniDisc recorders 503
minimizing windows 67
miscellaneous effects 341–342
mix (ratio) 337, 339
mixdowns
conforming 432, 439
exporting 397–413
sending to Final Cut Pro 430
surround sound output 312
surround-to-stereo 297
updating 432, 440
Mixer 261–292
channel strips in 273–283
described 261
effects in 284–286
hiding 281–282
level meters 305
mixing multitrack projects in 12
overview 44–46
peak indicators 289
realtime effects in 345
recording audio in 291, 374
recording automation in 291
resizing and rearranging windows 274
sends in 286
showing 281–282
volume levels 288
working in 261–292
Mixer Objects outline 61, 138
Mixer pop-up menu 44
mixers 26, 485
mixing audio
bitstream settings 408
busses and 270–272
converting stereo to surround sound 307
creating submixes 266
custom window layouts for 274
described 261
Index 553
example 266–272
exporting mixes 397–413
final mixes 292
guidelines for 292
Master bus 290
mastering process 292
multiple mixes 292
sends and 270–272
setting output 265
signal routing in 263
Soundtrack Pro features 17
surround sound 299–306
temporary mono mixes 290–291
workflow 262
modification dates 58, 115
modulation effects 331, 336–337
Monitor Device pop-up menu 50, 370
Monitor pop-up menu 100
Monitor Volume slider 37, 44
monitors
amplifiers and 26
audio 26, 496
external video monitors 27
quality 496
setting up 485
mono audio
channels 121, 402
converting stereo to 228
exporting 312, 396, 401, 415
multiple mono files 396, 415
setting output 265
temporary mono mixes 290
Mono Mix button 37, 44, 291
Motion
opening audio in Soundtrack Pro 241
post-export actions 416
using Soundtrack Pro with 434
mouse devices 98
.mov extension 79, 315
movies. See Quicktime movies
moving items
audio clips 154–156
busses 141
Conform worklist 443
Cycle Region 134
envelope points 324, 355, 358, 361
keyboard shortcuts 155, 454
markers 184
nudging clips 324
podcast and chapter markers 382
puck in surround sound 303
snapping operations 94
submixes 141
Timeslice selections 176
Toolbar buttons 70
tracks 141
video clips 324
windows 67
MP3 files 67, 79, 193, 387, 398, 399–401
MPEG-2 files 79, 315
MPEG-2 playback 79, 315
MPEG-4 files 388, 404
MPEG-4/AAC format 387
MTC (MIDI Time Code) 38, 78, 101, 506
MTC signals 101
multichannel audio
channel selections 120
creating 214
creating from separate clips 123
editing 212–214
exporting 312
exporting with Compressor 413
guidelines 306
reordering channels 229
separating channels 122
MultiMeter 340–341
multiple solo 144
multiple soloing 144
multiple-take audio 46, 251, 372, 373
Multipoint Video HUD 64, 322
multitake audio 46, 251, 372, 373
Multitake Editor 251–259
about 46
adding or deleting takes 256
editing in 254–255
example workflow 257–259
illustrated 253
renaming takes 256
reordering takes 257
selecting parts of audio files 253
slipping take regions 255
multitrack audio recorders 24
multitrack projects 65
about 12, 428
adding audio files to 113–114
audio clip properties 114–116
busses in 124
closing 106
creating 105
creating from Final Cut Pro 428–432
distributing 419–420
editing 294
editing files in 193–197
editing source media files 166, 196
envelope selection mode 108
exporting. See exporting items
file extensions 111
importing video into 315, 316
length of 110
missing files 96
multitake audio 251–259
opening 105
554 Index
overlap mode 108
playing 71–78
properties 106–108
reconnecting media files 96
recording. See recording audio
saving 111, 246
saving with media files 111, 419–420
scrubbing 77
sending mixdowns to Final Cut Pro 430
soloing files in 199
Soundtrack Pro features 16
spotting sound effects 170
submixes and 125
time format 56, 109–110
tracks in 124
Tracks tab and 138
types of 65
Multitrack Timeline
editing in 168–169
moving video in 324
music
displaying information about 58
displaying properties 115
instruments 485
key 90, 100
music and effects submixes 268–269
properties 57
reverb 270–271
scale 90
in surround sound mixes 310
music and effects submixes 268–269
musical intervals 188
musical sounds 466, 467
Mute button 41, 46, 143
Mute Project checkbox 50
muting
audio clips 118
busses 143
channel strips 280
export settings and 414
submixes 143
tracks 143, 199
N
Name field 40, 45, 59, 380
names
items in Bin 90
output files 414
podcast and chapter markers 382
truncating 98
narration 309
narrow frequency ranges 219
navigation
Global Timeline view 133
keyboard shortcuts 130, 451, 455
playhead 451
scroll bars 128
Timeline 128–135
transport controls 38
Zoom control 129–130
Nearby Keys button 53
nearfield monitors 32
NeXT files 66, 79, 192, 246, 312, 398
Next frame button 78
Next Selection button 39, 43, 205
noise
ambient 227
Denoiser effect 341
eliminating 341, 516
glass-noise effect 342
inserting in audio 222
noise gates 333
noise prints 225, 227
pink 222
reducing 225–226, 341
white 222
zero crossing and 205
noise floor 469
Noise Generator dialog 222
nominal levels of sound 469
nondestructive editing 166, 193, 196, 423
non-drop frames 109, 321
non-DV format devices 499, 501
non-looping files 79, 188
normalization 221, 407, 409
Normalize command 221
notch frequencies 336
NTSC format 79, 315
nudging
clips 324
envelope points 362
keyboard shortcuts 454
numbering in Timeline 141
O
offset
audio clips 157
slip offset 90
slipping take regions 255
Offset value slider 57, 115
OMF files 435–436
onscreen help 18
Open In Editor command 427
opening
audio files in native format 241
files in File Editor 198
Final Cut Pro audio 422
multitrack projects 105
Index 555
project view 241
reopening projects 97
Soundtrack Pro mixes in Final Cut Pro 431
Original button 445
out-of-phase material 339
out-of-phase sounds 464
outline views 61
output devices
about 24
video 318–319
Output pop-up menu 41, 46, 265, 279
output ports 487
Output synchronization settings 101
outputs. See physical outputs, submixes
Overlap mode 108, 162
Overlap Mode pop-up menu 99
overlapping audio clips 162
overloaded signals 237
overtones 465, 466
P
packages 66, 421
PAL format 79, 315, 484
pan envelopes 145
pan position 142, 278–279
pan slider 142
panning controls
automating surround sound 303
channel strips 278–279
in headers 41
level meters and 304
mini surround panner 299
pan position 142, 278–279
sends and 351
Surround Panner HUD 300
surround sound and 45, 142, 278, 295
parallel editing 440
Parameter list 63, 236
parametric EQs 336
passive speakers 497
paste edits 219
Paste Mix command 206
Paste Repeat command 207
pasting items
audio clips 151–152
audio in File Editor 206
envelope points 362
filtered results in frequency ranges 219
frequency ranges and 219
Timeslices 177
Path pop-up menu 51, 54
paths to items in Bin 90
PCI audio interface cards 489, 490
PCI video interface cards 31, 478, 479
PCM format 67, 193
PDF files 384
peak indicators 45, 50, 283, 289–290
peak information 340
peak limiters 333
Peak Mixing Level setting 408
peaks 207–208, 221, 236, 332, 523
Peaks Value and Location display 49, 289
performance 516
Peripheral Connect Interface. See PCI
phantom centers 304, 310
phantom power supply 513
phase
balanced audio signals and 495
correlation meter display 339
inverting 221, 513
phase cancellation 494
phase issues 236, 237
phase shifters 336
phase, sound waves and 464
phase cancellation 464
phone plug connectors 491
physical output channels 41, 125, 279, 296
physical outputs
connecting 297
in mixing process 263
multitrack projects 125
surround sound 296
PICT files 384
pink noise 222, 341
pitch 465, 466
Play button 71, 77, 92, 220, 371, 372, 373
Play From Beginning button 38, 77
Play/Pause button 38
playback 71–78
audio files in File Editor 198, 199
changing mode 188
controlling 38, 55, 71–74, 134–135
cycling 134–135
keyboard shortcuts 78, 130, 317, 451
looping 134–135, 188
MPEG-2 79, 315
non-looping 188
playback modes 188
playback region 134–135
playing files without actions 234
position 77, 451
soloing audio files 199
starting 71
stereo 312
transport controls 77–78
video 317–319
playhead
described 44
during recording 374
keyboard shortcuts 131, 451
location value slider 74
556 Index
moving to peaks 289
moving to specific times 73
positioning with Time ruler 133
preferences 98
scoring markers to 186–187
scrubbing audio 201
setting 72–74
splitting audio clips with 164, 171, 172, 173
spotting clips to 113, 153
synchronization 166, 195
Playhead Position value slider 37, 38, 44, 74
playing projects 71–78
plug-ins
Audio Units 23, 327
effects 21, 23
included with Soundtrack Pro 23
Stereo Spread 342
surround sound 311
unsupported 23
PNG files 384
podcast markers 379, 380, 381–384
Podcast pane 404
Podcast track 39, 379
podcasts 377–390
automating 390
chapter markers 381
chapters in 380
compression 387
Compressor and 389
enhanced 388
episodes 377, 384
exporting 387–389, 404
images in 384–387
importing markers from Final Cut Pro 383
post-export actions 390
slideshows in 385
uploading 378
workflow 378
pointing devices 98
pops 236
position controls 300
Position value slider 57, 59, 115, 380
positions of items in Bin 90
post-export actions 416
post-fader sends 271, 287
post-production 334, 422
power line hum 236
preamplifiers 494, 513
predelay time 339
Preemphasis slider 216
pre-fader sends 271
preferences
Apple Loops Utility 531
Recording 367
Soundtrack Pro 97–103
Preferences window 97
premapped controls 393
Preprocessing pane 409–410
Preserve Video option 389, 411
Preset pop-up menu 396
presets
Compressor settings 412
deleting 182, 330
effects 330, 330–331
export presets 396, 418
noise reduction 226
saving 181
Sound Palette 179, 180
thumbnails of 182
Presets drawer 220, 330
preview controls 48, 51, 53, 54, 91–92
Preview on selection button 92
previewing items 91–92
files 91–93
noise reduction changes 226
preview file information 91–93
Previous frame button 77
Previous Selection button 39, 43, 205
problems. See analyzing audio
Process menu 219, 230, 328
processing audio
batch processing 422
files 219–229
scripts 425
processing effects
See also effects
advanced settings 353
applying 353
automation 354
overview 328
presets 330–331
working with 353
processor speed 21
professional equipment
analog audio 503
audio equipment 494, 503
synchronizing 504
video equipment 498
project controls 40
project files 88
project mixdowns. See mixdowns
Project pane 37
Project preferences 99–100
project properties 106–110
envelope selection mode 108
length 110
overlap mode 108
sample rate 107
time format 56, 109–110
Project tab 55–57
project view 240–248
Index 557
projects
controlling playback of 134–135
distributing 419–420
exporting mixes 397–413
importing QuickTime movies into 79, 315
importing video into 315, 316
information about 56
miniature view of 133
overall volume of 288–290
playing 71–78
preferences 99–100
properties 56
removing video clips from 325
saving as audio file projects 244–245
saving with media files 419–420
scrolling through 128
scrubbing 77
undoing and redoing changes 93
properties
audio clips 114–116
busses 124
copying 165, 179
enabling or disabling 181
multitrack projects 106–110
property tags 521
puck 300, 303
Pullup/Pulldown pop-up menus 56
punching in and out 371
Q
Q (bandwidth) 335
quality of equipment 494
Quality pop-up menu 402
quantization 473
quarter-size frames 103, 319
QuickTime movies
audio files 79
file size and 245
as multichannel files 212
opening in File Editor 192
opening in Soundtrack Pro 66, 79
opening video 315
saving 246
saving video with audio 245
supported formats 315
website 19
QuickTime MPEG-2 Playback Component 79, 315
QuickTime Streaming Server Compatibility 403
R
RAM 21
rarification, sound waves and 463
ratio parameter in Compressor 332
RCA connectors 479, 481, 485, 491
Read Before You Install document 21
Read mode 365
realtime effects 343–352
See also effects
adding 344–345
adjusting parameters 345
advanced settings 345–346
applying 229
applying in project view 242
automation 351
bypassing 349
chaining 347–348
overview 329
parameters 351
removing 352
rendering 243–244, 329
reordering 348
resetting to defaults 352
sends and 349–351
showing 229
working with 343
recently-opened projects 105
reconnecting media files 96
Record button 38, 77, 371, 372, 373
recording audio 367–375
adjusting settings 369
Audio MIDI Setup utility 23
disk space and 367
eliminating latency 516
enabling channel strips for 280
enabling tracks for recording 368
in File Editor 375
file location 112
keyboard shortcuts 460
locations of files 374
in Mixer 291, 374
multiple takes 372–373
multitrack projects 371
multitrack recordings 371
preferences 100
preparing for 367
save location 100
sessions location 100
single takes 371
surround sound workflow 294
in Timeline 368–373
recording automation data 365, 366, 394
recording control surface automation 394
Recording pane 367
recording sessions, save location 100
Recording tab 50, 368, 372
Redo command 93
Reduce Noise command 225–226
reference input connectors 504
Reference Source Audio setting 424
referenced files 245, 246, 423
refining searches 83, 84
558 Index
regeneration 337
region markers
duration 185
multiple 166, 195
release parameter 333
Remove Effect button 60
Remove Unused command 420
removing. See deleting items
renaming
channel strips 281
groups 140
items in Timeline 141
presets 182
takes 256
Render to Action command 229, 244
rendering
effects to actions 229, 243
flattening actions 233
realtime effects 329
render file location 112
saving in project view and 246
video as QuickTime movies 429
Reorder Channels command 229
reordering
actions 232
Actions list 233
channel strips in Mixer 276
channels 213, 229
effects 285, 348
sends 287, 351
takes 257
Replace With Ambient Noise command 227
replacing
dialogue 252
effects 286
sound with noise 227
source audio for clips 189
Resample command 229
Reset button 49, 217, 220, 289
Reset Effect button 60
resizing
audio clips 156
Cycle Region 135
Timeslice selections 175
video clips 324
Video tab 318
windows 67
Result button 445
Results list 238
results projects 440, 443
reverb effects 270–271, 331, 338–339
reverb envelopes 339
reverb time, 339
reverberation 26, 338
Reverse command 221
reviewing changes 444, 446
RGB color space 481–482
ripple cuts 453
ripple deletes 453
RMS Slow and Fast modes 340
roll-off filters 335
room shape, audio and 26
room types 339, 408
Root Mean Square 340
Rotation slider 301
roundtrips 315, 430, 434
routing signals 263
RTAS plug-in 23
ruler units 109, 212, 242
Ruler Units pop-up menu 56
rulers
grid lines and 110
units 109, 212, 242
S
s-curve fades 159
S-Video connectors 481
S-Video signals 481
S/MUX (sample multiplexing) 493
S/PDIF connectors 492
S/PDIF digital audio 486, 503
Safe RT mode 429
Sample Edit tool 209
sample multiplexing 493
Sample Rate pop-up menu 99, 107, 229, 396, 401,
402, 406
sample rates
Apogee hardware conversion 511
audio files 107
audio interfaces 487
choosing 229
consumer audio 503
described 107
digital audio 399, 401, 474
digital video 107
DVD format 406
hardware 107
importing audio files 79, 193
items in Bin 90
in multichannel files 214
multitrack projects 107
OMF and AAF files 436
saving 246
Soundtrack Pro and 67, 487
Waveform Editor 229
Sample ruler 217
sample units 212
samples
editing 209
problems in 239
reversing 221
Index 559
saving items
actions as AppleScript droplets 248
audio file projects 244–247
audio file projects with video 245
audio files 246–247
default locations 112
file formats supported 246
layouts 68
multitrack projects 111
multitrack projects and files 419–420
preferences 98
rendering files 246
scratch locations 112
Sound Palette presets 181
scale type 533
Scale Type pop-up menu 53
scale, musical 90
SCART connector 484
scoring markers 185, 185–187
scratch locations 98, 112
Script Editor 248
scripts
actions 248
after export scripts 417
custom actions 417
processing Final Cut Pro audio 422, 425
scroll bars 40, 128
scrollwheels 98
Scrub tool 165, 200, 253
scrubbing
described 200
keyboard shortcuts 201
projects 77
SD Video devices 498
SDI format 483
SDTI (Serial Digital Transport Interface) 484
Search database 86–87
Search field 88
Search Results list 53
Search tab 52–53, 81–87
search tags 522
Search Text field 53, 82
searches, keyword 52–53
searching. See finding items
segments 170–173
selecting items
action selections 231
all clips on tracks 149
amplifiers 496
audio clips 147–148
audio equipment 487
audio files in File Editor 202–205
busses 136
channel strips 276
channels 213
Cycle Region 397
Cycle Region links 200
displaying selections in Timeline 446
envelope points 357
envelope selection mode 359
forward or backward in tracks 150
frequency ranges 218
keyboard shortcuts 459
moving between selections 205
objects in Tracks tab 138
parts of audio files 164
portions of clips 174
speakers 496
submixes 136
takes in Multitake Editor 254
Timeslice tool and 149, 151, 164, 174, 359
tracks 136
video 323
while scrubbing 201
zero crossings and 205
Selection Length value slider 37, 39
Selection tool 147, 164, 208, 253
self-powered speakers 497
semitones 188
sending files (post-export actions) 416
sends
adding to tracks 349
automating 363
busses and 124, 350
bypassing 351
channel strips 286–287
envelopes and 363
pan position 351
post-fader sends 271, 287
pre-fader sends 271
realtime effects and 349–351
reordering 287, 351
settings 287
turning on/off 287
volume level 350
working with 270–272
Separate Mixer and Video command 275
separating channels 122
separators in Toolbar 70
serial device control 502
Serial Digital Interface (SDI) 483
Serial Digital Transport Interface (SDTI) 484
Set Ambient Noise Print command 227
Set Equalization Print command 228
Set Noise Print command 225
setting up system. See system setup
Setup button 53
shelf filters 335
shortcut menus 71, 89
Show pop-up menu 40, 379, 381, 383
Show/Hide Presets button 220
shuttling through clips 130
560 Index
signal routing 263
signal-to-noise ratio 469
silence 222, 237
Silence command 221
Silence Threshold slider 237
sine waves 463
Single Folder Multi-mono audio files 79, 212
size of files 58, 115
slideshows in podcasts 385
slipping take regions 255
Smart Encoding Adjustments setting 401
SMPTE (Society of Motion Picture and Television
Engineers) 101
Snap button 247
Snap option 94–95
Snap To button 247
Snap To pop-up menu 253
Snap To Value pop-up menu 42
Snap To values 42, 94–95
snapping
clips to adjacent clips 156
envelope points 358
Multitake Editor 253
preferences 99
Snapping button 42, 253
Society of Motion Picture and Television Engineers
(SMPTE) 101
soft knee 333
soft limiting 513
Solo button 41, 46, 143–144, 253
soloing
audio files 92
busses 143
channel strips 280
stereo channels 120
submixes 143
tracks 143–144
types of 144
Sony/Philips Digital Interface Format (S/PDIF) 492
sound
See also audio
musical sounds 466, 467
recording. See recording audio
sound waves 463
volume. See volume
sound design 11, 327, 331, 342
Sound Designer files 66, 79, 192, 246, 312, 398
Sound Palette 179, 180
Sound Palette HUD 64
sound stage 32
sound. See audio
Soundtrack Pro
Conform 439–448
customer support 515–517
education users and 20
features 15–17
Final Cut Studio integration 13
interface 34
keyboard shortcuts 449–462
learning about 18, 20
onscreen help 18
plug-ins 23
preferences 97–103
resources 18
scripts 248, 417
setting up. See system setup
software installation 21
system considerations 21–23
using with Apogee hardware 509–514
using with DVD Studio Pro 432–433
using with Final Cut Pro 421–432
using with Motion 434
using with other applications 437
using with third-party applications 435–437
website for 19
Soundtrack Pro User Manual 18
source media files
editing 166, 196
Final Cut Pro files 424
including while saving 246
replacing 189–190
selecting 148
spaces in Toolbar 70
speakers 25, 27, 485
disabling 303
dynamic range 497
frequency response 497
passive 497
placement 32
quality 496
self-powered 497
surround sound 298
Spectrum Analyzer 340, 340
Spectrum View HUD 216–217
Spectrum view. See Frequency Spectrum view
speed (delay rate) 337
Split menu item 170, 172, 173
split stereo files 473
Split tool. See Blade tool
splitting
audio clips 164, 170–173
podcast tracks 381
takes 253, 254
spotting clips 113, 322
Stamp tool 165, 179
standing waves 26
.stap file extension 65, 244
starting timecode 99
startup preferences 97
stem mixes. See submixes
Index 561
stereo audio 471–473
channel selections 120
channels 402
converting to mono 228
converting to surround sound 307
creating stereo mixes 267
data rate 407
delays 337
enhancing 342
envelopes 356
equipment setup 32
music in surround sound mixes 310
separating channels 122
setting output 265
soloing channels 120
spread 342
stereo image 32
stereo mixdowns 267
stereo playback 312
stereo plus center 309
surround-to-stereo mixdown 297
swapping channels 229
switching to surround sound 295
Stereo Bit Rate pop-up menu 400
stereo delays 337
stereo images 32
stereo mixdowns 267
stereo plus center 309
Stereo Spread plug-in 342
still images 380, 384–387
.stmp extension 65, 105, 111
storage space 22
streaming hints 403
streaming packets 403
Streaming pane 403
Stretch tool. See Audio Stretching tool, time
stretching
stretching technique 528
sub bass 335
Submix pop-up menu 41, 46
submixes
adding 136, 264
adjusting volume 142
changing icon for 141
channel strips 44, 140, 274, 279–280
controls 125, 142–146
copying 141
creating 266
defined 263
described 127
effects 144–145
envelopes 145, 356
exporting 414
grouping 136, 139
icons 40
independence of 265
intermediate submixes 272
moving 141
music and effects submixes 268–269
muting 143
numbered 141
output 279–280
output file names 414
overview 125–126
properties 125
removing 147
renaming 141
routing signals to physical outputs 263
selecting outputs 136
setting for tracks and busses 264
setting height of 132
soloing 143–144
stem mixes 428
stereo mixes 267
surround sound projects 296
in Timeline 39
workflow for 263
working with 135–147
subwoofers 293
summing audio 263
surround channels 306, 310, 410
Surround Downmix pop-up menu 408
Surround Panner HUD 300
surround panners 295
surround sound
about 293
automating 303
center channel 310
connecting physical outputs 297
converting stereo to 307
data rates 407
dialogue and voiceovers 309
effect plug-ins 311
envelopes 356
exporting 312, 404–410
level meters 282
LFE channel 311
metering 304–305
mixdowns 312
Mixer meters 305
mixing projects 299–303, 306
music and effects mixes 269
panning controls 278
project workflow 294
puck shortcuts 303
setting output 265
speakers 298
stereo music in 310
stereo playback 312
submix outputs 296
surround channels 310
Surround Panner HUD 300
562 Index
surround panners 295
surround-to-stereo mixdown 297
system setup 294
surround-to-stereo mixdown 297
Swap Channels command 229
switching
between looping and non-looping mode 188
between surround and stereo audio 296
between Waveform view and Frequency
Spectrum view 215
Sync To MIDI Clock settings 101
Sync To MIDI Time Code settings 101
synchronization
automatic dialogue replacement 252
blackburst generators and 504
external timecode and 506
markers and 186
OMF and AAF files 436
podcast images 384
preferences 101
slide shows 385
synced audio in Multitake Editor 46
Synchronization preferences 101
system requirements 21
system setup 21–29
Apogee hardware 514
connecting audio equipment 23–26
control interface 29
example hardware setups 27–29
FireWire audio interface 29
overview 21
powered speakers 27
software installation 21
surround sound projects 294
system considerations 21–23
USB audio interface 28
video output devices 30
T
tabs
described 37
detaching/reattaching 68
keyboard shortcuts 450
reordering 68
tagged audio clips 188
tagged audio files 81, 519–535
tags 519, 521, 522
Tags tab 520, 521–522
tags. See metadata
tails, effect 110, 230, 244, 345, 399, 414
takes 253
See also recording audio
adding 256
deleting 256
items in Bin 90
multitake clips 373
in Multitake Editor 253
multitake recordings 372
recording 371
renaming 256
reordering 257
selecting 254
slipping regions 255
splitting 254
Tap tempo delays 337
Target System pop-up menu 405
TDIF connectors 493
templates, temporary 179
tempo 90, 186–187, 519
Tempo envelope 364
Tempo value slider 100
temporary files 112
temporary mono mix 290–291
temporary templates 179
text
searching for 82, 84
showing in Toolbar 71
thinning envelope points 366
third-party applications 435–437
third-party effects 23
third-party interfaces
audio interfaces 486, 504
uses for 25
video interfaces 498
threshold 226, 332
thumbnails 182
TIFF files 384
timbre 466
Time Code Offset synchronization settings 101
Time display 40, 43, 73–74, 321
time format
described 321
projects 133
setting 56, 109–110
tracks 146
time markers 59, 183–185, 186
Time ruler 40, 133, 321
Time Ruler units 242, 315
Time Signature pop-up menu 53
time signatures 53, 90, 100
Time smoothing slider 342
Time Stretch command 224
Time Stretch sheet 224
time stretching
audio files 210, 224
video and 324
Time-based effects 337–339
Time-based format
aligning clips in 109
entering units 73, 133
project format 109
Index 563
snapping options 94
tracks and 146
Time-based ruler 56
timecode
aligning audio clips to 133, 186
embedded 153
external 506
format 321
items in Bin 90
MIDI Timecode 38
moving clips to specific 155
spotting clips to 153
starting timecode 99
synchronizing to 506
time markers and 185
Time ruler units and 109, 315, 321
Time-based format 73
Timecode HUD 64
value sliders 76
Timecode HUD 64
timecode value sliders 76
Timeline
adding audio files to 113–114
Conform projects in 445
controls 40, 42, 247
cutting, copying, and pasting items in 151
Cycle Region 134
deselecting items in 148
displaying selected clips in 446
displaying with Mixer 275
editing audio clips in 12, 162–166
editing in place 166, 195
editing tools 39, 164–165
editing tools HUD 165
fades and crossfades in 158–161
filling screen with 35
Global view 133
headers 40–41
keyboard shortcuts 130, 451, 453, 454, 455
lifting and stamping properties 179
markers 183–187
moving audio clips in 154–155
Multitrack Timeline 162–166, 168–169
navigating in 128–135
offsets in 157
outline view 61
overview 39–40
preferences 98
in Project pane 37
recording audio in 368–373
resizing clips in 156
scrubbing projects in 77
selecting clips in 147–151
setting track height in 132
snapping clips in 156
spotting clips in 153
Timeslice tool 174
track controls 40–41
Tracks tab and 138–140
video display in 323
working in 127–132
zooming in/out 129–130
Timescale pop-up menu 99
Timeslice tool
about 164, 174–178
changing selection area 177–178
cutting, copying, or pasting selections 177
Cycle Region and 200
deleting contents of selection 177
envelope selection and 359
extending selections 149
keyboard shortcuts 178, 461
master Timeslices 176
selecting to right or left 151
tip-ring-sleeve connectors 485, 491
tip-sleeve connectors 491
tone 226, 333
tone color 466
Tone Control slider 226
Toolbar 37, 38, 69–71
TOSLINK connectors 486, 492
Touch automation mode 106, 291, 365
Track area 40
track envelopes 356
Track Height control 132, 247
Track Height pop-up menu 99
track pan envelopes 356
Track pop-up menu 50
tracks
adding 135
adding sends to 349
channel strip controls 274
channel strips 44, 140
color labels 40, 45
colors 116
combining with sends and busses 272
comp tracks 253
controls 40–41, 124, 142–144
copying 141
described 127
effects 144–145
enabling for recording 280, 368
envelopes 145, 356
exporting 414
grouping 136–137
height 99, 132, 247, 253
icons 40, 141
keyboard shortcuts 458
LFE tracks 311
Motion 434
moving 141
564 Index
moving audio clips between 154
multitrack projects 428
muting 143, 199
names 90
numbered 141
overview 124
pan envelopes 356
pan positions 142–143, 278
podcast tracks 379
preferences 99
removing 147
renaming 141
routing signals to physical outputs 263
routing to busses 125
selecting 136
selecting all clips on 149
selecting items forward or backward 150
setting submixes for 264
soloing 143–144
splitting 381
splitting takes 254
in submixes 125, 263
time format 146
in Timeline 39
video tracks 316
volume 142
working with 135–147
Tracks tab 61, 138–140
transcoding options 389
transients 519, 523, 528–529, 535
Transients tab 520, 523, 528
transition points 255
transport controls 37, 38, 44, 55, 77–78, 317
Transpose envelope 364
Transpose pop-up menu 58, 115
transposing keys 188
treble 226, 334
troubleshooting 240, 515–517
TRS connectors 485, 491
truncate mode 108, 162
truncating OMF or AAF files 436
TS connectors 491
two-channel audio 472
Type buttons 59
U
unbalanced audio cables 496
unbalanced signals 494
uncompressed audio formats 398
uncompressed digital video 478
Undo command 93
Unit Select menu 510
Units parameters 511
Universal Serial Bus. See USB
unlocking
audio clips 118
tracks 119
unused files 111, 420, 436
Updated button 445
updating
mixdowns 432, 440
multitrack documents 246
uploading podcasts 378
upsampling 107
URLs for markers 380
USB audio interface 28, 487, 488, 516
USB devices 516
USB hubs 498, 516
USB video interface 480
USB-to-serial adapters 498
User Manual 18
User Preset list 330
UV22HR dithering algorithm 511
V
Value display 290
value sliders 75
Value value slider 59
VBR (Variable Bit Rate encoding) 400
video 315–325
background video 429
base layer 429
clips.See video clips
Conform tool and 47
displaying start and end frames 323
for DVDs 107
encoding 411
equipment.See video equipment
files.See video files
frame rates 99, 322
fully rendered 429
importing into projects 315, 316
inserting in podcasts 386
interfaces.See video interfaces
keyboard shortcuts 317
markers 185–187
moving clips 324
moving markers 325
Multipoint Video HUD 322
output devices 318–319
playback of 317–319
pullup/pulldown conversion controls 56
quality of 481
removing from projects 325
resizing clips 324
saving as reference movies 245
scrubbing 77, 322
signals 480–484
spotting 322
Index 565
supported formats 79, 315
Time display and 321
time format 321
Time ruler and 321
time stretching and 324
timecode format 109, 321
transport controls 317
viewing area 55
working with 315–325
working with audio in 321
video cards
analog-to-digital 481
connecting 478
connecting analog equipment to 498–500
video interface cards 478
video clips
in Bin hierarchy 88
colors 116
deselecting 148
importing into projects 316
information in Bin 88
removing from projects 325
timecode position 185, 186
viewing details of 320
video connectors 480–484
video decks 501
video equipment
analog 501
breakout boxes 31
connecting devices 498–502
consumer devices 501
described 24
external video output 30
input and output devices 24
monitors 27
PCI cards 31
professional equipment 498
synchronizing 504
video signals 480–484
video files
in Bin hierarchy 88
collecting 111, 420
podcasts 377
reconnecting 96
size of 420
viewing details about 320
Video Frames per Second pop-up menu 99
video interfaces
advantages 25
choosing 477–480
PCI cards 31, 478
video monitors 27
video out
external video devices 30
keyboard shortcuts 460
preferences 103
video out devices 319
Video Out preferences 103
video output devices 30, 318–319
video podcasts 387, 388, 389, 404
Video Pulldown pop-up menu 99
Video Scale pop-up menu 55
Video tab 55, 274, 316, 318
video tape recorders. See VTRs
video tracks
displaying imported video 316
selecting all clips on 149
in Timeline 39
videotape recorders. See VTRs
viewing area 55
virtual MIDI devices 101
voiceovers 309
voices 323, 465
volume
busses 142
channel strips 277
level meters 282
master project volume 290
noise levels 223
normalizing 407
overall 288–290
sends 350
submixes 142
tracks 142
volume envelopes 145, 356
volume fader 45
volume slider 41, 92, 142, 220
VST plug-in 23
VTRs (video tape recorders)
analog 501
connecting 24, 500
multiple analog channels 503
non-DV devices 502
W
WAV files 66, 79, 192, 212, 246, 312, 398
Wave Generator dialog 223
Waveburner 416
Waveform Editor. See File Editor
Waveform view 191, 215
Waveform view button 43
waveforms
clip offset and 157
displaying 43
dynamic range 470
editing 11, 66, 193
editing tools 43, 208–211
frequency of 223
inserting in audio 223
length of 224
sample units 212
566 Index
Time Ruler units 242
types of 223
zooming in/out 207, 211
websites
Apple homepage 19
Apple Service and Support 19
Apple Store 20
Apple websites 20
AppleCare Support 517
Dolby Laboratories 311
FireWire 19
podcast markers and 380
QuickTime 19
Soundtrack Pro 19
wet signals 337, 339
white noise 222, 341
width (depth) 337
Width slider 301
windows
analysis windows 216, 217
closing 67
custom mixing layouts 274
floating or docking tabs 36
keyboard shortcuts 36, 450
minimizing to Dock 67
moving 67
rearranging tabs 36
resizing 67
toggling elements in 34
Video tab as 318
workflows
custom window layouts 274
DVD Studio Pro and 432–433
Final Cut Studio features 16
mixing process 262
Multitake Editor 257–259
podcasts 378
Soundtrack Pro Conform 439–448
surround sound projects 294
workspace, setting up 67–71
X
XLR connectors 488, 490, 492, 503
XML files 430
XML Interchange Format 430, 435
Y
Y/C connectors 481
Y´CbCr color space (YUV) 481–482
Z
zero crossings 205
Zoom control 42, 129–130, 207
Zoom slider 253
Zoom tool 211
zooming in/out
File Editor 207–208
on analyzed problems 239
with scroll wheel 129–130, 207
waveform display 211
with Zoom control 129–130
Xserve
Apple Xserve
Diagnostics
User’s Guide
For Version 3X102
K
Apple, Inc.
© 2007 Apple Inc. All rights reserved.
Under the copyright laws, this manual may not be
copied, in whole or in part, without the written consent
of Apple.
The Apple logo is a trademark of Apple, Inc., registered
in the U.S. and other countries. Use of the “keyboard”
Apple logo (Option-Shift-K) for commercial purposes
without the prior written consent of Apple may
constitute trademark infringement and unfair
competition in violation of federal and state laws.
Every effort has been made to ensure that the
information in this manual is accurate. Apple is not
responsible for printing or clerical errors.
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408-996-1010
www.apple.com
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Simultaneously published in the United States and
Canada.
019-0844/2007-07-16
3
1
Contents
Chapter 1 4 Overview and Requirements
5
Overview of AXD Configurations
6
Requirements
Chapter 2 8 Setup and Installation
8
Setting Up a NetBoot Server
9
Setting Up a Storage Device for AXD Tool Installation
11
Installing AXD EFI Tools
12
Installing AXD Mac OS X Tools
Chapter 3 14 Loading AXD Tools
14
Changing the Startup Disk in System Preferences
15
Changing the Startup Disk Using the Command-Line Interface
16
Changing the Startup Disk Using Apple Remote Desktop
16
Changing the Startup Disk Temporarily at Startup
17
Loading an AXD EFI Tools NetBoot Image Using the Xserve’s Front Panel
19
Disabling the Firmware Password
Chapter 4 20 Using AXD Tools
20
Setting AXD to Host, Client, or Local Mode
22
Using AXD EFI Tools
24
Using AXD Mac OS X Tools
Appendix 29 AXD Tools Test Reference
29
Comparison of Available Tests
30
AXD EFI Tools Tests
35
AXD Mac OS X Tests
1
4
1
Overview and Requirements
Apple Xserve Diagnostics tests your Intel-based Xserve for
hardware issues.
Apple Xserve Diagnostics (AXD) runs a customizable set of tests to help you diagnose
issues with the following:
Â
Boot ROM
Â
Ethernet controller
Â
Fan
Â
Hard drive
Â
Memory
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Power supply
Â
Processor
Â
Sensor
Â
USB ports
Â
Video controller
You can run AXD in Extensible Firmware Interface (EFI), which is referred to as
AXD EFI
tools
, or in Mac OS X or Mac OS X Server, which is referred to as
AXD Mac OS X tools
.
By running AXD EFI tools, you can diagnose hardware issues that prevent Mac OS X
Server from successfully loading. You can also run tests without interference from
Mac OS X Server and test more than 2.5 gigabytes (GB) of memory. However, AXD
Mac OS X tools provides an enhanced interface and has more extensive sensor, fan,
hard drive, and video controller tests. For a detailed comparison and description of all
available tests, see the appendix, “AXD Tools Test Reference” on page 29.
You can test the Xserve itself by running AXD tools on it. You can also run it on a
computer that has a network connection to the Xserve and remotely control the
Xserve.
Chapter 1
Overview and Requirements
5
Note:
This guide describes how to use AXD version 3X102. If you’re using a different
version of AXD, the instructions in this guide might not work. AXD version 3X102 is
included in Mac OS X Server Administration Tools version 10.4.10 and later. You can find
out which version of AXD tools you’re running by opening AXD Mac OS X tools and
choosing AXD > About Apple Xserve Diagnostics.
Overview of AXD Configurations
You can install and run AXD in a variety of ways, so it’s important that you choose the
method that best suits your needs.
There are several AXD configuration options with distinct considerations:
Option Considerations
Host a NetBoot server Advantages:
Â
Don’t need to install AXD on an internal volume on the Xserve or
on a portable storage device
Â
Can test multiple Xserves using the same AXD install image
Â
Allows you to use AXD EFI tools
Â
You can load AXD tools without an input device connected to the
Xserve (if you have access to the Xserve’s front panel)
Disadvantages:
Â
Requires a server to host NetBoot service and the AXD install
image
Â
Xserve must be on the same subnet as the NetBoot server
Install AXD EFI tools on an
internal volume
Advantages:
Â
Allows you to use AXD EFI tools
Â
Don’t need physical access to Xserve to run AXD remotely
Disadvantages:
Â
Requires a volume on the Xserve that has 15 megabytes (MB) free
and that doesn’t have Mac OS X or Mac OS X Server installed
Install AXD EFI tools on a
portable storage device
Advantages:
Â
Allows you to use AXD EFI tools
Â
You can use the same portable storage device to test multiple
Xserves
Disadvantages:
Â
Requires a volume on the Xserve that has 15 MB free and that
doesn’t have Mac OS X or Mac OS X Server installed
Â
Portable storage device must be physically connected to the
Xserve
6 Chapter 1
Overview and Requirements
Requirements
Before you can run AXD, you must meet general, storage device, and local and remote
requirements.
If you want to host AXD on a NetBoot server, additional requirements must be met by
the NetBoot server.
General Requirements
To run AXD, you must have the following:
Â
An Intel-based Xserve with Mac OS X Server version 10.4.10 or later installed
Â
The Mac OS X Server Install discs and Administration Tools disc included with
Mac OS X Server version 10.4.10 or later
Storage Device Requirements
Depending on whether you want to run AXD EFI tools, AXD Mac OS X tools, or both,
you need empty volumes either on the Xserve or on a portable storage device.
If you want to run AXD Mac OS X tools, the storage device must use the GUID Partition
Table partition scheme. If you’re running only AXD EFI tools on the storage device, you
don’t need to use the GUID Partition Table partition scheme.
Install AXD Mac OS X tools on
an internal volume
Advantages:
Â
Allows you to use AXD Mac OS X tools
Â
Don’t need physical access to Xserve to run AXD remotely (if you
have Apple Remote Desktop)
Disadvantages:
Â
Requires an empty volume on the Xserve with 6 GB free
Â
Must install Mac OS X Server on the empty volume
Install AXD Mac OS X tools on
a portable storage device
Advantages:
Â
Allows you to use AXD Mac OS X tools
Â
You can use the same portable storage device to test multiple
Xserves
Disadvantages:
Â
Requires an empty volume on the portable storage device with
6 GB free
Â
Must install Mac OS X Server on the empty volume
Â
Portable storage device must be physically connected to the
Xserve
Option Considerations
Chapter 1
Overview and Requirements
7
You can run both AXD tools by having two empty volumes on the same Xserve or
portable storage device. You need at least one of the following:
Local and Remote Requirements
To run AXD on your local Xserve, you’ll need to attach a keyboard, mouse, and display.
To run AXD remotely, you must have the following:
Â
A Macintosh computer with Mac OS X version 10.4.4 or later installed. Mac OS X
version 10.4.10 or later is recommended. This computer is referred to as the
host
computer
.
Â
A network connection or a direct Ethernet connection from the host computer to the
Xserve. The Xserve is referred to as the
client Xserve
.
Â
If the client Xserve is going to run AXD EFI tools and use a network connection, the
network connection must use a built-in Ethernet port, and not an Ethernet adapter
card.
Â
The Xserve must have AXD installed either on an internal volume or on a connected
portable storage device; or it must be able to run AXD from a NetBoot server.
Â
The host computer must run AXD Mac OS X tools. The client Xserve can run AXD EFI
tools or AXD Mac OS X tools.
Â
If the client Xserve is running AXD Mac OS X tools, you must be able to log in as the
root
account. The root account is a system administrator who has complete access to
the Xserve.
If you want to run AXD entirely remotely (for situations where the Xserve is physically
inaccessible or if you want to save AXD EFI tools test results), in addition to meeting the
network requirements, the Xserve must be able to load Mac OS X Server.
NetBoot Server Requirements
To host a NetBoot server, your NetBoot server must:
Â
Have Mac OS X Server version 10.4.4 or later installed. Mac OS X version 10.4.10 or
later is recommended.
Â
Be on the same subnet as the Xserve being tested.
Â
Have 15 MB of hard drive space available for an AXD NetBoot image.
Goal Requirement
Run AXD EFI tools A volume on the Xserve that has at least 15 MB free, but doesn’t
have Mac OS X or Mac OS X Server installed
Run AXD Mac OS X tools An empty volume on the Xserve with at least 6 GB free
Test multiple Xserves and run
AXD EFI tools
A USB drive or other portable storage device with a volume that
has at least 15 MB free, but doesn’t have Mac OS X or Mac OS X
Server installed
Test multiple Xserves and run
AXD Mac OS X tools
A USB drive or other portable storage device that has an empty
volume with at least 6 GB free
2
8
2
Setup and Installation
Before you can run AXD, you must set up your testing
environment and install AXD.
Make sure you meet AXD requirements before attempting setup and installation. For
more information, see “Requirements” on page 6.
Setting Up a NetBoot Server
Before you set up a NetBoot server, make sure you have an available server that meets
the requirements described in “NetBoot Server Requirements” on page 7.
After you set up a NetBoot server, you install the AXD NetBoot image. Because the AXD
NetBoot image is a special image, you can’t use System Image Utility to delete the
image.
For information about deleting the AXD NetBoot image, see the next section, “Deleting
the AXD NetBoot Image.”
To set up a NetBoot server:
1
Open Server Admin (located in /Applications/Server).
2
If the server that will host NetBoot isn’t listed, click Add Server in the toolbar. Enter the
IP address of the server in the Address field, enter the user name and password of the
server administrator in the User Name and Password fields, and then click Connect.
3
Click the disclosure triangle for the server that will host NetBoot.
4 Select NetBoot, click Settings, and then click General.
5 In the network interface list, select the Enable checkboxes for the interfaces that you
want to serve the AXD NetBoot images over.
If multiple network interfaces are listed, it’s likely that only one of the interfaces is on
the same subnet as your Xserve. If you’re not sure which interface is on the same
subnet, open Network Utility (located in /Applications/Utilities) on your NetBoot server
and your Xserve. In the Info pane, choose different network interfaces on the NetBoot
server and your Xserve and compare the IP Address fields. Usually, computers are on
Chapter 2 Setup and Installation 9
the same subnet if their IP addresses start with same few numbers (for example, they
both start with 192.168.2).
6 In the volume list, select the Images and Client Data checkboxes for the volume that
will store the AXD NetBoot image.
The volume must have at least 15 MB free.
7 Click Save.
8 In the Finder, navigate to the AppleXserveDiagnostics folder in your Mac OS X Server
Administration Tools disc, and then open AppleXserveDiagnosticsNetBoot.pkg.
9 Follow the onscreen instructions to install the AXD NetBoot package.
10 In Server Admin, select NetBoot, and then click Images.
11 If the AXD NetBoot image has the same index (listed in the Index column) as another
image, deselect the Enable checkbox for the conflicting image.
12 Click the Start Service button in the toolbar.
Deleting the AXD NetBoot Image
You can’t use System Image Utility to delete the AXD NetBoot image. Instead, you must
delete the AXD NetBoot image in the NetBoot image folder, which is located at:
/Volumes/volumename/Library/NetBoot/NetBootSP#
Replace volumename with the name of the volume that you’re installing the AXD
NetBoot image onto. The number (#) varies depending on if you’re using several
NetBoot volumes. If you’re using only one NetBoot volume, the AXD NetBoot image is
located in NetBootSP0. If you’re using several NetBoot volumes, the AXD NetBoot
image can be located in another folder (for example, NetBootSP1, NetBootSP4, or
NetBootSP11).
To delete the AXD NetBoot image:
m Open the Finder and delete AXD.nbi from the NetBoot image folder.
Setting Up a Storage Device for AXD Tool Installation
To set up an internal volume or portable storage device for AXD tool installation, you
must have at least 15 MB of available space for AXD EFI tools or at least 6 GB of storage
capacity for AXD Mac OS X tools. These requirements are described in detail in “Storage
Device Requirements” on page 6.
If you’re installing AXD Mac OS X tools on one of the volumes, the storage device
should use the GUID Partition Table partition scheme. To view the storage device’s
partition scheme, open Disk Utility, and select the storage device. Make sure you select
the storage device and not a volume within the storage device. At the bottom of the
Disk Utility window, Partition Scheme should say GUID Partition Table.
10 Chapter 2 Setup and Installation
Note: Some portable storage devices aren’t fast enough to use as startup volumes. If
you insert your portable storage device and a dialog appears asking you to eject a CDROM,
this signifies that your drive isn’t fast enough. If your drive isn’t fast enough to
use as a startup volume, it can’t be used for AXD tools.
You can’t use these instructions on any storage devices that are currently in use. If you
want to create empty volumes on the storage device that’s currently running Mac OS X
Server, you’ll need to load Disk Utility from the Mac OS X installation disc or load Disk
Utility while your Xserve is connected to another computer and is in target disk mode.
Both of these methods erase the contents of your Xserve’s hard drive and require you
to reinstall and reconfigure Mac OS X Server.
To create empty storage device volumes and correctly format them:
1 Open Disk Utility (located in /Applications/Utilities).
Make sure you open Disk Utility on a computer with Mac OS X or Mac OS X Server
version 10.4.10 or later installed.
2 Select the storage device that you want to set up.
Make sure you select a storage device, and not volumes within the storage device.
Volumes within a storage device are indented one level.
3 Click the Partition tab.
4 Review the partition sizes and adjust them to meet AXD tools storage requirements.
5 If you’re going to install AXD Mac OS X tools on a volume in the storage device, click
Options, select GUID Partition Table, and click OK.
6 Click Partition.
WARNING: The following instructions will erase all data on your storage device. Back
up critical data before performing the following instructions.
To do this Do this
Display a partition’s size Click the partition and review the Size field.
Set the size of the partition Edit the Size field.
Prevent a partition from being
automatically adjusted when
you edit other partitions
Click the lock icon in the partition.
Create more partitions Click Split.
Delete partitions Click Delete.
Name a partition Select it and enter a name in the Name field. Because this name is
used when selecting which volume to start up Mac OS X in, choose
a name that identifies the volume as being used for AXD tools.
Chapter 2 Setup and Installation 11
Installing AXD EFI Tools
Before you install AXD EFI tools, make sure that your storage device has a volume that
has at least 15 MB available, but doesn’t have Mac OS X or Mac OS X Server installed.
For more information, see “Setting Up a Storage Device for AXD Tool Installation” on
page 9.
To perform these instructions, you’ll need the Mac OS X Server Administration Tools
disc included with Mac OS X Server version 10.4.10 or later. You can also download the
latest Mac OS X Server Administration Tools disc image from www.apple.com/support/.
If you’re performing this task to install AXD EFI tools on an internal volume on the
Xserve, you’ll need administrator access to the Xserve. If you’re performing this task to
install AXD EFI tools on a portable storage device, you can use any computer that you
have administrator access to.
If you want to connect a host computer directly to the Xserve, and the host computer
doesn’t provide DHCP service on the port used to directly connect to the Xserve, you’ll
need to create a file on the Xserve that assigns an IP address to the Xserve. However, if
the host computer provides DHCP service, don’t make this file. For information about
how to find out if a computer is providing DHCP service, see Network Services
Administration, at:
www.apple.com/server/documentation
To install AXD EFI tools:
1 Insert the Mac OS X Server Administration Tools disc.
If you have a disc image of the Mac OS X Server Administration Tools disc, double-click
the .dmg file to mount the disc image.
2 Open AppleXserveDiagnosticsEFI.pkg (located on the disc, at /AppleXserveDiagnostics).
3 Follow the onscreen instructions, and at the Select Destination step, choose a volume
with at least 15 MB of space available, and that doesn’t have Mac OS X or Mac OS X
Server installed.
4 If you’re prompted to authenticate, authenticate as a user with admin privileges.
5 If you want to connect a host computer directly to the Xserve and the host computer
doesn’t provide DHCP service on the port used to directly connect to the Xserve, do
the following:
a Open TextEdit (located in /Applications).
b In the body of a new file, enter an IP address that’s not in use by the host computer.
For example, enter:
123.123.123.123
If TextEdit doesn’t open with a new blank file, choose File > New.
c Choose Format > Make Plain Text.
12 Chapter 2 Setup and Installation
d Choose File > Save As.
e Name the file axd_set_ip_address, and then change the location of the file to the
volume with AXD EFI tools installed.
f Select “If no extension is provided, use ‘.txt’,” and then click Save.
Installing AXD Mac OS X Tools
Before you install AXD Mac OS X tools, make sure that your storage device uses the
GUID Partition Table partition scheme and that it has an empty volume with 6 GB of
available space. For more information, see “Setting Up a Storage Device for AXD Tool
Installation” on page 9.
To perform these instructions, you’ll need the Mac OS X Server Administration Tools
disc included with Mac OS X Server version 10.4.10 or later. You can also download the
latest Mac OS X Server Administration Tools disc image from www.apple.com/support/.
If you’re performing this task to install AXD Mac OS X tools on an internal volume on
the Xserve, you’ll need admin access to the Xserve. If you’re performing this task to
install AXD Mac OS X tools on a portable storage device, you can use any computer
that you have admin access to.
Installing AXD Mac OS X tools involves three major steps:
 Install Mac OS X Server with minimal options selected
 Copy AXD Mac OS X tools from the Mac OS X Server Administration Tools disc to
/Applications
 Configure Mac OS X Server
By dedicating a minimal installation of Mac OS X Server for use with AXD Mac OS X
tools, you reduce the risk of server processes interrupting AXD testing.
To install AXD Mac OS X tools:
1 Insert the Mac OS X Server Install disc.
2 Open the Install Mac OS X Server application, click Restart, and authenticate, if
requested.
The computer restarts and loads the Mac OS X Server Installer.
3 Continue through the Installer until you reach the Select Destination step.
4 Select a volume that’s at least 6 GB. If the volume isn’t empty, click Options, select
“Erase and Install,” and then click OK. Click Continue.
5 In Installation Type, click Customize, deselect all checkboxes, and then click Install.
If the volume is very close to 6 GB in size, the Installer might automatically load the
Customize list.
Chapter 2 Setup and Installation 13
When the Installer finishes installing Mac OS X Server, it restarts the computer and
Server Assistant opens.
6 Enter information in Server Assistant as requested. Don’t enable any services.
When you finish entering information in Server Assistant, Mac OS X Server loads.
7 Log in with the user name “root” and with the password of the user you created in
Server Assistant.
You must set up and run AXD Mac OS X tools as root. Otherwise, you won’t be able to
test the Xserve you’ve installed AXD Mac OS X tools on.
8 Insert the Mac OS X Server Administration Tools disc.
If you have a disc image of the Mac OS X Server Administration Tools disc, double-click
the .dmg file to mount the disc image.
9 Open the Finder and drag the AXD.app file from /AppleXserveDiagnostics on the
Mac OS X Server Administration Tools disc to your /Applications folder.
10 If you’re setting up a client Xserve, open the Finder, select your /Applications folder,
click the Gear button, and choose New Folder. Name the folder AXDClient.
Client Xserves are remotely controlled by host computers.
11 Open System Preferences (located in /Applications). Change the following options in
System Preferences panes:
If you can’t change settings in System Preferences, click the lock button and
authenticate.
After installing the AXD Mac OS X tools, you must log in as root to run AXD tools to test
your own Xserve. If you don’t log in as root, AXD Mac OS X tools enters host mode and
waits for a connection to a client Xserve to control.
System Preferences pane Recommended configuration
Accounts Select the root account, and click Login Items. Click Add (+), select
/Applications/AXD.app, and click Add.
CDs & DVDs In all pop-up menus, choose Ignore.
Dashboard & Exposé In all pop-up menus, choose “–.”
Desktop & Screen Saver In the Screen Saver pane, drag the “Start screen saver” slider to
Never.
Energy Saver In the Sleep pane, drag both sliders to Never, and deselect “Put
hard disk(s) to sleep when possible.”
Software Update In the Update Software Pane, deselect “Check for updates.”
3
14
3 Loading AXD Tools
Before you load AXD tools, make sure you’ve properly
installed and configured the tools. For more information, see
Chapter 2, “Setup and Installation,” on page 8.
If you want to remotely test a client Xserve, you’ll need to first load AXD tools on the
host computer, and then load the AXD tools on the client Xserve.
To load AXD tools, set the startup volume of the Xserve to the volume or disk image
containing the AXD tools. If Mac OS X Server loads on your Xserve, you can change the
startup disk in Startup Disk System Preferences. Otherwise, you can temporarily change
the startup disk by pressing and holding one of several keys when starting up the
Xserve:
Startup Disk System Preferences can load only AXD Mac OS X tools. Pressing the Option
key at startup can load AXD EFI tools and AXD Mac OS X tools.
The Xserve becomes unavailable whenever you use AXD. Before starting tests, alert
your users that the server will be unavailable.
Changing the Startup Disk in System Preferences
If your Xserve can load Mac OS X Server, you can use System Preferences to change the
startup disk. The list of startup volumes includes internal volumes and connected
portable storage device volumes.
Goal Press and hold this key at Xserve startup
Choose the AXD tools volume before
loading Mac OS X
Option
Load the AXD EFI tools located on the
Mac OS X Server Administration Tools disc
D (make sure the Mac OS X Server Administration Tools
disc is inserted)
Load the AXD EFI tools disk image from a
NetBoot server
F1 or a specific combination of the Xserve’s front panel
buttons
Chapter 3 Loading AXD Tools 15
When you change the startup disk in System Preferences, you can’t select a startup disk
with AXD EFI tools installed. To change the startup disk to the volume with AXD EFI
tools installed, change the startup disk at startup. For more information, see “Changing
the Startup Disk Temporarily at Startup” on page 16.
To change the startup disk in System Preferences:
1 Open System Preferences on the Xserve, and then select Startup Disk.
2 If the lock icon is locked, click it, and then authenticate as a system administrator.
3 Select the startup disk with the AXD tools and click Restart.
After you’re done using AXD tools, change the startup disk back to the volume you
were previously using.
Changing the Startup Disk Using the Command-Line
Interface
If your Xserve can load Mac OS X Server, you can use the command-line interface to
change its startup disk. You can use the command-line to start up from internal
volumes and connected portable storage device volumes.
You can also change the startup disk of a remote server using the command-line
interface. Remote login must be enabled on the remote server (enabled by default).
You can enable remote login in the Sharing pane of System Preferences.
When you change the startup disk using the command-line interface, you can’t select a
startup disk with AXD EFI tools installed. To change the startup disk to the volume with
AXD EFI tools installed, change the startup disk at startup. For more information, see
“Changing the Startup Disk Temporarily at Startup” on page 16.
You’ll need to be able authenticate as the root account to change the startup disk in
the command-line interface.
Note: The Terminal commands described in this task are case-sensitive and must be
entered as described.
To change the startup disk using the command-line interface:
1 Open Terminal (located in /Applications/Utilities).
2 If you want to connect to a remote server, enter the following in the Terminal window,
and authenticate when requested:
ssh username@serveraddress
Replace username with the short name of a user who can authenticate as the root
account on the server. Replace serveraddress with the URL, IP address, or host name of
the server.
3 Enter the following, and authenticate as the root account when requested:
16 Chapter 3 Loading AXD Tools
sudo bless -folder “/Volumes/volumename/System/Library/CoreServices” -
setBoot
Replace volumename with the name of the volume you want to start up from.
When you’re done using AXD tools, change the startup disk back to the volume you
were using previously.
Changing the Startup Disk Using Apple Remote Desktop
If you have Apple Remote Desktop, you can change the startup disk of remote
computers to an internal volume or connected portable storage device volume.
For information about using Apple Remote Desktop to set a computer’s startup disk,
see Apple Remote Desktop Administrator’s Guide, located at:
www.apple.com/server/documentation
Changing the Startup Disk Temporarily at Startup
If your Xserve has issues loading Mac OS X Server or doesn’t have Mac OS X Server
installed, you can temporarily change the startup disk by pressing and holding a key
while the Xserve is starting up. This method requires that you have a keyboard and
mouse attached to the Xserve and that you can restart the Xserve.
If you don’t have a keyboard and mouse attached to the Xserve, use the instructions in
the next section, “Loading an AXD EFI Tools NetBoot Image Using the Xserve’s Front
Panel.”
If a firmware password is set, you can’t temporarily change the startup disk by pressing
and holding the D or F1 keys. You can temporarily change the startup disk by pressing
and holding the Option key but you must authenticate with the firmware password.
For information about disabling the firmware password, see “Disabling the Firmware
Password” on page 19.
To temporarily change the startup disk at startup:
1 Restart the Xserve.
2 While the Xserve is restarting, press and hold the Option key until a list of volumes
appears. If you’re asked to authenticate, enter the firmware password and click the
Continue (right-arrow) button.
If you have the Mac OS X Server Administration Tools disc inserted, you can start up
using AXD EFI tools located on the disc by pressing and holding the D key instead of
the Option key.
If you want to load an AXD tools NetBoot image hosted on a NetBoot server, press and
hold the F1 key instead of the Option key.
Chapter 3 Loading AXD Tools 17
Both of these alternatives immediately load AXD EFI tools and bypass the list of
volumes described in the next step.
3 If you loaded the list of volumes instead of immediately loading AXD tools, select the
volume with AXD tools, and then click the arrow button to load it.
The AXD EFI tools volume is listed as AXD EFI 3X102.
After you’re done using AXD EFI tools, when you restart the Xserve, it starts up using its
original startup volume.
Loading an AXD EFI Tools NetBoot Image Using the Xserve’s
Front Panel
You can use the Xserve’s front panel buttons to load an AXD EFI tools disk image
hosted by a NetBoot server. This technique is useful for situations where your Xserve:
 Doesn’t have a monitor or keyboard attached
 Doesn’t respond to keyboard input
 Doesn’t have Mac OS X Server installed
The Xserve must be on the same subnet as the NetBoot server hosting the AXD EFI
tools disk image.
If the Xserve’s EFI requires a password, you won’t be able to load a NetBoot image
using the front panel. You’ll need to disable the firmware password before you can use
the front panel. To disable the password, you must be able to load Mac OS X Server on
the Xserve.
To use the Xserve’s front panel to load an AXD EFI tools NetBoot image:
1 Turn off the Xserve.
2 Press and hold the system identifier button and press the on/standby button.
3 Continue holding the system identifier button until the top row of lights move right to
left. Release the system identifier button.
System identifier
button
On/standby
button
Top row of lights blink right to left,
then left to right.
18 Chapter 3 Loading AXD Tools
If the two rows of lights on the front panel blink once and the Xserve resumes its
startup sequence, an firmware password is enabled. You’ll need to disable the
password.
For information about disabling the firmware password, see the next section,
“Disabling the Firmware Password.”
4 When you release the system identifier button, the rightmost light in the bottom row
should turn on.
5 Press the system identifier button again. The lights in the bottom row should now be
moving right to left.
6 Press the button repeatedly until the leftmost light in the bottom row turns on.
7 When the leftmost light is on, press and hold the system identifier button until all the
lights in the top row are on. Release the system identifier button.
When you release the button, the Xserve loads the AXD EFI tools NetBoot disk image.
After you’ve run AXD EFI tools, the Xserve starts up using its original startup volume
when you restart.
Both rows of lights blink once.
Disable the firmware password.
Bottom, rightmost light comes on.
Bottom row of lights blink right to left.
Bottom, leftmost light comes on.
Top row of lights come on.
Chapter 3 Loading AXD Tools 19
Disabling the Firmware Password
If a firmware password is enabled, you can’t:
 Load an AXD EFI tools NetBoot image using the Xserve’s front panel
 Temporarily change the startup volume by pressing and holding F1 or D at startup
If a firmware password is enabled and you try to temporarily change the startup
volume by pressing and holding Option at startup, you must authenticate.
To disable the firmware password:
1 Insert the Mac OS X Server Install disc.
2 Open Firmware Password Utility application (located in the Mac OS X Server Install disc
in /Applications/Utilities).
3 In Firmware Password Utility, click Change.
4 Deselect “Require password to change firmware settings,” and click OK. Authenticate
when asked.
5 Close Firmware Password Utility.
4
20
4 Using AXD Tools
Before you can use AXD tools, make sure you’ve properly
loaded the tools. For more information, see Chapter 3,
“Loading AXD Tools,” on page 14.
AXD Mac OS X tools and AXD EFI tools have different interfaces and functionality. This
chapter describes how to use both AXD tools.
Setting AXD to Host, Client, or Local Mode
When AXD tools starts, AXD tools can enter one of three modes depending on
whether:
 You’re opening AXD EFI tools or AXD Mac OS X tools
 Any of the computers on the same subnet are host computers
 A host computer is directly connected
 You’re logged in as root
 You’re running AXD Mac OS X tools on a computer that isn’t an Intel-based Xserve
The following table describes the three modes:
Mode Description Automatically enters mode if
Host The computer searches for Xserves
that are on the same subnet and start
AXD tools in remote mode. When one
is found, the host computer controls
the client Xserve’s AXD tools.
You run AXD Mac OS X tools and
either:
 The computer isn’t an Intel-based
Xserve.
 You’re not logged in as root.
Client The Xserve can be controlled by a
host computer.
You’re running AXD EFI tools and a
host computer is on the same subnet
or is directly connected.
Local The Xserve runs all tests locally. You’re running AXD EFI tools and a
host computer isn’t on the same
subnet and isn’t directly connected.
Chapter 4 Using AXD Tools 21
If you’re logged in as root on an Intel-based Xserve, and then you run AXD Mac OS X
tools, you can choose which mode to enter.
Remotely Testing a Client Xserve
If you want to test a client Xserve, you must first load AXD tools on the host computer,
set it to connect to a client Xserve, and then load the AXD tools on the client Xserve
and set it to be a client of a remote host.
The host computer must run AXD Mac OS X tools. The client Xserve can run AXD EFI
tools or AXD Mac OS X tools. The available tests are based on which AXD tools the
client Xserve is running.
When you load AXD EFI tools, the Xserve first looks for a host computer. If it finds a
host computer, the Xserve enters client mode. If it doesn’t find a host computer, the
Xserve enters local mode.
When you load AXD Mac OS X tools, the Xserve automatically becomes a host
computer if either of the following are true:
 You logged in to Mac OS X with an account that isn’t root.
 You are running AXD Mac OS X tools on a computer that isn’t an Intel-based Xserve.
If AXD Mac OS X tools doesn’t automatically become a host computer, it asks if it
should connect to a client Xserve, be a client of a remote host, or run tests locally.
To remotely test a client Xserve:
1 On the host computer, open AXD Mac OS X tools (located in /Applications).
2 If the host computer is an Intel-based Xserve and you’re logged in as root, when AXD
opens, a dialog asks you to choose which mode to enter. Choose “Connect to remote
Xserve” and click OK.
If your computer isn’t an Intel-based Xserve, the dialog doesn’t appear, and AXD
automatically enters host mode.
3 On the client Xserve, change the startup disk to a volume with AXD tools and restart it.
You can also temporarily change the startup disk to either a volume with AXD tools on
it or to an AXD tools NetBoot disk image when you start up the Xserve.
For more information about how to change or temporarily change the startup volume,
see Chapter 3, “Loading AXD Tools,” on page 14.
4 If you’re loading AXD Mac OS X tools, log in as root, and if AXD doesn’t open
automatically, open AXD (located in /Applications). Choose “Client of a remote host,”
and click OK.
5 If you’re loading AXD EFI tools, the Xserve automatically enters client mode.
22 Chapter 4 Using AXD Tools
There are several ways to determine whether the host computer and client Xserve have
established a successful connection:
 The IP address field in the AXD window on the host computer should match the IP
address assigned to the client Xserve.
 The name of the AXD window on the host computer is “AXD remote log,” not “AXD
local log.”
 The log area of the client Xserve uses more of the AXD window. The Shut Down,
Restart, and a few other buttons are removed.
Testing the Local Xserve Using AXD EFI Tools
To test the local Xserve, make sure none of the computers on the same subnet as the
Xserve have loaded AXD Mac OS X tools in host mode. If a computer on the same
subnet loaded AXD Mac OS X tools in host mode, the Xserve automatically enters client
mode.
To test the local Xserve using AXD EFI tools:
m Restart the Xserve and press and hold a key, or use the Xserve’s front panel buttons to
load the volume or NetBoot disk image with AXD EFI tools.
For more information about how to temporarily change the startup volume while
starting the computer, see Chapter 3, “Loading AXD Tools,” on page 14.
When the AXD EFI tools loads and doesn’t find a host computer, it enters local mode.
Testing the Local Xserve Using AXD Mac OS X Tools
To test the local Xserve, you must log in as root. If you don’t log in as root, AXD
Mac OS X tools automatically enters host mode.
To test the local Xserve using AXD Mac OS X tools:
1 Change the startup disk of the Xserve to a volume with AXD Mac OS X tools, restart it,
and log in as root.
2 If AXD Mac OS X tools doesn’t open automatically, open it (located in /Applications).
3 When AXD opens, choose “Local” from the dialog that appears and click OK.
Using AXD EFI Tools
For information about AXD EFI tools, see the following topics:
 “Customizing AXD EFI Test Settings” on page 23
 “Clearing the Test Log” on page 23
 “Viewing the Hardware Profile” on page 23
 “Shutting Down or Restarting the Xserve” on page 24
Chapter 4 Using AXD Tools 23
Customizing AXD EFI Test Settings
You can customize AXD test settings in several ways by choosing which tests are run,
whether to loop tests, and whether to stop or continue testing when an error occurs.
To customize AXD EFI tools test settings:
1 In AXD EFI tools, select the test settings you want.
2 To run the test, click Test.
Clearing the Test Log
The test log contains all test messages that have occurred during the current AXD
session. If you quit AXD, the log is cleared.
To clear the test log without quitting AXD, click Clear Test Data.
Viewing the Hardware Profile
The hardware profile lists all hardware components in the Xserve.
You can view the hardware profile by choosing Hardware Profile > Display Hardware
Profile.
To do this Do this
Choose which tests are run In the Test Selections pane, do the following:
 To select a test, select the checkbox next to the test.
 To select a specific test within a category of tests, click the
disclosure triangle next to the category, and then select
individual tests.
 To select all tests, click Select All.
 To remove all tests, click Deselect All.
Loop all selected tests In the Controls pane, do the following:
 To loop all selected tests a specific number of times, select “Loop
# times” and replace # with the number of times to loop.
 To run all tests once, select “Loop # times” and replace # with the
number 1.
 To loop all tests for a specific amount of time, select “Loop for #
hours and # minutes” and replace # with number of hours and
minutes to loop. When the specified time is reached, the current
loop must complete before the tests stop. For example, if one
loop of your test set takes 2 hours to complete, and your
specified time is 3 hours, AXD stops testing in 4 hours. (Instead of
stopping at 3, it waits for the current test set loop to complete
before stopping.)
Change what to do when an
error occurs
In the Controls pane, do the following:
 To stop testing when the first error occurs, select Stop On Error.
 To continue testing when errors occur, choose Continue On Error.
24 Chapter 4 Using AXD Tools
Shutting Down or Restarting the Xserve
You can shut down or restart the Xserve in AXD EFI tools.
To shut down or restart the Xserve, click Shut Down or Restart.
Using AXD Mac OS X Tools
For information about using AXD Mac OS X Tools, see the following topics:
 “Customizing AXD Mac OS X Test Settings” on page 24
 “Working With Test Groups” on page 25
 “Viewing Logs” on page 26
 “Shutting Down or Restarting the Xserve” on page 28
 “Quitting AXD Mac OS X Tools While a Test is Running” on page 28
Customizing AXD Mac OS X Test Settings
You can customize AXD test settings in several ways by choosing which tests are run,
whether to loop tests, and whether to stop or continue testing when an error occurs.
To customize AXD Mac OS X tools test settings:
1 In AXD Mac OS X tools, select the test settings you want.
2 To save your customized test settings for future use, in the Test Group pop-up menu,
choose Save Current Group. Enter a name for the group and click OK.
To do this Do this
Choose which tests are run In the Test Selections list, do the following:
 To select a test, select the checkbox next to the test.
 To select a specific test within a category of tests, click the
disclosure triangle next to the category, and then select
individual tests.
 To select all tests, click the Select All (+) button.
 To remove all tests, click the Deselect All (–) button.
Loop all selected tests Select “Loop tests by,” and then do the following:
 To loop all selected tests a specific number of times, select Count
and enter a number of times to loop.
 To loop all selected tests for a specific amount of time, select
Time and enter the number of hours and minutes to loop. When
the specified time is reached, the current loop must complete
before the tests stop. For example, if one loop of your test set
takes 2 hours to complete and your specified time is 3 hours, AXD
stops testing in 4 hours. (Instead of stopping at 3, it waits for the
current test set loop to complete before stopping.)
Change what to do when an
error occurs
In the On Error pop-up menu, do the following:
 To stop testing when the first error occurs, choose Stop.
 To continue testing when errors occur, choose Continue.
Chapter 4 Using AXD Tools 25
For more information, see the next section, “Working With Test Groups.”
3 To run the test, click Start Testing.
Working With Test Groups
You can create test groups based on your customized test settings. These are similar to
templates because they allow you to reuse your test settings without having to change
each setting individually. After choosing a test group, you can still change its settings.
There are two sets of test groups, which change based on the type of AXD tools run by
the Xserve. If you’re testing a client Xserve that’s running AXD EFI tools, the test groups
are different than if you’re testing an Xserve running AXD Mac OS X tools.
When you create or delete a test group, that test group is created or deleted in the set
of test groups you’re currently using. For example, if you create a test group for Xserves
running AXD Mac OS X tools, it doesn’t become available for Xserves running AXD EFI
tools.
There are several test groups included with AXD. These test groups stop when an error
occurs and aren’t looped.
You can also export a test group to a file. By exporting a test group, you can use that
file to re-create that test group on other AXD installations. For example, if you install
AXD Mac OS X tools on several Xserves, you can copy the test group file to each of
those Xserves, making identical tests available without having to manually create a
new test group.
To work with test groups:
m In AXD Mac OS X tools, choose the options you want.
Tool used Test group Test selections
AXD Mac OS X tools Default All memory, USB port, fan, hard drive, sensor, and
power supply tests. Ethernet MAC Address verification
and ROM checksum verification.
AXD Mac OS X tools Quick Test All sensor tests.
AXD EFI tools Default All memory, boot ROM, processor, fan, video controller,
sensor, Ethernet controller, hard drive, and power
supply tests.
AXD EFI tools Quick Test Extended memory test P007 and all sensor.
To do this Do this
Use a test group In the Test Group pop-up menu, choose a test group.
Create a new test group In the Test Group pop-up menu, choose Save Current Group. Enter
a name for the group and click OK.
Delete a test group In the Test Group pop-up menu, choose a test group. Choose Edit >
Delete Test Group.
26 Chapter 4 Using AXD Tools
Viewing Logs
You can view the following types of logs in AXD Mac OS X tools:
You can also view logs stored on other volumes. This can help you diagnose issues that
you run into while you’re not using AXD.
When you view logs in AXD Mac OS X tools, AXD shows you whether it’s able to load
the log with a colored circle next to the log name.
To view logs:
1 Open AXD Mac OS X tools.
2 If tests are currently running, wait for them to complete or stop them.
If tests are running, you can view only the test log.
3 Do any the following:
Export a test group Choose File > Export Test Group, choose a location, name the test
group, and click Save.
Import a test group Choose File > Open, select an .axdconfig file, and click Open.
To do this Do this
Log type Description
Test All messages from tests run in the current AXD Mac OS X tools
session
Hardware Info Listing and description of all installed hardware
System All of the logs that are also available in System Profiler (located in
/Applications/Utilities)
Color Status
No circle You haven’t loaded the log during this AXD session, or the log
hasn’t been created yet.
Yellow The log didn’t load. This usually occurs when there isn’t any data in
the log.
Green The log loaded.
To do this Do this
Choose a different volume to
view logs on
Choose Logs > View Different System’s Logs, choose a volume from
the “Volume to gather system logs from” pop-up menu, and click
OK.
View logs in the current or
chosen volume
Choose a log from the “View log” pop-up menu.
Search for specific text within
the log
Enter text in the search field. When you press Return, matching text
is highlighted in the log area.
Chapter 4 Using AXD Tools 27
Setting Log Preferences
You can set up log preferences so that the AXD test logs are automatically saved to a
file at a location you choose. AXD test logs are created every time you start a new AXD
session.
When AXD Mac OS X tools saves a log, it overwrites any existing log of the same name.
Log preferences can automatically customize the name of the log file so that the log
files aren’t overwritten.
If you don’t use any of the naming options, the log is saved as:
AXD_mode_autosave_log.txt
If you are testing locally, mode is replaced by “local.” If you are testing remotely, mode is
replaced by “remote.”
If you use all of the naming options, the log is saved as:
AXD_mode_autosave_log_date_ethernetaddress uniquename.txt
The appended values use this format:
The unique name will be appended only if a file of the same name exists.
A log for the local Xserve with all naming options enabled (using the example values) is
saved as:
AXD_local_autosave_log_19_Jun_2007_01_23_45_67_89_ab - 1.txt
To set log preferences:
1 In AXD Mac OS X tools, choose AXD > Preferences.
2 To automatically save test logs, select “Auto-save test log.”
If you don’t select this option, you can’t perform the steps that follow.
3 To choose the location of the automatically saved log, click “Choose auto-save location,”
select a location, and then click Open.
Clear logs Choose Logs > Clear current Log or choose Logs > Clear All Logs.
The name of the currently viewed log replaces current.
Refresh logs Choose Logs > Refresh Current Log or choose Logs > Refresh All
Information Logs.
To do this Do this
Value Format Example
date DD_Mon_Year 15_Jul_2007
ethernetaddress ##_##_##_##_##_## 01_23_45_67_89_ab
uniquename - # - 1
28 Chapter 4 Using AXD Tools
4 Configure the test log naming options.
Shutting Down or Restarting the Xserve
If you’re running AXD Mac OS X tools on the local Xserve, or on a host computer, you
can shut down or restart the Xserve. However, if the Xserve is in client mode, you can’t
shut down or restart the Xserve locally.
To shut down or restart the Xserve, click Shut Down or Restart.
Quitting AXD Mac OS X Tools While a Test is Running
If you try to quit AXD Mac OS X tools while a test is running, you won’t be able to print
or save any logs from the current AXD session. Make sure you print or save any critical
logs before quitting.
Instead of quitting in the middle of a test, you can stop the current test, print or save
logs, and then quit.
To do this Do this
Ensure newly created log files
don’t overwrite old log files
Select “Use unique name.”
Append the Ethernet address of
the Xserve that’s being tested
Select “Append Ethernet Address.”
Append the run time and date
of the session’s first tests
Select “Append time and date.”
29
Appendix
AXD Tools Test Reference
This reference describes all the tests available in AXD and
provides estimates for how long the tests take to complete.
The types of tests available depend on if you’re using AXD EFI tools or AXD Mac OS X
tools.
Comparison of Available Tests
The following table compares the tests available by component, depending on if you’re
using AXD EFI tools or AXD Mac OS X tools. For more information about the specific
tests available for each component, see “AXD EFI Tools Tests” on page 30 and “AXD
Mac OS X Tests” on page 35.
A % signifies that a test is available, while a blank entry signifies that there are no
available tests:
Component tested
Available in AXD
EFI tools
Available in AXD
Mac OS X tools Notes
Boot ROM %
Ethernet controller % % Different tests are available depending
on the tool.
Fan % % Different tests are available depending
on the tool.
Hard drive % % Different tests are available depending
on the tool.
Memory (simple) % Tests only the first 2.5 GB of memory.
Memory (multicore) % % Tests the first 2.5 GB of memory but
using all available CPU cores.
Memory (extended) % Tests all memory.
Memory (SMBIOS) % % Tests if memory has been mapped out
correctly.
30 Appendix AXD Tools Test Reference
AXD EFI Tools Tests
These tests are available if your Xserve is running AXD EFI tools.
Boot ROM Tests
Ethernet Controller Tests
Fan Tests
Memory (ECC) % Tests for memory ECC errors. This test
clears the error count, so it should be
run first (before running any other
memory tests).
Power supply % %
Sensor % % AXD Mac OS X tools has an additional
sensor test.
USB port % %
Video controller % % AXD Mac OS X tools have more tests
than AXD EFI tools.
Component tested
Available in AXD
EFI tools
Available in AXD
Mac OS X tools Notes
Test Estimated completion time Description
Boot ROM Checksum 1 second Verifies the Boot ROM checksum
Boot ROM FW GUID MAC
Addr Checksum
1 second Verifies the Boot ROM FireWire GUID
MAC address checksum
Test Estimated completion time Description
MAC Address Verification 1 second Verifies MAC address isn’t all FFs or
00s
PCI-E 4 LinkWidth Verification 1 second Verifies PCI link width is 4
Test Estimated completion time Description
Quick Motor 1 second Verifies that the fan motor can be
turned on. Reads the set point of the
motor and verifies that the motor is
spinning within 20% of the set speed.
Appendix AXD Tools Test Reference 31
Hard Drive Tests
Memory (Simple) Tests
Simple memory tests test the first 2.5 GB of memory. To test all memory, run extended
memory tests.
Even though simple memory tests don’t test all memory, run these tests to detect
intermittent memory issues.
In AXD EFI tools, all memory tests (simple, multicore, extended, and SMBIOS) are
grouped under Memory tests.
Note: The time required to complete memory tests correlates to the size of memory
being tested. These estimates are based on testing 1 GB of memory.
Long Motor 15 seconds Verifies that the fan motor can reach
speeds of within 10% of its high and
low limits in 15 seconds. While the test
is running, all fans that aren’t being
tested are left under system control.
Long Motor Fans Full 15 seconds Verifies that the fan motor can reach
speeds of within 10% of its high and
low limits in 15 seconds. While the test
is running, all fans that aren’t being
tested are set to their maximum
speed. After the test completes, the
system regains control of the fan
speed.
Test Estimated completion time Description
Test Estimated completion time Description
Full Read 30 minutes for an 80 GB
drive; 4 hours for a 750 GB
drive
Performs a DMA full-read scan at 1250
RPM. This checks the entire hard drive
for slow-read failures.
Test Estimated completion time Description
Address as Data 5 seconds Tests memory using the memory
address as data
Patterns 25 seconds Tests memory using different data
patterns
Marching Ones and Zeros 15 seconds Tests memory by walking 1s and 0s
up and down memory
Knaizuk Hartmann 10 seconds Tests memory using this algorithm
MOD3 30 seconds Tests memory using this algorithm
Van de Goor’s March U 2 minutes Tests memory using this algorithm
Random Values 15 seconds Uses pseudo-random values
32 Appendix AXD Tools Test Reference
Memory (Multicore) Tests
Multicore memory tests test the first 2.5 GB of memory using all available CPU cores.
In AXD EFI tools, all memory tests (simple, multicore, extended, and SMBIOS) are
grouped under Memory tests.
Note: The time required to complete memory tests correlates to the size of memory
being tested. These estimates are based on testing 1 GB of memory.
Memory (Extended) Tests
Extended memory tests test all available memory.
Block Checkerboard 32 10 seconds Alternates 32-bit words with all 1s and
all 0s, and then with all 0s and all 1s
Bit Checkerboard 32 10 seconds Alternates bits with all 1s and all 0s,
and then with all 0s and all 1s
Sequential Byte Block 32 14 minutes Fills all bytes sequentially with
patterns starting at 0x00 and ending
at 0xFF
Walking One 32 5 minutes Walks 1s up and down memory
Walking Zero 32 5 minutes Walks 0s up and down memory
Walking Spread Bit 32 5 minutes Walks 0b01 up and then walks 0b10
down memory
Walking Bit Flip 32 5 minutes Alternates words with walking 1 and
walking 0, and then alternates with
walking 0 and walking 1
Test Estimated completion time Description
Test Estimated completion time Description
MP Block Checkerboard 32 5 seconds Alternates 32-bit words with all 1s and
all 0s, and then with all 0s and all 1s
MP Bit Checkerboard 32 5 seconds Alternates bits with all 1s and all 0s,
and then with all 0s and all 1s
MP Sequential Byte Block 32 8 minutes Fills all bytes sequentially with
patterns starting at 0x00 and ending
at 0xFF
MP Walking One 32 2 minutes Walks 1s up and down memory
MP Walking Zero 32 2 minutes Walks 0s up and down memory
MP Walking Spread Bit 32 2 minutes Walks 0b01 up and then walks 0b10
down memory
MP Walking Bit Flip 32 2 minutes Alternates words with walking 1 and
walking 0, and then alternates words
with walking 0 and walking 1
Appendix AXD Tools Test Reference 33
In AXD EFI tools, all memory tests (simple, multicore, extended, and SMBIOS) are
grouped under Memory tests.
Note: The time required to complete memory tests correlates to the size of memory
being tested. These estimates are based on testing 1 GB of memory
Memory (SMBIOS) Tests
SMBIOS tests check to see if bad memory was detected and mapped out at Xserve
startup. When the Xserve tests memory at start up, it automatically maps out bad
memory. Mac OS X doesn’t see this mapped out memory, so the non-SMBIOS memory
tests don’t test it. The SMBIOS test reports these mapped out DIMMS.
In AXD EFI tools, all memory tests (simple, multicore, extended, and SMBIOS) are
grouped under Memory tests.
Because memory is mapped only once, you should run this test once and not loop it.
Test Estimated completion time Description
Extended Memory Test P00F 5 seconds Tests memory using pattern 0. This
fails if an error occurs.
Extended Memory Test P01F 5 seconds Tests memory using pattern 1. This
fails if an error occurs.
Extended Memory Test P02F 5 seconds Tests memory using pattern 2. This
fails if an error occurs.
Extended Memory Test P03F 5 seconds Tests memory using pattern 3. This
fails if an error occurs.
Extended Memory Test P04F 5 seconds Tests memory using pattern 4. This
fails if an error occurs.
Extended Memory Test P05F 5 seconds Tests memory using pattern 5. This
fails if an error occurs.
Extended Memory Test P06F 5 seconds Tests memory using pattern 6. This
fails if an error occurs.
Extended Memory Test P07F 5 seconds Tests memory using pattern 7. This
fails if an error occurs.
Test Estimated completion time Description
SMBIOS Self-Test 1 second Checks the SMBIOS tables for 32-bit
errors (type 18) and 64-bit errors (type
33). Also verifies that the mapped-in
DIMM size is appropriate for the slot
it’s inserted into. If there’s a size
mismatch, an error occurs.
34 Appendix AXD Tools Test Reference
Power Supply Tests
Processor Tests
Sensor Tests
USB Tests
Connect USB devices before running USB tests.
Video Controller Tests
Test Estimated completion time Description
Good Bit 1 second Checks if the power supply’s good bit
is set. If it’s not set, this could indicate
that the power supply isn’t seated
well, is bad, or that there’s no AC
connected.
Quick 5 seconds This is available only if you have more
than one power supply. This turns off
the redundant power supplies so that
only one power supply is used.
Test Estimated completion time Description
L1 Cache Test 1 second Verifies that the L1 cache is good on
all processor cores
Test Estimated completion time Description
Sensor Reads 1 second Verifies that the sensor reads are
within the preset sensor limits
Test Estimated completion time Description
Presence 1 second Verifies that a USB device is connected
Test Estimated completion time Description
PCI-E 8 LinkWidth Verification 1 second Verifies PCI link width is 8
Framebuffer Address as Data 2 minutes Tests the framebuffer using
framebuffer addresses as data
Appendix AXD Tools Test Reference 35
AXD Mac OS X Tests
These tests are available if your Xserve is running AXD Mac OS X tools.
Ethernet Controller Tests
Data loop tests can add to network traffic. Consider disconnecting from the network
before running the data loop tests.
Hard Drive Tests
Memory (Simple) Tests
Simple memory tests test the first 2.5 GB of memory. All multicore memory tests listed
in AXD EFI tools are run.
Even though simple memory tests don’t test all memory, run these tests to detect
intermittent memory issues.
Note: The time required to complete memory tests correlates to the size of memory
being tested. These estimates are based on testing 1 GB of memory.
Test Estimated completion time Description
MAC Address Verification 1 second Verifies MAC address is not all FFs or
00s
Ethernet ROM Checksum 1 second Verifies Ethernet ROM checksum is
valid
MAC Data Loop 1 minute Verifies that there’s no data mismatch
between sent and received data while
looping within the MAC (a sublayer of
the datalink layer in the ISO network
reference model)
PHY Data Loop 1 minute Verifies that there’s no data mismatch
between sent and received data while
looping within the physical transport
medium (PHY)
Test Estimated completion time Description
Threaded Surface Scan 30 minutes for an 80 GB
drive; 4 hours for a 750 GB
drive
Scans the entire surface of a hard
drive
Test Estimated completion time Description
Simple Test 12 minutes Runs all multicore memory tests listed
in AXD EFI tools
36 Appendix AXD Tools Test Reference
Memory (SMBIOS) Tests
SMBIOS tests check to see if memory has been mapped out correctly. When the Xserve
tests memory at startup, it automatically maps out bad memory. Mac OS X doesn’t see
this mapped out memory, so the non-SMBIOS memory tests don’t test it. The SMBIOS
test reports these mapped out DIMMS.
Because memory is mapped only once, you should run this test once and not loop it.
Memory (ECC) Tests
When an ECC error occurs, memory catches the problem and and fixes it. When you run
other memory tests, the tests don’t realize an error has occurred. The ECC tests detect
these memory fixes and report them. After you run ECC tests, the results are reset, so
running the ECC tests again might result in success even though the previous test
resulted in failure.
The ECC memory test should be run before running any other memory tests, catching
any ECC errors generated by the system memory tests that were run at startup. After
you run other memory tests, you should also run the ECC tests once more to see if the
memory tests have trigged any ECC errors.
Fan Tests
Test Estimated completion time Description
SMBIOS Self-Test 1 second Checks the SMBIOS tables for 32-bit
errors (type 18) and 64-bit errors (type
33). Also verifies that the mapped-in
DIMM size is appropriate for the slot
it’s inserted into. If there’s a size
mismatch, an error occurs.
Test Estimated completion time Description
ECC Error Count 1 second Reports the number of ECC errors, and
then resets the count
Test Estimated completion time Description
Verify Motor +/– 10%,
10 Reads High, 20 Low
2 minutes Verifies the minimum and maximum
fan speeds. Sets the minimum and
maximum builds within 10% of the
threshold and then does 10
consecutive reads at the maximum
and 20 at the minimum.
Verify Motor Automatically +/
– 15%
2 minutes Verifies the minimum and maximum
fan speeds. Sets the minimum and
maximum builds within 15% of the
threshold.
Appendix AXD Tools Test Reference 37
Power Supply Tests
Sensor Tests
USB Tests
Connect USB devices before running USB tests.
Video Controller Tests
To run these tests, a display must be attached to any graphics cards being tested. The
displays can’t be asleep. For example, if you have two graphics cards, they both need
displays attached and both displays must not be asleep.
Test Estimated completion time Description
Good Bit 1 second Checks if the power supply’s good bit
is set. If it’s not set, this could indicate
that the power supply isn’t seated
well, is bad, or that there’s no AC
connected.
Quick 5 seconds This is available only if you have more
than one power supply. This turns off
the redundant power supplies so that
only one is run on.
Test Estimated completion time Description
Sensor Reads 1 second Verifies that the sensor reads are
within the preset sensor limits
Test Estimated completion time Description
Presence 1 second Verifies that a USB device is connected
Test Estimated completion time Description
OpenGL Point 10 seconds Verifies video controller using a 2D
point test
OpenGL Line 10 seconds Verifies video controller using a 2D
line test
OpenGL Triangle 10 seconds Verifies video controller using a 2D
triangle test
OpenGL Quad 10 seconds Verifies video controller using a 2D
quadrilateral test
OpenGL Quad with Texture 10 seconds Verifies video controller using a 2D
textured quadrilateral test
OpenGL Rectangle 10 seconds Verifies video controller using a 2D
rectangle test
OpenGL Cube 10 seconds Verifies video controller using a 3D
cube test
38 Appendix AXD Tools Test Reference
iPod mini
User’s Guide
2
Contents
3
Quick Start
5
What You Need to Get Started
8
Four Steps to Playing Music on iPod mini
12
Using iPod mini
12
Using iPod mini Controls
18
Connecting and Disconnecting iPod mini
22
Organizing and Transferring Your Music
32
Adjusting iPod mini Settings
36
Using the Extra Features of Your iPod mini
42
Charging the iPod mini Battery
45
iPod mini Accessories
49
Tips and Troubleshooting
56
Learning More, Service, and Support
58
Safety and Cleaning
3
1
Quick Start
Congratulations on purchasing your iPod mini. Read
this section to get started using iPod mini quickly.
iPod mini works with the iTunes music software included on the iPod CD. Use iTunes to
import songs from your CD or digital music collection to your computer, or use the
iTunes Music Store (available in some countries only) to purchase songs and download
them to your computer. Then organize the songs and transfer them to iPod mini.
4
Quick Start
Learning to Use iPod mini
Read this chapter to set up iPod mini and get started playing music quickly. To learn
more about playing music on iPod mini and using some of its other features, see
“Using iPod mini” on page 12.
iPod Tutorial
For an interactive tutorial on transferring music to and playing music on iPod (available
in some countries only), go to www.apple.com/support/ipod.
iPod mini Features
iPod mini is a music player and much more. With iPod mini, you can:
•
Store thousands of songs from your CD or digital music collection, for listening
on the go
•
Listen to audiobooks purchased from the iTunes Music Store or audible.com
•
Listen to podcasts, downloadable radio-style shows delivered over the Internet
•
Arrange your music in On-The-Go playlists
•
Store files and other data, using iPod mini as an external hard disk
•
Change equalizer settings to make music sound better
•
Store and synchronize contact, calendar, and to-do list information from
your computer
•
Store text notes
•
Set an alarm
•
Play games, and more
Quick Start
5
What You Need to Get Started
To use iPod mini with a Macintosh, you must have:
•
A Macintosh with:
•
Built-in high-power USB 2.0
•
Or built in FireWire and the optional iPod Dock Connector to FireWire Cable
Note:
The iPod Dock Connector to FireWire Cable is available for purchase at
www.ipod.com/store.
•
Mac OS X v10.2.8, or Mac OS X v10.3.4 or later
•
iTunes 4.7 or later (included on the iPod CD)
To be sure you have the latest version of iTunes, go to www.apple.com/itunes.
•
iPod mini software (included on the iPod CD)
High-power USB 2.0 port 6-pin FireWire 400 port
6
Quick Start
To use iPod mini with a Windows PC, you must have:
•
A Windows PC with:
•
Built-in high-power USB 2.0 (or a high-power USB 2.0 card installed)
•
Or built-in FireWire (or a FireWire card installed) and the optional
iPod Dock Connector to FireWire Cable
For more information about compatible FireWire and USB cards, go to
www.apple.com/ipod.
Note:
The iPod Dock Connector to FireWire Cable is available for purchase at
www.ipod.com/store.
•
Windows 2000 with Service Pack 4 or later, or Windows XP Home or Professional
•
iTunes 4.7 or later (included on the iPod CD)
To be sure you have the latest version of iTunes, go to www.apple.com/itunes.
•
iPod mini software (included on the iPod CD)
High-power USB 2.0 port 6-pin FireWire 400 port
(IEEE 1394)
Quick Start
7
Your iPod mini includes the following components:
iPod mini Belt Clip
Apple Earphones iPod Dock Connector to USB 2.0 Cable
8
Quick Start
Four Steps to Playing Music on iPod mini
To set up iPod mini, you install software from the iPod CD, and import songs from your
music CD collection or purchase songs from the iTunes Music Store (available in some
countries only). Then you transfer the songs to iPod mini as the battery charges, then
start listening to music.
Step 1: Install the Software
Insert the iPod CD into your computer and install iTunes and the iPod mini software.
Step 2: Import Music to Your Computer
Complete this step if you haven’t already transferred music to your computer. You can
import music from your audio CDs, or if you have an Internet connection, you can buy
music online and download it to your computer using the iTunes Music Store. You can
browse over a million songs and listen to a 30-second preview of any song. The iTunes
Music Store is available in some countries only.
To import music to your computer from an audio CD:
1
Insert a CD into your computer. iTunes opens automatically and the CD is selected in
the iTunes Source list.
2
Uncheck songs you don’t want to transfer, then click Import.
3
Repeat for any other CDs with songs you’d like to import.
To buy music online:
1
Open iTunes and click Music Store in the Source list.
2
Click the Account button and follow the onscreen instructions to set up an account or
enter your existing Apple Account or America Online (AOL) account information (this
option is available in some countries only).
Quick Start
9
Step 3: Connect iPod mini to Charge the Battery and Transfer Music
Connect iPod mini to a high-power USB 2.0 port on your computer using the included
iPod Dock Connector to USB 2.0 Cable.
When you connect iPod mini to your computer, iTunes opens. Follow the simple
onscreen instructions to transfer songs and playlists to iPod mini.
To charge the battery:
When iPod mini is connected to your computer, the battery charges. Before
disconnecting iPod mini the first time, let the battery charge for at least an hour.
If you are connecting to a high-power USB 2.0 port,
use the iPod Dock Connector to USB 2.0 Cable. If you
are connecting to a FireWire 400 port, use an iPod Dock
Connector to FireWire Cable (available separately).
10
Quick Start
Important:
Be sure to connect iPod mini to a high-power USB 2.0 port directly on your
computer, or to a powered USB 2.0 hub that’s connected to your computer. iPod mini
won’t work if it’s connected to a low-power USB 2.0 port, such as those sometimes
found on keyboards or other peripherals.
If the battery icon in the upper-right corner of the iPod mini screen shows a lightning
bolt, iPod mini is connected to a high-power USB 2.0 port and the battery is charging
(see page 42 for more information).
If you’re using a portable or laptop computer with a high-power USB 2.0 port,
connect the
computer to a power outlet before connecting iPod mini for best results.
If your computer doesn’t have a high-power USB 2.0 port, but has a 6-pin FireWire 400 (IEEE
1394) port,
you can connect iPod mini using the optional iPod Dock Connector to
FireWire Cable, available at www.ipod.com/store.
If your Windows PC doesn’t have a high-power USB 2.0 port or a 6-pin FireWire 400 (IEEE
1394) port,
you can purchase and install a USB 2.0 card or a FireWire card.
For more information on cables and compatible USB and FireWire cards, go to
www.apple.com/ipod.
Quick Start
11
Step 4: Play Music
When the song transfer is complete and you’re ready to disconnect iPod mini, squeeze
both sides of the Dock connector to disconnect the cable from iPod mini.
Then use the Click Wheel and Select button (in the center of iPod mini) to browse for a
song. Press the Play or Select button and enjoy!
To Learn More
Read the next chapter to learn more about using the Click Wheel and the other
iPod mini controls, transferring music to and managing music on iPod mini, using other
features of iPod mini, charging the battery, and using iPod mini accessories.
12
1
Using iPod mini
Read this section to learn about using iPod mini
controls, transferring music, charging the battery,
and using the extra features of your iPod mini.
Using iPod mini Controls
Press any button to turn on iPod mini. The main menu appears.
Use the Click Wheel and Select button to navigate through onscreen menus, play
songs, change settings, and view information. Move your thumb lightly around the
Click Wheel to highlight a menu item. Press the Select button to select the item. Press
Menu on the Click Wheel to go back to the previous menu.
Using iPod mini
13
Hold switch
Menu button
Previous/Rewind
button
Click Wheel
Apple Earphones Dock connector port
Select button
Next/Fast-forward
button
Play/Pause button
iPod Remote port Headphones port
14
Using iPod mini
iPod mini Controls
Reset iPod mini
(For use during troubleshooting)
Toggle the Hold switch (set it to Hold, then turn
it off again). Then press the Menu and Select
buttons simultaneously for about 6 seconds, until
the Apple logo appears.
Turn on iPod mini
Press any button.
Turn off iPod mini
Press and hold Play/Pause.
Turn the backlight on or off
Press and hold Menu or select Backlight from
the main menu.
Select a menu item
Scroll to the item and press the Select button.
Go back to the previous menu
Press Menu.
Browse for a song
Select Music from the main menu.
Play a song
Highlight the song and press the Select or
Play/Pause button. iPod mini must be
disconnected from your computer to play songs.
Play all the songs in a list
Highlight the list title (an album title, or the title
of a playlist, for example) and press Play/Pause.
Change the volume
From the Now Playing screen, use the
Click Wheel. You can also use the optional
iPod Remote (available at www.ipod.com/store)
from any screen.
Pause a song
Press Play/Pause when no song or list is
highlighted.
Disable the iPod mini buttons
(So you don’t press them accidentally)
Set the Hold switch to Hold
(an orange bar appears).
Using iPod mini
15
Play songs in random order
From the main menu, select Shuffle Songs.
Skip to any point in a song
From the Now Playing screen, press the Select
button to show the scrubber bar. Then scroll to
any point in the song.
Skip to the next song
Press Next/Fast-forward.
Start a song over
Press Previous/Rewind.
Play the previous song
Press Previous/Rewind twice.
Fast-forward
Press and hold Next/Fast-forward.
Rewind
Press and hold Previous/Rewind.
Add a song to the On-The-Go playlist
Highlight a song, then press and hold the Select
button until the song title flashes.
Rate a song
From the Now Playing screen, press the Select
button twice. Then use the Click Wheel to choose
a rating.
iPod mini Controls
16
Using iPod mini
Disabling iPod mini Buttons Using the Hold Switch
If you’re carrying iPod mini in your pocket and you don’t want to press the buttons or
turn it on accidentally, you can make the buttons inactive.
n
Set the Hold switch to Hold.
Slide the switch toward
the center (so you can
see the orange stripe)
to disable the controls.
Using iPod mini
17
Making Playlists on iPod mini
You can set iPod mini to play the songs you want in the order you want. When you
create a list of songs on your iPod mini, the songs appear in an On-The-Go playlist.
To create an On-The-Go playlist:
1
Highlight a song and press and hold the Select button until the song title flashes.
2
Repeat step 1 for other songs you want to add.
3
Select Music > Playlists > On-The-Go to view your list of songs.
You can also queue entire lists of songs at once. For example, to queue an album,
highlight the album title and press and hold the Select button until the album title
flashes.
To play songs in the On-The-Go playlist:
n
Select Music > Playlists > On-The-Go and select a song.
To remove a song from the On-The-Go playlist:
n
Highlight a song in the playlist, and hold down the Select button until the song title
flashes.
To clear the entire On-The-Go playlist:
n
Select Music > Playlists > On-The-Go > Clear Playlist.
To save On-The-Go playlists on your iPod mini:
n
Select Music > Playlists > On-The-Go > Save Playlist > Save Playlist.
The first playlist is saved as “New Playlist 1” in the Playlists menu. The On-The-Go
playlist is cleared. You can save as many On-The-Go playlists as you like.
18
Using iPod mini
To transfer On-The-Go playlists to your computer:
n
If iPod mini is set to transfer songs automatically (see page 26), and you create an
On-The-Go playlist, the playlist automatically transfers to iTunes when you connect
iPod mini. You see the new On-The-Go playlist in the iTunes Source list.
Rating Songs
You can assign a rating to a song (from 1 to 5 stars) to indicate how much you like it.
You can use song ratings to help you create playlists automatically in iTunes (see
“About Smart Playlists” on page 26).
To rate a song:
1
Start playing the song.
2
From the Now Playing screen, press the Select button twice.
3
Use the Click Wheel to select a rating.
Connecting and Disconnecting iPod mini
You connect iPod mini to your computer to transfer and manage music, and, in most
cases, to charge the battery.
To connect iPod mini to your computer:
n
Plug the included iPod Dock Connector to USB 2.0 Cable in to a high-power USB 2.0
port on your computer, then connect the other end to iPod mini.
n
Or, if you have an iPod mini Dock (see page 21), connect the cable to a high-power USB
2.0 port on your computer and connect the other end to the Dock. Then put iPod mini
in the Dock.
Using iPod mini
19
Note:
If your computer doesn’t have a USB 2.0 port but has a FireWire 400 (IEEE 1394)
port, you can use an iPod Dock Connector to FireWire Cable (available for purchase at
www.ipod.com/store).
By default, iPod mini imports songs automatically when you connect it to your
computer. When this automatic transfer is done, you can disconnect iPod mini.
If you connect iPod mini to a different computer and it is set to transfer songs
automatically, iTunes prompts you before transferring any music.
Disconnecting iPod mini
You shouldn’t disconnect iPod mini while music is being transferred. You can easily see
if it’s OK to disconnect iPod mini by looking at the screen.
If you set iPod mini to transfer songs manually (see page 27) or enable iPod mini for
use as a hard disk (see page 36), you must eject iPod mini before disconnecting it.
If you see the main menu or
a large battery icon, you can
disconnect iPod mini from
your computer.
If you see this message,
you must eject iPod mini
before disconnecting it
from your computer.
20
Using iPod mini
To eject iPod mini:
n
Select iPod mini in the iTunes Source list and click the Eject button.
If you’re using a Mac,
you can also eject iPod mini by dragging the iPod mini icon on the
desktop to the Trash.
If you’re using a Windows PC,
you can eject iPod mini by clicking the Safely Remove
Hardware icon in the Windows system tray and selecting your iPod mini.
To disconnect iPod mini:
•
If iPod mini is connected to an iPod cable,
squeeze both sides of the Dock connector to
disconnect the cable from iPod mini.
•
If iPod mini is in the Dock,
simply remove it.
Important:
Don’t disconnect iPod mini if you see the “Do not disconnect” message. You
could damage files on iPod mini. If you see this message, you must eject iPod mini
before disconnecting it.
Eject button
Using iPod mini
21
Connecting iPod mini Using the iPod mini Dock
(Available Separately)
The iPod mini Dock holds iPod mini upright as it charges or transfers music. Connect
the Dock to your computer using the iPod Dock Connector to USB 2.0 Cable, then put
iPod mini in the Dock.
Using the iPod mini Dock, you can play music from iPod mini over external powered
speakers or a home stereo. You need an audio cable with a standard 3.5 millimeter
stereo miniplug (many external speakers have this type of cable attached).
22
Using iPod mini
To play music from iPod mini using the Dock:
1
Place iPod mini in the Dock.
2
Connect the speakers or stereo to the Dock Line Out port using an audio cable with a
3.5 millimeter stereo miniplug.
3
Use the iPod mini controls to play a song.
When the Dock is connected to an external audio source, use the volume controls on
the external source to change the volume.
Organizing and Transferring Your Music
For instructions for getting started playing music on iPod mini, see “Four Steps to
Playing Music on iPod mini” on page 8. Read on for more information about organizing
and transferring your music.
Line Out port
iPod connector
Using iPod mini
23
About iTunes
iTunes is the software application you use to manage the music on your computer and
transfer music to iPod mini. When you connect iPod mini to your computer, iTunes
opens automatically.
Here are some of the things you can do with iTunes:
•
Purchase and download songs and audiobooks from the iTunes Music Store
•
Listen to CDs and digital music
•
Add music from CDs to your music library, so you don’t need to have the CD
in the drive to play music
•
Make your own CDs (if your computer has a CD burner)
•
Publish your playlists to the iTunes Music Store
•
Listen to podcasts, downloadable radio-style shows delivered over the Internet
•
Create dynamic “Party Shuffle” playlists
•
Listen to Internet radio stations
This guide explains how to transfer songs to iPod mini using iTunes and manage songs
on iPod mini. For information about using the other features of iTunes, open iTunes
and choose Help > iTunes and Music Store Help.
24 Using iPod mini
About the iTunes Music Store
Using iTunes, you can preview, purchase, and download your favorite songs from the
iTunes Music Store (available in some countries only). There are over a million available
for purchase. You can use an Apple Account to purchase songs from the music store, or
if you have an America Online (AOL) account, you can use that (this option is available
in some countries only).
To browse for and purchase music:
1 Open iTunes and click Music Store in the Source list.
2 Click the Account button and follow the onscreen instructions to set up an account or
enter your existing Apple Account or AOL account information.
You can only have music from five different Music Store accounts on one iPod mini.
For more information about the iTunes Music Store, open iTunes and choose Help >
iTunes and Music Store Help.
Audio File Formats Supported by iPod mini
• AAC (M4A, M4B, M4P) (up to 320 Kbps)
• Apple Lossless (a high-quality compressed format, available using iTunes 4.5 or later)
• MP3 (up to 320 Kbps)
• MP3 Variable Bit Rate (VBR)
• WAV
• AA (audible.com spoken word, formats 2, 3, and 4)
• AIFF
Using iPod mini 25
A song encoded using Apple Lossless format has full CD-quality sound, but takes up
only about half the amount of space as a song encoded using AIFF or WAV format. The
same song encoded in AAC or MP3 format takes up even less space. When you import
music from a CD using iTunes, it is converted to AAC format by default.
If you are using a Windows PC, you can convert nonprotected WMA files to AAC or MP3
format. This can be useful if you have a library of music encoded in WMA format. For
more information, open iTunes and choose Help > iTunes and Music Store Help.
iPod mini does not support WMA, MPEG Layer 1, MPEG Layer 2 audio files, or
audible.com format 1.
About Playlists
Using iTunes, you can organize songs into playlists. For example, you can create a
playlist with songs to listen to while exercising or with songs for a particular mood.
You can create as many playlists as you like using any of the songs in your computer’s
music library. Putting a song in a playlist doesn’t remove it from the library.
When you connect and update iPod mini, the playlists are transferred to iPod mini. To
browse through playlists, select Music > Playlists on iPod mini.
26 Using iPod mini
About Smart Playlists
Using iTunes, you can automatically create customized Smart Playlists from the songs
in your library. You can create a Smart Playlist that includes only certain genres of
music, songs by certain artists, or songs that match particular criteria. For example, you
could create a playlist that’s no more than 3 gigabytes (GB) in size and includes only
songs you have rated 3 stars or higher (see “Rating Songs” on page 18).
After you create a Smart Playlist, any songs on iPod mini that meet the Smart Playlist’s
criteria are automatically added to the Smart Playlist.
Creating Playlists on Your Computer
To create a playlist:
n In iTunes, click the Add (+) button and type a name for the playlist, then drag songs
from the library or another playlist to the new playlist.
To create a Smart Playlist:
n In iTunes, choose File > New Smart Playlist and choose the criteria for your playlist. Any
songs from your library that match the criteria you choose are automatically added to
the playlist.
Transferring Songs and Playlists to iPod mini Automatically
By default, iPod mini updates automatically when you connect it to your computer.
iTunes updates the iPod mini music library to match the songs and playlists in your
computer’s music library, transferring new songs to iPod mini and deleting songs from
iPod mini that aren’t in your music library.
You can set iPod mini to transfer only certain songs in your iTunes music library. This is
useful if you have more music on your computer than will fit on your iPod mini.
Using iPod mini 27
To update iPod mini with only certain songs:
1 In iTunes, check the boxes next to songs you want to transfer (by default, all songs are
checked).
2 Select iPod mini in the iTunes Source list and click the Options button.
3 Select “Only update checked songs.”
To set iPod mini to update only selected playlists:
1 In iTunes, select iPod mini in the Source list and click the Options button.
2 Select “Automatically update selected playlists only.”
Transferring Songs and Playlists to iPod mini Manually
You can set iPod mini to transfer songs manually, so you can transfer individual songs
and playlists.
When iPod mini is set to transfer songs manually, iTunes won’t update it automatically
when you connect it to your computer.
Options button
28 Using iPod mini
To set iPod mini to transfer songs manually:
1 In iTunes, select iPod mini in the Source list and click the Options button.
2 Select “Manually manage songs and playlists.”
To transfer a song or playlist to iPod mini manually:
n In iTunes, drag a song or playlist to iPod mini in the Source list.
Deleting Songs and Playlists From iPod mini Manually
If you have set iPod mini to transfer songs manually (see above), you can delete songs
and playlists from iPod mini individually. Songs deleted from iPod mini manually are
not deleted from the iTunes library.
To delete a song or playlist from iPod mini:
1 Select iPod mini in the iTunes Source list.
2 Select a song or playlist and press the Delete key on the keyboard.
If you delete a playlist, the songs in the playlist remain on iPod mini.
Modifying Playlists on iPod mini
If you have set iPod mini to transfer songs manually (see above), you can create new
playlists on iPod mini, and add songs to or delete songs from playlists already on
iPod mini.
Options button
Using iPod mini 29
To create a new playlist on iPod mini:
1 Select iPod mini in the iTunes Source list and click the Add (+) button.
2 Drag songs to the new playlist.
To modify a playlist on iPod mini:
n Drag a song to a playlist on iPod mini to add the song. Select a song in a playlist and
press the Delete key on your keyboard to delete the song.
Listening to Spoken Word Audio
You can purchase and download spoken word audiobooks from the iTunes Music Store
(available in some countries only) or from audible.com and listen to them on your
iPod mini.
You can use iTunes to transfer audiobooks to your iPod mini the same way you transfer
songs.
If you stop listening to an audiobook on iPod mini and go back to it later, the
audiobook begins playing from where you left off.
Unless you’re playing songs from within playlists, iPod mini skips audiobooks when set
to shuffle.
Setting the Reading Speed
You can play audiobooks at speeds faster or slower than normal.
To set the playing speed of an audiobook:
n Select Settings > Audiobooks and select a speed.
Setting the reading speed only affects audiobooks purchased from the
iTunes Music Store or audible.com.
30
Using iPod mini
Listening to Podcasts
With iTunes 4.9, iPod mini supports listening to podcasts. Podcasts are downloadable
radio-style shows delivered over the Internet. You can subscribe to podcasts, download
them using the iTunes Music Store, transfer them to your iPod mini, and listen to them
at your convenience.
Podcasts are organized by shows, episodes within shows, and chapters within
episodes. If you stop listening to a podcast and go back to it later, the podcast begins
playing from where you left off.
To listen to a podcast:
1
Select Music > Podcasts, and then select a show.
2
Select an episode to play it.
The Now Playing screen displays the show, episode, and date information, along with
elapsed and remaining time. Press the Select button to see more information about
the podcast.
For more information on podcasts, in iTunes, choose Help > iTunes and Music Store
Help, and search for “podcasting.”
Using iPod mini 31
Updating Podcasts
You can transfer podcasts to your iPod mini, or you can set iPod mini to automatically
transfer all updated podcasts or selected podcasts.
To update podcasts:
1 In iTunes, select iPod mini in the Source list and click the Options button.
2 Click Podcasts and select one of the following options:
Seeing How Many Songs Are on iPod mini
To see how many songs are stored on iPod mini, how much disk space is left, and other
information, select Settings > About in the iPod mini main menu.
To Do This
Update all podcasts
automatically
Select “Automatically update all podcasts.”
iTunes updates the iPod podcast library to match the podcasts in
your computer's podcast library.
Update selected podcasts
automatically
Select “Automatically update selected podcasts only” and select
the checkboxes next to the podcasts you want to update.
iTunes transfers updates of your selected podcasts from the
podcast library on your computer to the iPod mini podcast
library.
Update podcasts yourself Select “Do not update podcasts.”
In iTunes, drag the latest episodes of shows from your podcast
library to your iPod mini.
32 Using iPod mini
Adjusting iPod mini Settings
You can change settings directly on iPod mini in the Settings menu.
Setting iPod mini to Shuffle Songs
You can set iPod mini to play songs or albums in random order.
To shuffle and begin playing all your songs:
n Select Shuffle Songs from the iPod mini main menu.
iPod mini begins playing songs from your entire music library in random order,
skipping audiobooks and podcasts.
To set iPod mini to shuffle songs or albums every time you play a song:
1 Select Settings from the iPod mini main menu.
2 Set Shuffle to Songs or to Albums.
When you set iPod mini to shuffle songs by selecting Settings > Shuffle, iPod mini
shuffles songs within the list (album or playlist, for example) from which the songs are
playing.
When you set iPod mini to shuffle albums, it plays all the songs on the first album in
the order in which they appear. iPod mini then randomly selects another album in the
list and plays those songs in order.
Setting iPod mini to Repeat Songs
You can set iPod mini to repeat a song over and over, or to repeat a sequence of songs.
iPod mini repeats songs within the list from which the songs are playing.
Using iPod mini 33
To set iPod mini to repeat songs:
n Select Settings from the iPod mini main menu.
• To repeat all songs in the list, set Repeat to All.
• To repeat one song over and over, set Repeat to One.
Setting the Click Wheel Sound
When you scroll through menu items, you can hear a clicking sound through the
iPod mini internal speaker to let you know the Click Wheel is working. You can set the
Click Wheel sound to play through the headphones instead, or you can turn it off.
To set how iPod mini plays the Click Wheel sound:
n Select Settings from the iPod mini main menu.
• To set the Click Wheel sound to play through the headphones, set Clicker to
Headphones.
• To turn off the Click Wheel sound, set Clicker to Off.
• To set the Click Wheel sound to play through the iPod mini internal speaker, set Clicker to
Speaker.
• To set the Click Wheel sound to play through both the iPod mini internal speaker and the
headphones, set Clicker to Both.
Setting Songs to Play at the Same Relative Volume Level
iTunes can automatically adjust the volume of songs, so they play at the same relative
volume level, so one song doesn’t seem unusually louder or softer than the next. You
can set iPod mini to use the iTunes volume settings.
34 Using iPod mini
To set iTunes to adjust all songs to play at the same relative sound level:
1 In iTunes, choose iTunes > Preferences if you are using a Mac, or choose
Edit > Preferences if you are using a Windows PC.
2 Click Effects and select Sound Check.
To set iPod mini to use the iTunes volume settings:
n Select Settings > Sound Check.
If you have not activated Sound Check in iTunes, setting it on iPod mini has no effect.
Using the iPod mini Equalizer
You can use equalizer presets to change iPod mini sound to suit a particular music
genre or style. For example, to make rock music sound better, set the equalizer to Rock.
n Select Settings > EQ and select an equalizer preset.
If you have assigned an equalizer preset to a song in iTunes and the iPod mini equalizer
is set to Off, then the song plays using the iTunes setting. See iTunes and Music Store
Help for more information.
Setting the Backlight Timer
You can set the backlight to turn on for a certain amount of time when you press a
button or use the Click Wheel.
n Select Settings > Backlight Timer and select the time you want.
Even if you don’t set the backlight timer, you can turn on the backlight at any time by
pressing and holding the Menu button on iPod mini or selecting Backlight from the
main menu. After a few seconds, the backlight turns off.
Using iPod mini 35
Adding or Removing Items From the Main Menu
You can add often-used items to the iPod mini main menu. For example, you can add a
“Songs” item to the main menu, so you don’t have to select Music before you select
Songs.
To add or remove items from the main menu:
n Select Settings > Main Menu.
Setting and Viewing Date and Time
To set the date and time:
n Select Settings > Date & Time.
To view the date and time:
n Select Extras > Clock.
To set iPod mini to display the time in the title bar:
n Select Settings > Date & Time.
If you set iPod mini to display the time in the title bar, you can see the time from any
iPod mini menu screen.
Setting the Language
iPod mini can be set to use different languages.
n Select Settings > Language and select a language.
36 Using iPod mini
Using the Extra Features of Your iPod mini
Using iPod mini as an External Hard Disk
You can use iPod mini as a hard disk, to store and transfer data files.
To enable iPod mini as a hard disk:
1 In iTunes, select iPod mini in the Source list and click the Options button.
2 Select “Enable disk use.”
When you use iPod mini as a hard disk, the iPod mini disk icon appears on the desktop
on the Mac, or as the next available drive letter in Windows Explorer on a Windows PC.
Note: Selecting “Manually manage songs and playlists” in the Options window also
enables iPod mini to be used as a hard disk.
Note: To transfer music files to iPod mini, you must use iTunes. Songs transferred via
iTunes do not appear on iPod mini in the Macintosh Finder or Windows Explorer.
Likewise, if you copy music files to iPod mini in the Macintosh Finder or Windows
Explorer, you won’t be able to play them on iPod mini.
Preventing iTunes From Opening Automatically
If you use iPod mini primarily as a hard disk, you may want to keep iTunes from
opening automatically when you connect iPod mini to your computer.
Options button
Using iPod mini 37
To prevent iTunes from opening automatically when you connect iPod mini
to your computer:
1 In iTunes, select iPod mini in the Source list.
2 Click the Options button and deselect “Open iTunes when attached.”
Setting the Sleep Timer
You can set iPod mini to turn off automatically after a specific period of time.
n Select Extras > Clock > Sleep Timer and select the time you want.
When you set the sleep timer, a clock icon and the number of minutes left until
iPod mini turns off appear in the Now Playing screen on iPod mini.
Setting the Alarm
You can use iPod mini as an alarm clock.
To set an alarm:
1 Select Extras > Clock > Alarm Clock.
2 Set Alarm to On.
3 Select a sound.
If you select Beep, the alarm will be audible through the internal speaker. If you
select a playlist, you’ll need to connect iPod mini to speakers or headphones to
hear the alarm.
Options button
38 Using iPod mini
Importing Addresses, Phone Numbers, Calendar Events,
and To-Do Lists
Your iPod mini can store contacts, calendar events, and to-do lists for viewing on the
go. If you are running any version of Mac OS X earlier than 10.4, you use a Mac and
iSync to update your information. Synchronizing information using iSync requires iSync
1.1 or later, and iCal 1.0.1 or later.
To import all information using a Mac and iSync (using Mac OS X v10.3.9 or earlier):
1 Connect iPod mini to your computer.
2 Open iSync and choose Devices > Add Device. You only need to do this step the
first time you use iSync with your iPod mini.
3 Select iPod mini and click Sync Now.
iSync transfers information from iCal and Mac OS X Address Book to your iPod mini.
The next time you want to sync iPod mini, you can simply open iSync and click
Sync Now. You can also choose to have iPod mini sync automatically when you connect
it.
Note: iSync transfers information from your computer to iPod mini. You can’t use iSync
to transfer information from your iPod mini to your computer.
If you are using Mac OS X v10.4 or later, you can use iTunes to synchronize your
Address Book contacts and iCal calendar information.
Using iPod mini 39
To import contact or calendar information (using Mac OS X v10.4 or later):
1 Connect iPod to your computer.
2 In iTunes, select iPod in the Source list and click the Options button.
To update contacts, click Contacts, click “Synchronize Address Book contacts,” and select
an option.
Options button
To Do This
Update all contacts
automatically
Select “Synchronize all contacts.”
When you click OK, iTunes updates iPod mini with the Address
Book contact information on your Mac.
Update selected groups of
contacts automatically
Select “Synchronize selected groups only” and select the
checkboxes next to the groups you want to update.
When you click OK, iTunes updates iPod mini with contact
information from your selected Address Book groups.
40 Using iPod mini
To update calendars, click Calendars, click “Synchronize iCal calendars,” and select an
option:
If you are using Windows, or you don’t want to use iSync to import your contacts or
calendar information, you can transfer information to iPod mini manually. iPod mini
must be enabled as a hard disk (see “Using iPod mini as an External Hard Disk” on
page 36).
To import contact information manually:
1 Connect iPod mini and open your favorite email or contacts application. Importing
contacts works with Palm Desktop, Microsoft Outlook, Microsoft Entourage, and
Eudora, among others.
2 Drag contacts from the application’s address book to the iPod mini Contacts folder.
To import appointments and other calendar events manually:
1 Export calendar events from any calendar application that uses the standard iCalendar
format (filenames end in .ics) or vCal format (filenames end in .vcs).
To Do This
Update all calendars
automatically
Select “Synchronize all calendars.”
When you click OK, iTunes updates iPod mini with the iCal
information on your Mac.
Update selected calendars
automatically
Select “Synchronize selected calendars only” and select the
checkboxes next to the calendars you want to update. When you
click OK, iTunes updates iPod mini with information from your
selected iCal calendars.
Using iPod mini 41
2 Drag the files to the Calendars folder on iPod mini.
Note: You can only transfer to-do lists to iPod mini using iSync and iCal.
To view contacts on iPod mini:
n Select Extras > Contacts.
To view calendar events:
n Select Extras > Calendar.
To view to-do lists:
n Select Extras > Calendar > To Do.
Storing and Reading Notes and Other Information
You can store and read text notes on iPod mini. iPod mini must be enabled as a hard
disk (see page 36).
1 Save a document in any word-processing application as a text (.txt) file.
2 Place the file in the Notes folder on iPod mini.
To view notes:
n Select Extras > Notes.
Playing Games
iPod mini has a number of games.
To play a game:
n Select Extras > Games and select a game.
42 Using iPod mini
Charging the iPod mini Battery
iPod mini has an internal, nonremovable battery. If iPod mini isn’t used for a while, the
battery may need to be charged.
The iPod mini battery is 80-percent charged in about an hour, and fully charged in
about four hours. If you charge iPod mini while transferring files or playing music, it
may take longer.
For more information about charging times under various conditions and
configurations, go to www.apple.com/support/ipod.
You can charge the iPod mini battery in two ways:
• Connect iPod mini to your computer.
• Use the optional iPod USB Power Adapter.
To charge the battery using your computer:
n Connect iPod mini to a high-power USB 2.0 port on your computer. The computer
must be turned on and not in sleep mode (some models of Macintosh can charge
iPod mini while in sleep mode).
If the battery icon in the upper-right corner of the iPod mini screen shows a lightning
bolt, the battery is charging.
If you don’t see the lightning bolt, iPod mini may not be connected to a high-power
USB 2.0 port. Try another USB port on your computer.
Using iPod mini 43
If you can’t charge using a USB port on your computer, you can charge the battery
using the optional iPod USB Power Adapter.
To charge the battery using the optional iPod USB Power Adapter:
1 Connect the AC plug adapter to the power adapter (this may already be assembled).
2 Connect the iPod Dock Connector to USB 2.0 Cable to the power adapter, and plug the
other end of the cable in to iPod mini.
3 Plug the power adapter in to a working electrical outlet.
The iPod USB Power Adapter is available for purchase at www.ipod.com/store.
Warning Make sure the power adapter is fully assembled before plugging it in to an
electrical outlet.
AC plug adapter
iPod USB Power Adapter
iPod Dock Connector
to USB 2.0 Cable
44 Using iPod mini
Battery States
When iPod mini is not connected to a power source, a battery icon in the top-right
corner of the iPod mini screen shows about how much charge is left.
If iPod mini is connected to a power source, the battery icon animates to show that the
battery is charging.
If you connect iPod mini to a power source and the battery icon does not animate, the
battery is fully charged.
You can disconnect and use iPod mini before it is fully charged.
Note: Rechargeable batteries have a limited number of charge cycles and may
eventually need to be replaced. Battery life and number of charge cycles vary by use
and settings. For more information, go to www.apple.com/batteries.
Battery about
halfway charged
Battery charging
Battery fully charged
(if not animated)
Using iPod mini 45
iPod mini Accessories
iPod mini comes with some accessories, and many other accessories are available at
www.ipod.com/store.
iPod mini Belt Clip
iPod mini comes with a handy belt clip. To use the belt clip, snap iPod mini into the
casing, then attach the clip to your belt, purse strap, backpack, or a lanyard. Do not
attach the clip directly to clothing. The belt clip may slip off.
Snap the iPod mini
into the belt clip.
Do not slide the iPod mini into the belt clip; the rubber
friction fitting may lose effectiveness over time.
46 Using iPod mini
iPod Remote (Available Separately)
To use the iPod Remote, connect it to the iPod Remote port, then connect the Apple
Earphones (or another set of headphones) to the remote. Use the buttons on the
remote just as you would use the iPod mini buttons.
Use the remote’s Hold switch to disable the remote’s buttons. If you see an orange bar,
the remote is set to Hold. The iPod mini Hold switch and the iPod Remote Hold switch
do not affect one another.
Using iPod mini 47
Apple Earphones
iPod mini comes with a pair of high-quality earbud headphones.
To use the earbud headphones:
n Plug them in to the Headphones port, then place the earbud in your ear as shown.
Warning Listening to music at high volume over extended periods of time can
damage your hearing.
The earphones
cord is adjustable.
Earphone covers
48 Using iPod mini
Available Accessories
To purchase iPod mini accessories, go to www.ipod.com/store.
Available accessories include:
• iPod mini Dock
• iPod mini Armband
• iPod USB Power Adapter
• iPod Remote + Earphones
• iPod In-Ear Headphones
• iPod Dock Connector to FireWire Cable
• iPod Stereo Connection Kit
• World Travel Adapter Kit
• Third-party accessories such as speakers, headsets, car stereo adapters, power
adapters, and more
49
1 Tips and Troubleshooting
Most problems with iPod mini can be solved quickly
by following the advice in this chapter.
Resetting iPod mini
Most problems with iPod mini can be solved by resetting it.
To reset iPod mini:
1 Toggle the Hold switch on and off (set it to Hold, then turn it off again).
2 Press and hold the Select and Menu buttons for at least 6 seconds, until the
Apple logo appears.
If iPod mini doesn’t have a charge, you must connect it to your computer, then reset it.
If Your iPod mini Won’t Turn On or Respond
• Make sure the Hold switch is off.
• If you’re using the iPod Remote, make sure the remote’s Hold switch is off.
• If that doesn’t work, turn your computer on and connect iPod mini. Your iPod mini
battery may need to be recharged.
• If that doesn’t work, your iPod mini may need to be reset (see above).
• If that doesn’t work, you may need to restore iPod mini software. See “iPod mini
Software Update and Restore” on page 54.
50 Tips and Troubleshooting
If You Want to Disconnect iPod mini, but the Screen Says
“Do Not Disconnect”
• If iPod mini is transferring music, wait for the transfer to complete.
• Select iPod mini in the iTunes Source list and click the Eject button.
• If iPod mini disappears from the iTunes Source list, but you still see the “Do Not
Disconnect” message on the iPod mini screen, go ahead and disconnect iPod mini.
• If iPod mini doesn’t disappear from the iTunes Source list, drag the iPod mini icon
from the desktop to the Trash (if you’re using a Mac) or click the Safely Remove
Hardware icon in the system tray and select your iPod mini (if you’re using a Windows
PC). If you still see the “Do Not Disconnect” message, restart your computer and eject
iPod mini again.
If Your iPod mini Isn’t Playing Music
• Make sure the Hold switch is off.
• If you’re using the iPod Remote, make sure the remote’s Hold switch is off.
• Make sure the headphones connector is pushed in all the way.
• Make sure the volume is adjusted properly.
• If that doesn’t work, push the Play/Pause button. Your iPod mini may be paused.
• If you’re using the iPod mini Dock, be sure the iPod mini is seated firmly in the Dock
and make sure all cables are connected properly.
• If you are using the Dock Line Out port, make sure your external speakers or stereo
are turned on and working properly.
Tips and Troubleshooting 51
If You Connect iPod mini to Your Computer and Nothing Happens
• Open iTunes manually. See if iPod mini appears in the iTunes Source list.
• Make sure you have installed the software from the iPod CD.
• Make sure you have the required computer and software. See “What You Need to Get
Started” on page 5.
• Your iPod mini may need to be reset (see page 49).
• Check the cable connections. Unplug the cable at both ends and make sure no
foreign objects are in the USB or FireWire ports. Then plug the cable back in securely.
Use only Apple iPod cables. Be sure the connectors on the cables are oriented
correctly. They can only be inserted one way.
• If your iPod mini is exceptionally low on power and you connect it to a USB 2.0 port,
it may charge for up to 30 minutes before you can use it. Leave iPod mini connected
at least until the battery icon animates.
• If you’re connecting iPod mini to a portable or laptop computer using the iPod Dock
Connector to USB 2.0 Cable, connect the computer to a power outlet before
connecting iPod mini.
• If that doesn’t work, restart your computer.
• If that doesn’t work, you may need to restore iPod mini software. See “iPod mini
Software Update and Restore” on page 54.
52 Tips and Troubleshooting
If You See a Folder With an Exclamation Point on the iPod mini
Display
• iPod mini may need to be reset (see page 49).
• If that doesn’t work, the battery may need to be recharged. Turn on your computer
and connect iPod mini. If you still see the folder, reset iPod mini again.
• If that doesn’t work, you may need to update or restore iPod mini with the latest
software. Be sure you have installed the software from the iPod CD, or go to
www.apple.com/ipod to get the latest software. Then follow the instructions on
page 55 to update or restore iPod mini.
If You Connect iPod mini to a USB Port and It Doesn’t Work
Correctly
• You must use a USB 2.0 port or a FireWire port to connect iPod mini. USB 1.1 is not
supported and is significantly slower than FireWire and USB 2.0. If your Windows PC
doesn’t have a FireWire port or USB 2.0 port, you can purchase and install a Windowscertified
USB 2.0 card and install it. For more information, go to www.apple.com/ipod.
• If you’re using a Mac or a Windows PC that doesn’t have a high-power USB 2.0 port
but has a 6-pin FireWire port, you can connect iPod mini to a FireWire port using the
optional iPod Dock Connector to FireWire Cable, available at www.ipod.com/store.
• To charge the battery, you must connect iPod mini to a high-power USB 2.0 port on
your computer. Connecting iPod mini to a USB port on your keyboard will not charge
the battery.
Tips and Troubleshooting 53
• If your iPod mini is exceptionally low on power and you connect it to a USB 2.0 port,
it may charge for up to 30 minutes before you can use it. Leave iPod mini connected
at least until the battery icon animates.
• If you’re connecting iPod mini to a portable or laptop computer using the iPod Dock
Connector to USB 2.0 Cable, connect the computer to a power outlet before
connecting iPod mini.
If the Screen Is Too Light or Too Dark
1 Select Settings > Contrast.
2 Use the Click Wheel to adjust the contrast.
If you accidentally set the screen contrast too light or too dark, you can reset it to the
default by pressing and holding the Menu button for about 4 seconds.
If You Accidentally Set iPod mini to Use a Language You Don’t
Understand
You can reset the language.
1 Push Menu repeatedly until the main menu appears.
2 Select the third menu item (Settings).
3 Select the last menu item (Reset All Settings).
4 Select the second menu item (Reset) and select a language.
Other iPod mini settings, such as song repeat, are also reset.
Note: If you have added or removed items from the iPod mini main menu (see
page 35), the Settings menu may be in a different place.
54 Tips and Troubleshooting
If Your Optional iPod Remote Isn’t Working
• Make sure the remote’s Hold switch is off.
• Make sure the remote is plugged firmly in to iPod mini, and that the headphones are
plugged firmly in to the remote.
The iPod Remote can be purchased separately at www.ipod.com/store.
If You Want to Use Your iPod mini With a Mac and a Windows PC
If you are using your iPod mini with a Mac and you want to use it with a Windows PC
(or vice versa), you must restore the iPod mini software for use with the other
computer using iPod mini Software Update (see “iPod mini Software Update and
Restore” below). Restoring the iPod mini software erases all data from iPod mini,
including all songs.
You cannot switch from using iPod mini with a Mac to using it with a Windows PC (or
vice versa) without erasing all data on iPod mini.
iPod mini Software Update and Restore
Apple periodically updates iPod mini software to improve performance or add features.
It is recommended that you update your iPod mini to use the latest software.
You can choose either to update or to restore the iPod mini software.
• If you choose to update, the software is updated, but your settings and songs are not
affected.
• If you choose to restore, all data is erased from your iPod mini, including songs, files,
contacts, photos, calendar information, and any other data. All iPod mini settings are
restored to their original state.
Tips and Troubleshooting 55
To update or restore iPod mini with the latest software:
1 Go to www.apple.com/support/ipod and download the latest iPod mini Update.
2 Double-click the software install file and follow the onscreen instructions to install the
iPod mini Update.
3 Connect iPod mini to your computer and open iTunes. The iPod mini Update
application opens.
If you’re using a Windows PC and the iPod mini Update application doesn’t open
automatically, you can find the updater by choosing Start > All Programs > iPod mini.
4 Follow the onscreen instructions to update or restore iPod mini software.
If you use the iPod mini Update application and it doesn’t see that iPod mini is
connected to your computer, reset iPod mini (see page 49).
If you want to restore iPod mini software and you don’t have an Internet connection,
you can use the iPod mini Update that was installed on your computer when you
installed the software from the iPod CD.
To restore iPod mini software using the updater that came on your iPod CD:
• If you have a Mac, you can find the updater in Applications/Utilities/iPod Software
Updater.
• If you have a Windows PC, you can find the updater by choosing
Start > All Programs > iPod.
56
1 Learning More,
Service, and Support
There is more information about using iPod mini in
onscreen help, and on the web.
Onscreen Help for Other iPod Applications
• To learn more about using iTunes, open iTunes and choose
Help > iTunes and Music Store Help.
• To learn more about using iSync (on Mac OS X), open iSync and choose
Help > iSync Help.
• To learn more about using iCal (on Mac OS X), open iCal and choose
Help > iCal Help.
Online Resources
For the latest information on iPod mini, go to www.apple.com/ipodmini.
For an online iPod tutorial, iPod mini service and support information, and the latest
Apple software downloads, go to www.apple.com/support/ipod.
To register iPod mini (if you didn’t do it when you installed software from the iPod CD),
go to www.apple.com/register.
For an online iTunes tutorial (available in some areas only), go to
www.apple.com/support/itunes.
Learning More, Service, and Support 57
Obtaining Warranty Service
If the product appears to be damaged or does not function properly, please follow
the advice in this booklet, the onscreen help, and the online resources.
If the unit still does not function, go to www.apple.com/support for instructions on
how to obtain warranty service.
Finding the Serial Number of Your iPod mini
The serial number is printed on the back of your iPod mini. You can also find it by
selecting Settings > About.
58
1 Safety and Cleaning
Read on to learn about using iPod mini safely and
cleaning iPod mini.
Cleaning
Follow these general rules when cleaning the outside of your iPod mini and its
components:
• Make sure your iPod mini is unplugged.
• Use a damp, soft, lint-free cloth. Avoid getting moisture in openings.
• Don’t use aerosol sprays, solvents, alcohol, or abrasives.
About Handling
Your iPod mini may be damaged by improper storage or handling. Be careful not to
drop your iPod mini when playing or transporting the device.
Important Safety Instructions
When setting up and using your iPod mini, remember the following:
• Keep these instructions handy for reference by you and others.
• Follow all instructions and warnings dealing with your iPod mini.
Safety and Cleaning 59
Avoid Hearing Damage
Do Not Use While Driving
Important: Use of headphones while operating a vehicle is not recommended and is
illegal in some areas. Be careful and attentive while driving. Stop listening to your
iPod mini if you find it disruptive or distracting while operating any type of vehicle or
performing any other activity that requires your full attention.
Connectors and Ports
Never force a connector into a port. If the connector and port do not join with
reasonable ease, they probably don’t match. Make sure that the connector matches the
port and that you have positioned the connector correctly in relation to the port.
About Operating and Storage Temperatures
• Operate your iPod mini in a place where the temperature is always between 0º and
35º C (32º to 95º F).
Warning Electrical equipment may be hazardous if misused. Operation of this
product, or similar products, must always be supervised by an adult. Do not allow
children access to the interior of any electrical product and do not permit them to
handle any cables.
Warning Permanent hearing loss may occur if earbuds or headphones are used at
high volume. You can adapt over time to a higher volume of sound, which may sound
normal but can be damaging to your hearing. Set your iPod mini volume to a safe
level before that happens. If you experience ringing in your ears, reduce the volume
or discontinue use of your iPod mini.
60 Safety and Cleaning
• Store your iPod mini in a place where the temperature is always between –20º and
45º C (–4º to 113º F). Don’t leave iPod mini in your car, since temperatures in parked
cars can exceed this range.
• iPod mini play time may temporarily shorten in low-temperature conditions.
• When you’re using your iPod mini or charging the battery, it is normal for the bottom
of the case to get warm. The bottom of the iPod mini case functions as a cooling
surface that transfers heat from inside the unit to the cooler air outside.
Avoid Wet Locations
• Keep your iPod mini away from sources of liquids, such as drinks, washbasins,
bathtubs, shower stalls, and so on.
• Protect your iPod mini from direct sunlight and rain or other moisture.
• Take care not to spill any food or liquid on iPod mini. If you do, unplug iPod mini
before cleaning up the spill.
In case of a spill, you may have to send your equipment to Apple for service. See
“Learning More, Service, and Support” on page 56.
Do Not Make Repairs Yourself
For service, see “Learning More, Service, and Support” on page 56.
Warning To reduce the chance of shock or injury, do not use your iPod mini in or near
water or wet locations.
Warning Do not attempt to open your iPod mini, disassemble it, or remove the
battery. You run the risk of electric shock and voiding the limited warranty. No userserviceable
parts are inside.
61
Communications Regulation Information
FCC Compliance Statement
This device complies with part 15 of the FCC
rules. Operation is subject to the following two
conditions: (1) This device may not cause
harmful interference, and (2) this device must
accept any interference received, including
interference that may cause undesired
operation. See instructions if interference to
radio or television reception is suspected.
Radio and Television Interference
This computer equipment generates, uses, and
can radiate radio-frequency energy. If it is not
installed and used properly—that is, in strict
accordance with Apple’s instructions—it may
cause interference with radio and television
reception.
This equipment has been tested and found to
comply with the limits for a Class B digital
device in accordance with the specifications in
Part 15 of FCC rules. These specifications are
designed to provide reasonable protection
against such interference in a residential
installation. However, there is no guarantee that
interference will not occur in a particular
installation.
You can determine whether your computer
system is causing interference by turning it off.
If the interference stops, it was probably caused
by the computer or one of the peripheral
devices.
If your computer system does cause
interference to radio or television reception, try
to correct the interference by using one or more
of the following measures:
• Turn the television or radio antenna until the
interference stops.
• Move the computer to one side or the other
of the television or radio.
• Move the computer farther away from the
television or radio.
• Plug the computer in to an outlet that is on a
different circuit from the television or radio.
(That is, make certain the computer and the
television or radio are on circuits controlled by
different circuit breakers or fuses.)
If necessary, consult an Apple-authorized service
provider or Apple. See the service and support
information that came with your Apple product.
Or, consult an experienced radio/television
technician for additional suggestions.
62
Important: Changes or modifications to this
product not authorized by Apple Computer, Inc.
could void the EMC compliance and negate
your authority to operate the product.
This product was tested for EMC compliance
under conditions that included the use of Apple
peripheral devices and Apple shielded cables
and connectors between system components.
It is important that you use Apple peripheral
devices and shielded cables and connectors
between system components to reduce the
possibility of causing interference to radios,
television sets, and other electronic devices. You
can obtain Apple peripheral devices and the
proper shielded cables and connectors through
an Apple Authorized Reseller. For non-Apple
peripheral devices, contact the manufacturer or
dealer for assistance. Responsible party (contact
for FCC matters only): Apple Computer, Inc.
Product Compliance, 1 Infinite Loop M/S 26-A,
Cupertino, CA 95014-2084, 408-974-2000.
Industry Canada Statement
This Class B device meets all requirements of the
Canadian interference-causing equipment
regulations.
Cet appareil numérique de la classe B respecte
toutes les exigences du Règlement sur le
matériel brouilleur du Canada.
VCCI Class B Statement
European Community
Complies with European Directives 72/23/EEC
and 89/336/EEC.
Apple and the Environment
At Apple, we recognize our responsibility to
minimize the environmental impacts of our
operations and products. For more information,
go to www.apple.com/environment/
summary.html.
Battery
Your iPod mini contains a battery. If you have
problems with battery life, be sure to update
iPod mini with the latest software. If you still
have problems, go to www.applecom/support.
Dispose of iPod mini according to your local
environmental laws and guidelines.
Taiwan:
Deutschland: Dieses Gerät enthält Batterien.
Bitte nicht in den Hausmüll werfen. Entsorgen
Sie dieses Gerätes am Ende seines Lebenszyklus
entsprechend der maßgeblichen gesetzlichen
Regelungen.
Nederlands: Gebruikte batterijen kunnen
worden ingeleverd bij de chemokar of in een
speciale batterijcontainer voor klein chemisch
afval (kca) worden gedeponeerd.
© 2005 Apple Computer, Inc. All rights reserved.
Apple, the Apple logo, FireWire, iCal, iPod, iTunes,
Mac, Macintosh, and Mac OS are trademarks of
Apple Computer, Inc., registered in the U.S. and
other countries. Finder and the FireWire logo are
trademarks of Apple Computer, Inc. iTunes Music
Store is a service mark of Apple Computer, Inc.,
registered in the U.S. and other countries.
Final Cut Pro X
Guide de l’utilisateur
KK
Apple Inc.
Copyright © 2013 Apple Inc. Tous droits réservés.
Vos droits sur le logiciel sont régis par le contrat de licence du logiciel annexé. Les propriétaires ou utilisateurs autorisés d’une copie valide du logiciel Final Cut Pro ont le droit de reproduire cette publication afin d’apprendre à utiliser le logiciel en question. En revanche, il est interdit de reproduire ou de transmettre cette publication, même partiellement, à des fins commerciales telles que la vente de copies ou la prestation de services d’assistance payants.
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Tous les efforts nécessaires ont été mis en oeuvre pour que les informations contenues dans ce manuel soient les plus exactes possibles. Apple n’est pas responsable des erreurs survenues lors de l’impression ou de la copie.
Remarque : Apple mettant fréquemment à disposition de nouvelles versions et des mises à jour de son logiciel système, de ses applications et de ses sites Internet, les illustrations présentes dans ce manuel peuvent présenter de légères différences avec ce qui apparaît sur votre écran.
Apple
1 Infinite Loop
Cupertino, CA 95014
408-996-1010
www.apple.com/fr
Apple, le logo Apple, Aperture, Apple TV, Final Cut, Final Cut Pro, Finder, FireWire, GarageBand, iLife, iMovie, iPad, iPhone, iPhoto, iPod, iSight, iTunes, iWork, Keynote, Logic, Mac, Mac OS, OS X, QuickTime et Xsan sont des marques d’Apple Inc., déposées aux États-Unis et dans d’autres pays.
Multi-Touch est une marque d’Apple Inc.
Adobe et Photoshop sont des marques ou des marques déposées d’Adobe Systems Incorporated aux États-Unis et/ou dans d’autres pays.
Intel, Intel Core et Xeon sont des marques d’Intel Corp. déposées aux États-Unis et dans d’autres pays.
iOS est une marque commerciale ou une marque de Cisco, déposée aux États-Unis et dans d’autres pays et utilisée sous licence.
Thunderbolt et le logo Thunderbolt sont des marques d’Intel Corporation déposées aux États-Unis et dans d’autres pays.
Le logo YouTube est une marque de Google Inc.
Photos de production du film « Koffee House Mayhem »
utilisées avec l’aimable autorisation de Jean-Paul Bonjour. « Koffee House Mayhem » © 2004 Jean-Paul Bonjour. Tous droits réservés. http://www.jeanpaulbonjour.com
Photos de production de l’Audi R8 : circuit fermé avec des pilotes portant un équipement de sécurité. Ne pas reproduire sur la voie publique ; toujours respecter le code de la route local. Les marques d’Audi sont utilisées avec l’autorisation d’Audi of America, Inc.
Les autres noms de sociétés ou de produits mentionnés ici sont des marques de leurs détenteurs respectifs. Toute mention de produits de tierce partie n’est qu’à titre informatif et ne constitue ni une approbation, ni une recommandation. Apple se dégage de toute responsabilité en ce qui concerne les performances ou l’usage de ces produits.
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Table des matières
3
10 Chapitre 1 : Nouveautés de Final Cut Pro ?
10 Nouveautés de Final Cut Pro 10.0.6
12 Nouveautés de Final Cut Pro 10.0.3
13 Nouveautés de Final Cut Pro 10.0.1
14 Chapitre 2 : Notions élémentaires Final Cut Pro
14 Qu’est-ce que Final Cut Pro ?
15 Vue d’ensemble des flux de production Final Cut Pro X.
16 Vue d’ensemble de l’interface Final Cut Pro X.
18 Fichiers de média et plans
19 Événements et projets
21 Chapitre 3 : Importation de média
21 Présentation de l’importation
22 S’il s’agit de votre première importation
22 Importation à partir des caméras connectées
22 Importation à partir des caméras à système de fichiers
26 Importation de plans étendus
29 Importation à partir d’un iPhone, d’un iPad ou d’un iPod touch
31 Importation à partir d’un appareil photo numérique
31 Importation à partir des caméras à bande
33 Si votre caméra ou dispositif n’est pas reconnu
34 Importation à partir d’autres applications
34 Importation à partir de Motion
35 Importation à partir d’iMovie
35 Importation à partir d’iPhoto et d’Aperture
36 Importation à partir d’iTunes
37 Importation à partir de dispositifs
37 Importation à partir d’un disque dur
40 Accès aux médias sur une archive ou une image disque
41 Organisation des fichiers lors de l’importation
42 Importation pendant l’enregistrement
43 À propos des cartes mémoire et des câbles
45 Formats de média pris en charge
46 Importation et réglage de fichiers vidéo REDCODE RAW
49 Chapitre 4 : Analyser les données
49 Présentation de l’analyse des données
49 Options d’analyse des vidéos et des images fixes
50 Options d’analyse audio
51 Analyser vos données
53 Afficher les mots-clés d’analyse sur les plans
Table des matières 4
55 Chapitre 5 : Organisation de votre média
55 Présentation des événements et des plans
56 Organisation des événements
56 Création d’un événement
56 Attribution d’un nouveau nom à un événement
56 Fusion ou scission d’événements
57 Copie et déplacement de plans entre les événements
58 Copie ou déplacement d’événements
60 Tri des événements
61 Suppression de plans ou d’événements
61 Organisation des plans
61 Affichage et tri des plans
66 Modification du nom des plans
67 Classement des plans comme Favoris ou Rejetés
69 Ajout de mots-clés aux plans
72 Ajout ou modification de notes de plan
73 Organisation des plans en fonction des rôles
73 Recherche de plans dans le navigateur d’événements
76 Enregistrement des recherches sous forme de collections intelligentes
77 Organisation des mots-clés et des collections intelligentes
78 Chapitre 6 : Lecture et survol du média
78 Présentation de la lecture et du survol
79 Lecture du média
81 Survol du média
83 Lecture et survol du média dans le visualiseur d’événements
84 Lecture sur un deuxième écran
85 Lecture sur un moniteur externe
86 À propos du rendu en arrière-plan
87 Chapitre 7 : Création et gestion de projets
87 Création d’un projet
88 Preview et ouverture d’un projet
89 Modification du nom et des propriétés d’un projet
92 Organisation des projets dans la bibliothèque de projets
96 Enregistrement des projets
97 Chapitre 8 : Montage de votre projet
97 Présentation du montage
97 Sélection de plans et de plages
97 À propos des sélections et des pellicules de film
98 Sélection d’un ou plusieurs plans
100 Sélection d’une plage
103 Gestion de plusieurs sélections de plage dans des plans d’événement
106 Ajout et suppression de plans
106 Présentation de l’ajout de plans
107 Glissement de plans vers la timeline
107 Ajout de plans à votre projet
108 Insertion de plans dans votre projet
110 Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés
115 Écrasement de certaines parties de votre projet
Table des matières 5
116 Remplacement d’un plan par un autre dans votre projet
118 Ajout et montage d’images fixes
120 Création d’images figées
121 Ajout de plans en mode vidéo uniquement ou audio uniquement
122 Suppression de plans du projet
123 Isolement, désactivation et activation de plans
124 Recherche d’un plan source d’un plan de la timeline
124 Disposition des plans dans la timeline
130 Coupe et trim des plans
130 Présentation du trim
130 Coupe de plans à l’aide de l’outil Lame de rasoir
132 Extension ou raccourcissement d’un plan
138 Réalisation de montages Roll à l’aide de l’outil Trim
140 Réalisation de montages par coulissage à l’aide de l’outil Trim
143 Réalisation de montages par glissement à l’aide de l’outil Trim
145 Affichage détaillé des commentaires sur le trimming
145 Affichage et navigation
145 Zoom et défilement dans la timeline
147 Ajustement des réglages de la timeline
150 Navigation au sein de votre projet
151 Navigation à l’aide du timecode
152 Utilisation de l’index de la timeline pour afficher votre projet, y naviguer et effectuer des recherches
156 Utilisation de marqueurs
156 Présentation des marqueurs
156 Ajout et suppression de marqueurs
158 Modification, déplacement et accès à des marqueurs
160 Gestion des marqueurs de chapitre et de leur vignette
161 Correction des problèmes de tremblement excessif et d’obturateur roulant
164 Chapitre 9 : Montage audio
164 Présentation de l’audio
165 Notions élémentaires sur le montage audio
165 À propos des formes d’onde audio
165 À propos des canaux audio et des composants audio
166 Différentes manières d’afficher des clips audio
169 Affichage des formes d’onde audio au niveau de l’échantillon audio
170 Affichage et correction des niveaux audio
172 Isolement et désactivation des clips audio
173 Ajout de l’audio
173 Ajout de la musique et du son
173 Enregistrement de l’audio
175 Modification de clips audio ou de composants audio
175 Vue d’ensemble du montage audio
176 Configuration des canaux audio
179 Ajustement du volume
181 Application d’un fondu entrant ou sortant à l’audio
184 Balance audio
187 Exemples de montage audio multicanal
193 Utilisation de rôles pour organiser des plans et exporter des fichiers audio
194 Ajout et ajustement d’effets audio
194 Ajout d’effets audio
196 Ajustement des effets audio
200 Ajustement des effets audio à l’aide d’images clés
207 Outils et techniques audio
207 Amélioration de l’audio
209 Synchronisation automatique de l’audio et de la vidéo
211 Correspondance des réglages d’égalisation audio
211 Conservation de la tonalité lors de la resynchronisation des plans
212 Chapitre 10 : Ajout de transitions, de titres, d’effets et de générateurs
212 Présentation des transitions, des titres, des effets et des générateurs
213 Ajout et réglage de transitions
213 Présentation des transitions
213 Création des transitions
214 Définition des valeurs par défaut de transition
215 Ajout de transitions au projet
217 Suppression de transitions du projet
217 Ajustement des transitions sur la timeline
219 Ajustement des transitions dans l’inspecteur de transition et dans le visualiseur
220 Ajustement des transitions avec plusieurs images
221 Création de versions de transitions spécialisées dans Motion
222 Ajout et réglage de titres
222 Présentation des titres
222 Ajout de titres au projet
223 Réglage des titres
227 Suppression de titres du projet
227 Recherche et remplacement de texte dans un projet
228 Ajustement d’effets intégrés
228 Présentation des effets intégrés
228 Redimensionnement, déplacement et rotation de plans
229 Trim de plans
231 Rognage de plans
232 Panoramique et zoom des plans avec l'effet Ken Burns
233 Inclinaison de la perspective d’un plan
235 Manipulation d’effets intégrés
240 Ajout et réglage des effets de plans
240 Présentation des effets de plans
240 Ajout d’effets au projet
241 Réglage d’effets dans Final Cut Pro
243 Modification de l’ordre des effets
244 Copie d’effets et d’attributs entre des plans
245 Désactivation ou suppression d’un effet d’un plan
246 Création de versions d’effets vidéo spécialisées dans Motion
246 Ajout de générateurs
246 Présentation des générateurs
247 Utilisation d’un repère d’emplacement
248 Usage d’un compteur de timecode
248 Utilisation d’une forme
249 Utilisation d’un arrière-plan
250 Création de versions de générateurs spécialisées dans Motion
250 À propos des thèmes
Table des matières 6
251 Usage des commandes à l’écran
251 Présentation des commandes à l’écran
251 Affichage ou masquage des commandes à l’écran
252 Exemples de commandes à l’écran
256 Utilisation de l’éditeur d’animation vidéo
256 Présentation de l’animation vidéo
256 Ajustement d’effets vidéo à l’aide d’images clés
262 Ajustement des courbes d’effet à l’aide des poignées de fondu ou d’une animation avec des images clés
266 Chapitre 11 : Montage avancé
266 Regroupement des plans et des plans composés
266 Présentation des plans composés
268 Création et division de plans composés
272 Gestion des plans composés
274 Ajout de scénarios
277 Ajustement des montages à l’aide de l’éditeur de précision
280 Création de montages scindés
284 Réalisation de montages à trois points
284 Présentation du montage à trois points
286 Exemples de montage à trois points
291 Essai de plans à l’aide des auditions
291 Présentation des auditions
292 Création d’auditions pour essayer des plans
293 Ajout et suppression de plans dans les auditions
295 Utilisation d’auditions pour essayer des plans dans votre projet
298 Resynchronisation de plans pour créer des effets de vitesse
298 Présentation de la resynchronisation de plans
298 Modification de la vitesse du plan
303 Inversion ou rembobinage des plans
304 Création de ralentis instantanés
305 Création d’un segment de suspension
306 Restauration de la vitesse normale des plans resynchronisés
306 Adaptation des tailles d’images et des fréquences d’images
310 Utilisation de rôles pour gérer des plans
310 Présentation des rôles
311 Affichage et réattribution de rôles
314 Création de sous-rôles et de rôles personnalisés
316 Affichage des plans en fonction du rôle dans la timeline
319 Utilisation de rôles pour exporter des stems
319 Utilisation de fichiers XML pour transférer des projets et des événements
320 Montage de plans multicam
320 Présentation du montage multicam
321 Flux de production de montage multicam
322 Importation de média pour un montage multicam
323 Attribution du nom des caméras et des angles multicam
324 Création de plans multicam dans le navigateur d’événements
329 Coupe et passage d’un angle à l’autre dans le visualiseur d’angle
337 Synchronisation et ajustement des angles et des plans dans l’éditeur d’angles
344 Montage de plans multicam sur la timeline et l’inspecteur
346 Conseils et astuces applicables aux montages multicam
Table des matières 7
348 Chapitre 12 : Incrustation et compositing
348 Incrustation
348 Présentation de l’incrustation
348 Utilisation des incrustations chromatiques
359 Utilisation des incrustations en luminance
364 Finalisation de l’incrustation
367 Compositing
367 Présentation du compositing
367 Utilisation des canaux alpha
369 Utilisation des réglages de compositing
371 Chapitre 13 : Étalonnage
371 Présentation de l’étalonnage
372 Analyse et balance automatique des couleurs
372 Présentation de la balance des couleurs
372 Analyse de la balance des couleurs d’un plan
373 Équilibrage des couleurs d’un plan
374 Correspondance automatique des couleurs entre les plans
375 Ajustement manuel des couleurs
375 Présentation de l’étalonnage manuel
375 Étalonnage sur toute l’image
378 Choix d’une couleur spécifique comme cible à l’aide d’un masque de couleur
380 Ciblage de zones spécifiques à l’aide de masques de forme
383 Ajout de masques de formes à un masque de couleur
384 Application de plusieurs étalonnages
385 Ajout d’une transition entre des étalonnages
385 Enregistrement et application de préréglages d’étalonnage
386 Activation et désactivation des ajustements iMovie
386 Mesure de niveaux vidéo
386 Présentation des instruments vidéo
387 Utilisation des instruments vidéo
388 Options d’affichage de l’oscilloscope
390 Options d’affichage du vecteurscope
391 Options d’affichage de l’histogramme
394 Chapitre 14 : Partage de votre projet
394 Présentation du partage de projets
395 Partage de projets, de plans et de plages
400 Modification des attributs de partage
403 Exportation d’un projet par le biais de Compressor
404 État des projets partagés
404 Présentation de l’état de projets partagés
405 Accès, annonce et affichage de l’emplacement des projets partagés
406 Suppression de projets partagés
407 Chapitre 15 : Gestion des fichiers de média
407 Présentation de la gestion de média
407 Emplacement de vos fichiers de média et de projet
409 Gestion de vos fichiers de média
409 Affichage des informations relatives à un plan
410 Reconnexion de plans à des fichiers de média
Table des matières 8
415 Transcodage des fichiers de média
418 Affichage des tâches d’arrière-plan
419 Suppression des fichiers de rendu pour libérer de l’espace disque
419 Gestion de vos fichiers d’événements et de projets
419 Avant de déplacer ou de copier des événements et des projets
420 Consolidation des fichiers de média d’un projet
421 Sauvegarde des projets, des événements et de votre bibliothèque de projets
424 Montage de votre projet sur un ordinateur différent
428 Utilisation d’emplacements SAN pour des événements et des projets
429 Création et gestion des archives de caméra
432 Solutions aux problèmes communs des gestions des médias
432 Icônes d’avertissement
434 Problèmes courants relatifs à la gestion des médias
436 Chapitre 16 : Préférences et métadonnées
436 Présentation des préférences et des métadonnées
436 Préférences Final Cut Pro
436 Modification des réglages de préférences
437 Modification des préférences
438 Préférences de lecture
440 Préférences d’importation
441 Préférences de destinations
447 Utilisation de destinations
451 Utilisation de métadonnées
451 Affichage et modification des métadonnées de plans
453 Modification de présentations de métadonnées
455 Modification de noms de plans par lot
458 Chapitre 17 : Raccourcis clavier et gestes
458 Présentation des raccourcis clavier et des gestes Multi-Touch
458 Raccourcis clavier
473 Gestes Multi-Touch
474 Personnalisation des raccourcis clavier
474 Affichage des raccourcis clavier dans l’éditeur de commandes
477 Modification des raccourcis clavier dans l’éditeur de commandes
478 Exportation et importation d’ensembles de raccourcis dans l’éditeur de commandes
480 Glossaire
Table des matières 9
1
10
Nouveautés de Final Cut Pro 10.0.6
Final Cut Pro 10.0.6 prévoie de nombreuses fonctionnalités nouvelles et améliorations qui sont abordées plus en détail ci-dessous.
Montage audio multicanal avancé
Final Cut Pro regroupe automatiquement les canaux audio en composants audio en fonction de la configuration des canaux pour le plan. Vous pouvez désormais développer la partie audio de plans pour afficher et monter des composants audio jusqu’au niveau des différents canaux. Vous avez la possibilité de modifier des composants audio de plusieurs façons parmi lesquelles :
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régler le volume ou le panoramique ;
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désactiver ou supprimer des plages dans un composant audio pour supprimer rapidement les sons indésirables ;
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appliquer et régler des effets audio ;
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ajouter ou supprimer des composants audio d’un plan multicam.
Pour en savoir plus, consultez Vue d’ensemble du montage audio à la page 175.
Partage et exportation rationalisés
Le partage de votre travail une fois terminé s’avère plus simple et flexible dans Final Cut Pro 10.0.6. Les destinations, des séries de réglages d'exportation préconfigurés, vous permettent de publier rapidement un projet ou un plan sur un site web de partage, de les exporter pour les consulter sur un iPad ou un iPhone, ou de les graver sur un disque. Final Cut Pro est fourni avec une palette de destinations que vous pouvez modifier. Vous pouvez également en créer.
Le flux de production simplifié et rationalisé comprend les améliorations suivantes :
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des menus simplifiés et consolidés que vous pouvez remplir de destinations personnalisées ;
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des lots de destinations réutilisables qui permettent de partager plusieurs sorties et emplacements à la fois ;
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le partage automatique des métadonnées de projet et de plan, avec la possibilité de personnaliser les métadonnées partagées ;
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la prise en charge de multiples comptes sur des sites web de partage de vidéo tels que YouTube ;
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un partage et une exportation plus rapides en s’appuyant sur le traitement en arrière-plan et sur le processeur graphique ;
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Partage d'une plage sélectionnée dans un projet dans la timeline ou dans un plan situé dans le navigateur d’événements.
Pour en savoir plus, consultez Présentation du partage de projets à la page 394.
Nouveautés de Final Cut Pro ?
Chapitre 1 Nouveautés de Final Cut Pro ? 11
Importation unifiée
D’emploi plus simple, la nouvelle fenêtre unifiée Importation des médias offre un même emplacement pour tous vos besoins en importation. Final Cut Pro 10.0.6 propose des zones dédiées pour les caméras et les appareils branchés, à système de fichiers comme à bande, ainsi qu’une nouvelle section Favoris, où il vous est possible d’ajouter les dossiers fréquemment utilisés pour l’importation de fichiers à partir de votre disque dur ou d’un lecteur externe. Parmi les autres nouvelles fonctionnalités d’importation, l’on retrouve aussi la présentation par liste pour pouvoir consulter plusieurs colonnes de métadonnées, la sélection de plusieurs plages dans des plans précis à partir de caméras à système de fichiers, ainsi que des outils de gestion des archives complets.
Pour en savoir plus, consultez Présentation de l’importation à la page 21.
Double visualiseur
Le visualiseur d’événements représente un affichage vidéo distinct à côté du visualiseur principal de façon à pouvoir comparer les plans et faire ainsi correspondre les animations et les couleurs. En ouvrant le visualiseur d’événements et le visualiseur, vous pouvez ainsi afficher deux plans simultanément : l’un dans le navigateur d’événements et l’autre dans la timeline, chacun avec un instrument vidéo propre.
Pour en savoir plus, consultez Lecture et survol du média dans le visualiseur d’événements à la page 83.
Prise en charge native de REDCODE RAW (R3D)
Final Cut Pro 10.0.6 assure la prise en charge native des fichiers REDCODE RAW (R3D). Vous pouvez à présent importer directement des fichiers RED, réaliser des ajustements de réglages RAW non destructifs et enregistrer ces ajustements sous forme de métadonnées, le tout depuis Final Cut Pro. Cela vous permet de tirer parti de tout l’éventail dynamique des options qu’offrent les fichiers sources REDCODE RAW.
Pour en savoir plus, consultez Importation et réglage de fichiers vidéo REDCODE RAW à la page 46.
Sélections de plage améliorées
Les points de départ et d’arrivée des plans dans le navigateur d’événements restent désormais en place lorsque vous cliquez ailleurs. Vous pouvez également effectuer des sélections de plage multiples dans un ou plusieurs plans.
Pour en savoir plus, consultez Sélection d’une plage à la page 100 et Gestion de plusieurs sélections de plage dans des plans d’événement à la page 103.
Autres fonctionnalités utiles
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Les marqueurs de chapitre et vignettes de marqueurs de chapitre vous permettent de préparer des chapitres et leur image d’affiche représentative directement depuis Final Cut Pro pour la sortie sur DVD, sur disque Blu-ray, vers iTunes, QuickTime Player et vers les dispositifs Apple.
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La nouvelle fenêtre Coller les attributs offre un moyen puissant de transférer des effets précis et autres réglages entre des plans.
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Il vous est à présent possible, rapidement et en toute simplicité, d’ajouter des images figées à l’aide d’un simple raccourci clavier.
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L’ajout de titre est considérablement amélioré, notamment par la prise en charge de la nouvelle fonctionnalité des marqueurs de titre dans Motion.
Chapitre 1 Nouveautés de Final Cut Pro ? 12
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Les points de connexion adaptables améliorent le contrôle manuel sur les plans connectés au cours de vos manipulations de coulissement, de glissement ou de déplacement de plans dans le scénario principal.
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La nouvelle architecture des plans composés simplifie leur réutilisation dans plusieurs projets et offre de meilleures performances.
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Vous pouvez désormais importer et exporter des fichiers MXF à l'aide de modules de tierce partie. Pour retrouver la liste des fichiers multimédias pris en charge, consultez Formats de média pris en charge à la page 45.
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Final Cut Pro 10.0.6 offre une prise en charge des données anamorphosées améliorée.
Nouveautés de Final Cut Pro 10.0.3
Final Cut Pro 10.0.3 prévoie des nouvelles fonctionnalités et des améliorations importantes qui sont abordées plus en détail ci-dessous.
Montage multicam
Il vous est à présent possible d’exploiter des plans multicam pour monter le métrage de prises multicaméra ou tout autre métrage synchronisé en temps réel. L’utilisation de plans multicam dans Final Cut Pro assure un processus polyvalent et fluide. Alors que les angles actifs se reproduisent dans le visualiseur, vous pouvez également visionner tous les angles simultanément dans le visualiseur d’angle, puis effectuer des coupes et passer facilement d’un angle à l’autre. Vous pouvez créer des plans multicam issus de sources de média diverses et modifier des plans existants lors du montage.
Pour en savoir plus, consultez Présentation du montage multicam à la page 320.
Sortie A/V
Vous avez à présent la possibilité de relier votre ordinateur à un moniteur externe pour la sortie vidéo et audio (A/V). En plus de pouvoir vérifier à quoi la vidéo et l’audio ressemblent sur un moniteur broadcast NTSC/PAL ou HD, cette fonctionnalité vous permet également de tester la sortie sur des dispositifs plus sophistiqués, tels que des vecteurscopes et des oscilloscopes.
La sortie A/V n’est disponible que sous OS X Lion 10.7.2 ou ultérieur et nécessite une interface vidéo matérielle et logicielle de tierce partie compatible. Les appareils DV FireWire ne sont pas pris en charge. Pour en savoir plus, contactez le fabricant de l’équipement ou accédez à la page web des ressources Final Cut Pro X à l’adresse http://www.apple.com/fr/finalcutpro/resources.
Pour en savoir plus, consultez Lecture sur un moniteur externe à la page 85.
Reconnexion manuelle de plans à des fichiers de média
Vous avez désormais la possibilité de reconnecter manuellement des plans d’événements et des plans de projet à des fichiers de média. La reconnexion manuelle vous permet un contrôle supérieur sur votre flux de production de postproduction.
Pour en savoir plus, consultez Reconnexion de plans à des fichiers de média à la page 410.
Autres fonctionnalités utiles
••
Les fichiers graphiques multicouches, tels que les fichiers au format Adobe Photoshop (PSD), peuvent à présent être montés de sorte que chaque couche se présente sous la forme d’un plan connecté dans la timeline.
••
Des commandes pour l’incrustation avancée ont été ajoutées.
••
Les commandes pour l’animation avec des images clés ont été améliorées dans les éditeurs d’animation vidéo et audio.
Chapitre 1 Nouveautés de Final Cut Pro ? 13
Nouveautés de Final Cut Pro 10.0.1
Final Cut Pro 10.0.1 bénéficie de nombreuses améliorations, modifications et fonctions inédites. Les fonctions les plus significatives sont présentées ci-dessous.
Rôles
Les nouvelles étiquettes de métadonnées correspondant aux rôles vous permettent d’organiser les plans dans vos événements et vos projets, de contrôler l’apparence de la timeline et d’exporter des fichiers vidéo ou audio séparés (également appelés stems multimédia) destinés au mixage audio, à la postproduction ou aux réseaux de diffusion. Vous pouvez ainsi exporter des rôles sous forme de stems multimédias dans un fichier QuickTime multipiste combiné ou dans des fichiers audio ou vidéo séparés. Durant le processus d’exportation, vous pouvez attribuer des sorties mono, stéréo ou Surround à vos canaux audio.
Pour en savoir plus, consultez Présentation des rôles à la page 310 et Préférences de destinations à la page 441.
Emplacements de stockage en réseau (SAN)
Vous pouvez désormais ajouter des volumes de réseau comme emplacements de stockage d’événements et de projets. Supprimer des emplacements SAN dans Final Cut Pro permet aux autres utilisateurs du réseau de travailler sur les événements et projets stockés sur ces emplacements.
Pour en savoir plus, consultez Utilisation d’emplacements SAN pour des événements et des projets à la page 428.
Importation et exportation de fichiers XML
Final Cut Pro prend désormais en charge l’importation et l’exportation de fichiers XML, afin que vous puissiez échanger vos données de projet et d’événement avec d’autres systèmes et applications tierces ne reconnaissant pas les projets et événements Final Cut Pro.
Pour en savoir plus, consultez Utilisation de fichiers XML pour transférer des projets et des événements à la page 319.
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Qu’est-ce que Final Cut Pro ?
Final Cut Pro X constitue une application révolutionnaire conçue pour la création, le montage et la production de vidéo d’une qualité optimale. Final Cut Pro associe un montage numérique offrant d’excellentes prestations et une prise en charge native de pratiquement tous les formats vidéo à l’aide de fonctionnalités simples d’emploi et puissantes, vous permettant ainsi de vous concentrer sur le récit de l’histoire.
Dans Final Cut Pro, vous pouvez :
••
monter du métrage, allant de la vidéo en définition standard sans compression à de la vidéo HDV en passant par le format DVCPRO HD et la vidéo haute définition non compressée, ainsi que les formats AVC-Intra, AVCHD et XDCAM HD ;
••
reproduire et effectuer le survol de média indépendamment de sa résolution pouvant aller jusqu’à 1920 x 1080, 2K, 4K mais aussi 5K ; mais aussi lire de la vidéo en plein écran ou sur un deuxième écran ;
••
disposer des plans en toute simplicité au moyen de la timeline magnétique qui replace instantanément les plans autour de celui que vous faites glisser, afin d’éviter les vides, les collisions et les problèmes de synchronisation ;
••
monter rapidement à l’aide du jeu complet d’outils de montage et de coupe professionnels, ainsi que régler plus finement vos modifications avec l’éditeur de précision incorporé ;
••
analyser votre vidéo dans Final Cut Pro et procéder à la correction non destructive de problèmes courants, tels que les tremblements de caméra, le bourdonnement excessif ou un son saturé (tonalité), mais aussi laisser Final Cut Pro détecter la présence de personnes ou du type de plan et appliquer automatiquement des mots-clés, par exemple Une personne ou Plan élargi ;
Notions élémentaires Final Cut Pro
Chapitre 2 Notions élémentaires Final Cut Pro 15
••
organiser votre média à l’aide de collections de mots-clés pour regrouper automatiquement les plans d’après des mots-clés, et de collections intelligentes pour regrouper automatiquement les plans en s’appuyant sur des critères de votre choix ;
••
tester des plans de votre projet en utilisant des auditions, des ensembles de prises, d’effets ou de traitements textuels alternatifs, puis de choisir le plan le mieux adapté au montage ;
••
créer des plans composés pour regrouper des combinaisons particulières de plans et en imbriquer à d’autres ;
••
utiliser des plans connectés et des scénarios pour ajouter des plans de coupe, des titres superposés et des effets sonores à votre projet – les plans connectés et les scénarios restant ainsi toujours synchronisés ;
••
ajouter des effets spéciaux à la vidéo, à l’audio et à des photos, et les ajuster grâce à des images clés et des commandes à l’écran, mais aussi adapter la vitesse des plans pour créer des effets d’animation rapide ou lente ;
••
adapter la balance et la correspondance des couleurs automatiquement ou faire appel aux outils d’étalonnage pour contrôler précisément l’apparence d’un plan quelconque de votre projet ;
••
publier votre projet directement vers des sites web comme YouTube et Facebook ou l’envoyer à iTunes en vue de sa synchronisation avec des dispositifs Apple tels que l’iPhone, l’iPad et l’Apple TV.
Vue d’ensemble des flux de production Final Cut Pro X.
Pour donner un aperçu des possibilités qui vous sont offertes, le processus général pour monter un film dans Final Cut Pro est décrit ci-dessous. Toutes les étapes ne sont pas nécessaires et d’autres non répertoriées sont en outre possibles. Le flux de production n’est pas obligatoirement séquentiel. Vous pouvez par exemple suivre l’intégralité des effets de montage et d’ajout, puis importer du média complémentaire dans votre projet.
Importation de votre média dans Final Cut Pro
Pour utiliser Final Cut Pro, vous devez transférer votre média (vidéo, audio et images fixes) de votre dispositif d’enregistrement sur votre ordinateur ou sur un disque externe. Il vous est possible d’importer du média à partir de nombreux types de caméras et autres matériels, ou d’autres applications telles qu’iMovie.
Organisation de votre média
Final Cut Pro organise automatiquement votre média sous forme d’événements après son importation. Un événement s’apparente à un dossier contenant l’intégralité du média enregistré à une certaine date. Dans Final Cut Pro, votre média apparaît sous forme de plans connectés aux fichiers de média stockés sur disque. Vous pouvez réorganiser vos plans en créant ou en réattribuant un nom aux événements, puis en déplaçant les plans entre les événements. Par exemple, vous pouvez créer un événement pour l’intégralité du plan de média pour un client donné.
Au cours du passage en revue de votre métrage, vous avez la possibilité d’attribuer en toute simplicité un classement, Favori ou Rejeté, aux plans. Ces évaluations simplifient le processus dans la mesure où vous n’avez alors plus qu’à vous concentrer sur le métrage approprié. Final Cut Pro propose également d’autres moyens d’organisation pratiques, tels que les collections de mots-clés et les collections intelligentes.
Chapitre 2 Notions élémentaires Final Cut Pro 16
Création d’un projet et ajout de plans
Votre projet représente le film que vous créez par le biais de plans tirés de vos événements et des navigateurs multimédias de Final Cut Pro. Créez tout d’abord votre film en ajoutant des plans sur la timeline. Tous vos montages s’effectuent dans le projet ; vos fichiers de média d’origine sont conservés (ce que l’on entend par montage non destructif).
Arrangement et modification de plans
Votre film peut dès lors commencer à prendre forme. Pour assembler un montage brut, réorganisez et effectuez le trim des plans présents sur la timeline. Vous pouvez aussi essayer différents plans à l’aide d’auditions. Utilisez des plans connectés et des scénarios pour ajouter des plans de coupe, des titres, de la musique de fond et des effets sonores à votre projet. Créez des plans composés pour regrouper des combinaisons particulières de plans et en imbriquer à d’autres. Vous pouvez simplifier un projet qui s’avère complexe en créant un plan composé distinct pour chaque section principale.
Ajout d’effets et de transitions
Ajoutez des effets spéciaux issus d’un éventail ample d’effets vidéo et audio dans les navigateurs multimédias de Final Cut Pro. Apportez à votre film des titres et un générique, et appliquez des transitions vidéo ou audio. Adaptez les réglages de vitesse des plans pour créer des effets d’accélération ou de ralenti.
Pour peaufiner votre projet, affinez les coupes et les transitions à l’aide de l’éditeur de précision, animez des effets vidéo et audio avec des images clés, étalonnez l’image et élaborez des images animées composites.
Partage d’un film
Une fois votre projet terminé, vous avez la possibilité de le publier directement depuis Final Cut Pro sur le Web ou l’envoyer à iTunes, un iPhone, un iPad, un iPod ou une Apple TV. Vous pouvez aussi graver un disque pour le distribuer.
Vue d’ensemble de l’interface Final Cut Pro X.
La fenêtre de Final Cut Pro se divise en trois zones principales :
Visualiseur : lisez des plans et des projets.Navigateur d’événements : accédez à tous les médias source importés.Timeline magnétique : réalisez le montage de votre film dans cette zone.
Chapitre 2 Notions élémentaires Final Cut Pro 17
Organisation de média dans la bibliothèque d’événements et dans le navigateur d’événements
L’intégralité de votre média importé est accessible dans la bibliothèque d’événements. (Un événement s’apparente à un dossier renfermant des plans.)
Lorsque vous sélectionnez un événement dans la bibliothèque d’événements, ses plans apparaissent dans le navigateur d’événements à droite.
Navigateur d’événements : affichez et organisez les plans dans l’événement sélectionné.Bibliothèque d’événements : sélectionnez un événement pour afficher les médias qu’il contient sur la droite.
Il vous est possible de réorganiser votre média comme bon vous semble à tout moment ; la bibliothèque d’événements et le navigateur d’événements vous permettent de gérer, d’attribuer un classement, de trier et d’associer des mots-clés à votre média importé. Pour en savoir plus, consultez Présentation des événements et des plans à la page 55.
Reproduction de plans et de projets dans le visualiseur
Le visualiseur constitue le point où vous reproduisez votre vidéo, notamment les plans et les projets jusqu’à une résolution 1920 x 1080, 2K, 4K mais aussi 5K. Vous pouvez effectuer la lecture d’événements, de projets ou de plans précis en plein écran ou sur un deuxième écran. En ouvrant le visualiseur d’événements, correspondant à l’affichage vidéo à part qui peut s’afficher à côté du visualiseur principal, vous pouvez ainsi afficher deux plans simultanément : l’un dans le navigateur d’événements et l’autre dans la timeline. Pour obtenir des informations sur les manières de reproduire les données, reportez-vous à la section Lecture du média à la page 79.
Lecture sans distinction de résolution : lisez des fichiers vidéo jusqu’à 5K.Lecture en plein écran : lisez vos vidéos en plein écran ou sur un second moniteur.Commandes à l’écran : ajustez les effets tels que Transformation, Rognage et Distorsion.Double visualiseur : affichez côte à côte les plans d’événement et les plans du projet.
Chapitre 2 Notions élémentaires Final Cut Pro 18
Vous pouvez en outre faire appel aux commandes à l’écran superposées à la vidéo dans le visualiseur pour adapter les réglages de sorte à tirer parti d’un large éventail d’effets et de transitions.
Montage de votre projet dans la timeline magnétique
La partie inférieure de la fenêtre de Final Cut Pro reprend la timeline où vous pouvez créer votre film en ajoutant et en arrangeant les plans, mais aussi en y effectuant tous vos montages. La timeline de Final Cut Pro replace « magnétiquement » les plans autour de ceux que vous déplacez . Les vides laissés par les plans que vous déplacez par glissement sont automatiquement comblés par les plans avoisinants.
Un projet Final Cut Pro héberge l’intégralité des informations pour votre film final, notamment vos décisions de montage, et relie ces renseignements à tous les plans source et aux événements. Pour en savoir plus sur le montage d’un projet, consultez Présentation de l’ajout de plans à la page 106 et Disposition des plans dans la timeline à la page 124.
Barre d’outils : effectuez les tâches courantes en cliquant sur un bouton.Plans connectés : ajoutez des titres et des plans de coupe. Tout reste synchronisé dans la timeline magnétique.Plans audio : ajoutez de la musique et des effets sonores sous forme de plans connectés.Scénario principal : ajoutez et organisez des plans pour créer votre séquence.
Fichiers de média et plans
Après avoir importé le média dans Final Cut Pro, les plans représentant les fichiers de média source apparaissent dans le navigateur d’événements. Un événement volumineux peut inclure de nombreux plans.
Les fichiers de média constituent la matière première avec laquelle vous créez votre projet. Un fichier de média représente un fichier vidéo, audio ou graphique stocké sur le disque dur, qui contient le métrage transféré d’un caméscope, d’un équipement d’enregistrement ou créé au départ sur votre ordinateur. Les fichiers de média peuvent contenir plusieurs composants vidéo et audio. Comme les fichiers de données (plus particulièrement les fichiers vidéo) ont tendance à occuper beaucoup d’espace, les projets exploitant un métrage conséquent requièrent un ou plusieurs disques durs de grande capacité.
Chapitre 2 Notions élémentaires Final Cut Pro 19
Les plans représentent votre média mais ne sont pas des fichiers de média en tant que tels. Les plans dans un projet pointent simplement sur des fichiers de média source se trouvant sur votre disque dur. Si vous modifiez un plan, vous ne modifiez en fait pas le fichier de média en tant que tel mais simplement les informations liées au plan dans le projet. Cette méthode est connue sous le nom de montage non destructif, car l’ensemble des modifications et des effets appliqués aux plans dans Final Cut Pro n’a aucun effet sur les données elles-mêmes. Les parties élaguées ou effacées des plans ne sont supprimées que de votre projet et non des plans source qui s’affichent dans votre bibliothèque d’événements ou des fichiers multimédias source stockés sur votre disque dur.
Projet 2Jouet1Fichiers de média sur votre disque durProjet 3Projet 1Jouet1.movJouet1Jouet1Jouet1Plans de l’événement
Événements et projets
Dans Final Cut Pro X, vous pouvez utiliser des événements pour recueillir et organiser le média. Les événements s’apparentent à des dossiers qui contiennent le média non modifié et importé d’une caméra ou de toute autre source.
Les projets vous permettent de modifier et de structurer des films pour les partager avec votre public. Un projet représente un enregistrement du travail que vous effectuez dans la timeline mais aussi les décisions que vous prenez pour réaliser vos montages. Lorsque vous ajoutez un plan d’un événement dans un projet donné, vous établissez en fait un lien entre le plan d’événement source et le plan correspondant dans le projet (et, par extension, entre l’événement et le projet). Cependant, l’événement comme le plan source ne sont en fait pas contenus au sein du projet. Vous pouvez utiliser le plan d’événement en question dans d’autres projets et votre projet peut exploiter des plans issus d’autres événements.
Chapitre 2 Notions élémentaires Final Cut Pro 20
L’illustration ci-dessous reprend la relation entre les événements et les projets : Final Cut Pro X effectue le suivi des liens entre les plans du projet et leur plan d’événement source, bien que les projets et les événements restent indépendants.
ProjetProjetÉvénementsÉvénementsÉvénementsÉvénements
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21
Présentation de l’importation
L’importation de médias dans Final Cut Pro constitue la première étape vers la création de votre film. Final Cut Pro vous permet les opérations suivantes :
••
Importation d’une caméra ou d’un dispositif (sans bande) enregistrant dans des fichiers
••
Importation à partir d’un iPhone, d’un iPad ou d’un iPod touch
••
Importation à partir d’un caméscope ou d’un dispositif à bande
••
Importation à partir d’iMovie
••
Importation à partir d’iPhoto et d’Aperture
••
Importation à partir d’iTunes
••
Importation à partir d’un disque dur
••
Importation à partir d’une archive de caméra
Lors de l’importation, vous devez assigner votre média à un événement. Vous pouvez également transcoder votre média et l’analyser pour y rechercher différents problèmes, tels que la balance des couleurs, la présence de personnes et le type de plan, ou encore régler des problèmes audio.
Lorsque vous importez des plans (vidéo, audio ou images fixes), Final Cut Pro attribue l’un des cinq rôles par défaut aux composants vidéo et audio de chaque plan : Vidéo, Titres, Dialogue, Musique et Effets. Pour en savoir plus, consultez Affichage et réattribution de rôles à la page 311.
Si vous voulez rapidement sauvegarder votre média (plutôt que suivre le processus plus lent d’importation), vous pouvez créer une archive.
Importation de média
Chapitre 3 Importation de média 22
S’il s’agit de votre première importation
La première fois que vous ouvrez Final Cut Pro, l’application ne contient aucun média, aucun projet et un seul événement. Les boutons apparaissent dans le navigateur d’événements pour vous aider à importer rapidement des événements à partir d’iMovie, du média depuis votre disque dur ou un périphérique de stockage externe connecté, ou directement depuis une caméra branchée sur votre ordinateur.
Importation de média dans un événement vide
mm
Pour importer des événements d’iMovie : cliquez sur le bouton « Importer des événements iMovie » et suivez les instructions pour l’importation d’événements iMovie.
mm
Pour importer des fichiers à partir d’une caméra ou d’un disque dur : cliquez sur le bouton Média et suivez les instructions pour l’importation de fichiers à partir d’une caméra à système de fichiers, pour l’d’un disque durd’une caméra à bande ou d’une archive de caméra.
Importation à partir des caméras connectées
Importation à partir des caméras à système de fichiers
Les caméscopes et caméras produisant des fichiers permettent d’enregistrer de la vidéo, du son et des images fixes. Ces types de dispositifs qui enregistrent sur des supports de stockage à mémoire flash, des disques durs, etc., se branchent généralement sur l’ordinateur par le biais d’un câble USB. Certains matériels utilisent des cartes mémoire amovibles que vous pouvez ensuite insérer dans votre ordinateur.
Si votre dispositif produisant des fichiers inclut une fonctionnalité pour étendre des plans, vous pouvez importer l’intégralité du média sous la forme d’un plan étendu.
Pour vérifier si votre appareil est compatible avec Final Cut Pro, consultez la page web décrivant les appareils pris en charge par Final Cut Pro X à l’adresse http://help.apple.com/finalcutpro/cameras/.
Importation d’un caméscope, d’une caméra ou de tout autre matériel enregistrant dans des fichiers
1 Procédez de l’une des manières suivantes :
••
Connectez votre caméscope, votre caméra ou tout autre appareil à votre ordinateur à l’aide du câble fourni avec le matériel en question, puis allumez-le.
Chapitre 3 Importation de média 23
Si vous utilisez un caméscope, faites-le passer en mode de connexion PC. (Le nom de ce
mode de transfert varie selon le modèle de votre matériel.) Il se peut que votre caméscope
passe automatiquement en mode de « connexion » si vous activez le mode lecture lorsqu’il
est connecté à votre ordinateur. Pour en savoir plus, consultez la documentation fournie avec
votre caméscope.
Remarque : Si vous connectez un caméscope DVD à votre Mac, il se peut que l’application
Lecteur DVD s’ouvre. Si cela se produit, il vous suffit de fermer l’application.
•• Retirez la carte mémoire du caméscope ou de l’appareil, puis insérez-la dans le logement pour
carte de votre Mac (si celui-ci en possède un) ou dans un lecteur de carte externe.
Pour en savoir plus sur les cartes mémoires, reportez-vous à la section À propos des cartes
mémoire et des câbles à la page 43.
2 Pour ouvrir la fenêtre Importation des médias, procédez de l’une des manières suivantes :
•• Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I).
•• Cliquez sur le bouton Média à l’extrémité gauche de la barre d’outils.
3 Au besoin, sélectionnez votre caméscope, caméra ou dispositif dans la section Caméras
de gauche.
La fenêtre Importation des médias affiche alors l’intégralité du média présent sur votre matériel.
Dans cette fenêtre, vous pouvez effectuer le preview du média soit en lançant sa lecture à l’aide
des commandes de lecture, soit en en effectuant le survol en déplaçant horizontalement le pointeur
sur une pellicule.
Modifiez l’apparence des plans à
l’aide de ces commandes.
Le média sur le support
s’affiche à cet endroit.
Commandes de lecture
Remarque : La plupart des caméras numériques modernes sont en mesure d’enregistrer indifféremment
des images fixes ou de la vidéo. Dans de nombreux cas, les plans vidéo et les images
fixes de ces caméras apparaissent côte-à-côte dans la fenêtre Importation des médias.
Chapitre 3 Importation de média 24
4 Procédez de l’une des façons suivantes :
••
Pour changer d’appareil à partir duquel importer : cliquez sur l’appareil voulu dans la section Caméras.
••
Pour changer la façon dont les plans apparaissent : cliquez sur le bouton Apparence du plan situé dans le coin inférieur droit de la fenêtre Importation des médias.
••
Pour passer de la présentation en pellicule à la présentation par liste : cliquez sur les boutons Présentation par liste et Présentation en pellicule en bas de la fenêtre Importation des médias. (Caméras à système de fichiers et archives de caméra uniquement.)
Remarque : Lorsque vous sélectionnez un plan dans la présentation par liste, la pellicule du plan sélectionné s’affiche en haut du navigateur d’événements. La pellicule est totalement interactive. Elle permet d’accéder aux points de départ et d’arrivée, aux marqueurs et aux mots-clés.
••
Pour trier des plans dans la présentation en liste d’après des données, par exemple d’après la durée, la date de création, le classement, un mot-clé, etc. : cliquez sur les en-têtes de colonnes en haut de la présentation par liste. Pour en savoir plus sur la présentation par liste, consultez Importation à partir d’un disque dur à la page 37.
••
Pour ajouter des dossiers de média fréquemment utilisé à la section Favoris : faites-les glisser de la présentation par liste.
Pour supprimer un dossier de la section Favoris, cliquez sur le dossier tout en maintenant la touche Contrôle enfoncée, puis choisissez « Supprimer de la barre latérale » dans le menu contextuel.
••
Pour fermer automatiquement la fenêtre Importation des médias au début de l’importation : cochez la case « Fermer la fenêtre après le début de l’importation ».
••
Pour ajouter un dossier à la présentation en liste en le faisant glisser : faites glisser le dossier du Finder sur la présentation par liste, puis parcourez son contenu en présentation par liste.
5 Procédez de l’une des manières suivantes :
••
Pour importer tous les plans : cliquez sur Tout importer.
••
Pour importer uniquement certains plans : sélectionnez chaque plan à importer en cliquant sur chaque plan tout en maintenant la touche Commande, puis cliquez sur Importer la sélection (le bouton Importer change de nom).
Conseil : Pour sélectionner plusieurs plans regroupés, vous pouvez les encadrer en faisant glisser le pointeur de sorte à former le rectangle de sélection.
••
Pour importer certaines parties de plans : faites glisser le curseur à l’intérieur de la pellicule pour sélectionner la plage d’images de votre choix, puis cliquez sur Importer la sélection. Vous pouvez également sélectionner plusieurs plages dans chaque plan. Pour en savoir plus, consultez Sélection d’une plage à la page 100.
Conseil : Vous pouvez également sélectionner un plan, appuyez sur la barre d’espace pour le lire et appuyez sur la touche I pour définir un point de départ ou sur la touche O pour définir un point d’arrivée.
6 Dans la fenêtre qui apparaît, choisissez comment vous voulez organiser les médias importés dans la bibliothèque d’événements :
••
Pour ajouter les plans importés à un événement existant : sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local.
Chapitre 3 Importation de média 25
••
Pour créer un événement : sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, Mariage de Paul et Sandra) dans le champ de texte, puis choisissez le disque sur lequel vous voulez stocker l’événement dans le menu local « Enregistrer dans ».
Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55.
7 Si vous comptez organiser votre média, le créer du média optimisé ou proxy, analyser la vidéo ou analyser l’audio, cochez les cases correspondantes.
Si vous ne configurez pas Final Cut Pro de sorte à analyser votre média pendant l’importation, vous pouvez analyser les plans ultérieurement (le cas échéant) depuis le navigateur d’événements.
8 Cliquez sur Importer.
Par défaut, la fenêtre Importation des médias se ferme lorsque vous cliquez sur Importer. Vous pouvez commencer à travailler sur vos plans dans le navigateur d’événements. Final Cut Pro importe votre média en arrière-plan.
Si vous avez sélectionné des options à l’étape précédente, Final Cut Pro transcode et optimise alors les fichiers à l’issue du processus d’importation. Vous pouvez voir la progression des tâches d’importation et autres tâches en arrière-plan dans la fenêtre Tâches d’arrière-plan.
9 Lorsque des tâches en arrière-plan sont terminées, débranchez le caméscope, la caméra ou l’appareil.
Vous pouvez créer une archive à partir de votre caméra ou équipement à système de fichiers ou à bande. Pour en savoir plus, consultez Création et gestion des archives de caméra à la page 429.
Réimportation d’un plan
Deux cas de figure permettent d’assurer une réimportation correcte d’un plan :
••
Si le plan ne s’est pas entièrement importé : si vous annulez l’opération ou fermez Final Cut Pro avant la fin de l’importation, une icône représentant une caméra apparaît dans le coin inférieur gauche du plan. Cette icône indique que Final Cut Pro exploite le média présent sur la caméra pour effectuer la lecture (plutôt qu’utiliser le fichier QuickTime créé au cours de l’importation).
Icône de caméra
Pour reproduire un plan présentant une icône de caméra, Final Cut Pro recherche le média soit sur une caméra connectée, soit dans une archive de caméra accessible. (Consultez Accès aux médias sur une archive ou une image disque à la page 40 pour en savoir plus.) Si Final Cut Pro ne parvient pas à localiser le média dans l’un de ces emplacements, le plan est alors déconnecté et une icône d’avertissement indique qu’une caméra est absente.
••
Si le fichier de média source du plan est indisponible : s’il a été déplacé ou supprimé, ou si le volume sur lequel il se trouve est déconnecté de l’ordinateur, une icône représentant un fichier manquant apparaît sur le plan. Pour rétablir le plan, vous pouvez le réimporter.
Reportez-vous à Icônes d’avertissement à la page 432 pour en savoir plus sur les icônes d’avertissement.
Chapitre 3 Importation de média 26
Lorsque vous réimportez un plan, Final Cut Pro se connecte automatiquement à la caméra ou à
l’archive de caméra nécessaire. Il n’y a alors aucun besoin d’effectuer le montage manuel d’une
archive de caméra avant de réaliser la réimportation.
1 Procédez de l’une des manières suivantes :
•• Branchez la caméra contenant le plan sur votre ordinateur, puis allumez-la. Ceci permet
de connecter le plan, même si celui-ci dénote toujours une icône de caméra dans le coin
inférieur gauche.
•• Insérez dans l’ordinateur ou un lecteur de carte connecté la carte mémoire incluant le plan.
Consultez À propos des cartes mémoire et des câbles à la page 43 pour en savoir plus.
•• Assurez-vous que l’archive de caméra contient bien le plan stocké dans l’une des archives de
caméra Final Cut Pro.
Consultez Création et gestion des archives de caméra à la page 429 pour en savoir plus.
2 Dans Final Cut Pro, effectuez l’une des opérations suivantes :
•• Pour réimporter un plan : Sélectionnez le plan dans le navigateur d’événements.
•• Pour réimporter tous les plans dans un événement : Sélectionnez l’événement dans la bibliothèque
d’événements.
3 Choisissez Fichier > Importer > Réimporter de l’archive/caméra.
Le ou les plans sont alors réimportés.
Importation de plans étendus
Certains caméscopes ou dispositifs produisant des fichiers et disposant de plusieurs logements
pour carte mémoire peuvent enregistrer un plan sur plusieurs cartes mémoire. Le plan ainsi créé
est appelé un plan étendu.
Un bon moyen pour importer un plan étendu dans Final Cut Pro consiste à connecter votre
caméra ou votre lecteur de cartes à votre ordinateur et à créer une archive de caméra pour
chaque carte mémoire. Vous pouvez stocker les archives de caméra sur votre ordinateur ou sur
un dispositif de stockage externe, jusqu’à ce que vous soyez prêt à importer le plan étendu.
(Même si vous importez le plan étendu immédiatement, il peut être utile de créer l’archive de
caméra afin d’avoir une sauvegarde des plans qui composent le plan étendu.) Ensuite, lorsque
vous êtes prêts pour l’importation, vous pouvez monter toutes les archives de caméra et importer
le plan étendu.
Création d’une archive de caméra pour chaque carte mémoire
1 Connectez votre caméscope ou votre caméra à l’ordinateur et allumez l’appareil, ou branchez
votre lecteur de cartes sur l’ordinateur et insérez la carte dans le lecteur. Si vous envisagez d’enregistrer
les archives de caméra sur un périphérique de stockage externe, branchez également
celui-ci.
2 Dans Final Cut Pro, effectuez l’une des opérations suivantes :
•• Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I).
•• Cliquez sur le bouton Média à l’extrémité gauche de la barre d’outils.
La fenêtre Importation des médias apparaît.
3 Sélectionnez une carte mémoire à archiver dans la liste des caméras à gauche.
Chapitre 3 Importation de média 27
4 Cliquez sur le bouton Créer une archive situé dans le coin inférieur gauche de la fenêtre.
5 Dans le champ « Créer une archive de caméra », saisissez un nom pour l’archive.
6 Choisissez un emplacement dans le menu local Destination pour enregistrer l’archive, puis cliquez sur OK.
Remarque : Pour protéger votre média, il est recommandé d’enregistrer votre archive sur un disque ou une partition différente de celle sur laquelle vous stockez vos fichiers de médias utilisés avec Final Cut Pro.
7 Répétez les étapes 3 à 6 pour créer des archives de caméra pour chacune des cartes mémoire contenant une partie du plan étendu.
Les archives de caméra apparaissent dans la liste Archives d’appareil de la fenêtre Importation des médias.
Consultez Création et gestion des archives de caméra à la page 429 pour en savoir plus sur la création d’archives de caméra.
Importation d’un plan étendu
1 Si les archives de votre caméra sont stockées sur un périphérique de stockage externe, assurez-vous que celui-ci est connecté à votre ordinateur.
2 Choisissez Fichier > Importer depuis la caméra.
La fenêtre Importation des médias apparaît, affichant toutes les archives de caméra présentes sur votre ordinateur (et sur tous les périphériques de stockage externes connectés) dans la section Archives de caméra située à gauche.
3 Sélectionnez chacune des archives de caméra qui composent le plan étendu.
Final Cut Pro monte l’intégralité des archives de caméra. Si toutes les sections du plan étendu sont disponibles, toutes les archives de caméra montées affichent un plan de la même durée. Une icône indiquant que le plan étendu est terminé s'affiche sur le plan.
Ces archives de caméra contiennent toutes les sections du plan étendu.Ce plan représente le plan étendu entier.Cette icône indique que toutes les sections du plan étendu sont disponibles.
Chapitre 3 Importation de média 28
Si des archives de caméra viennent à manquer, une icône apparaît sur le plan étendu pour indiquer quelle partie du plan étendu est disponible, à savoir le début, le milieu ou la fin. Vous pouvez sélectionner chaque archive de caméra pour connaître leurs icônes.
Indique que toutes les sections du plan étendu sont disponibles.Indique que la section de fin du plan étendu est disponible.Indique que la section de début du plan étendu est disponible.Indique que la section du milieu du plan étendu est disponible.
4 Cliquez sur Tout importer pour importer le plan étendu.
Important : Si les archives de caméra qui composent le plan étendu ne sont pas toutes disponibles, vous pouvez importer chaque archive séparément. Chaque section du plan étendu est importée dans Final Cut Pro sous la forme d’un plan séparé.
5 Choisissez comment vous comptez organiser le média importé dans la bibliothèque d’événements :
••
Pour ajouter les médias importés à un événement existant : sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local.
••
Pour créer un événement : sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, Mariage de Paul et Sandra) dans le champ de texte, puis choisissez le disque sur lequel vous voulez stocker l’événement dans le menu local « Enregistrer dans ».
Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55.
6 Si vous comptez organiser votre média, le transcoder, analyser la vidéo ou analyser l’audio, cochez les cases correspondantes.
Si vous ne configurez pas Final Cut Pro de sorte à analyser votre média pendant l’importation, vous pouvez analyser les plans ultérieurement (le cas échéant) depuis le navigateur d’événements.
7 Cliquez sur Importer.
Final Cut Pro importe votre média en arrière-plan. Si vous avez sélectionné des options à l’étape précédente, Final Cut Pro transcode et optimise alors les fichiers à l’issue du processus d’importation. Vous pouvez voir la progression des tâches en arrière-plan dans la fenêtre Tâches d’arrière-plan.
8 Pour commencer à manipuler vos plans, fermez la fenêtre Importation des médias afin de pouvoir accéder au navigateur d’événements.
Chapitre 3 Importation de média 29
Importation à partir d’un iPhone, d’un iPad ou d’un iPod touch
L’importation de média depuis un iPhone, iPad ou iPod touch est similaire à l’importation de
fichiers à partir d’un caméscope, d’une caméra ou autre matériel.
Importation à partir d’un iPhone, d’un iPad ou d’un iPod touch
1 Connectez votre iPhone, iPad ou iPod touch à votre ordinateur à l’aide du câble Dock Connector
vers USB livré avec l’appareil en question. (Si une autre application s’ouvre, fermez celle-ci.)
Allumez ensuite le dispositif et déverrouillez-le.
2 Dans Final Cut Pro, effectuez l’une des opérations suivantes :
•• Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I).
•• Cliquez sur le bouton Média à l’extrémité gauche de la barre d’outils.
La fenêtre Importation des médias apparaît.
3 Au besoin, sélectionnez votre iPhone, iPad ou iPod touch dans la section Caméras de gauche.
La fenêtre Importation des médias affiche alors l’intégralité du média présent sur votre matériel.
Dans cette fenêtre, vous pouvez effectuer le preview du média soit en lançant sa lecture à l’aide
des commandes de lecture, soit en en effectuant le survol en déplaçant horizontalement le pointeur
sur une pellicule.
Vous avez également la possibilité d’effectuer l’une des opérations suivantes :
•• Pour changer d’appareil à partir duquel importer : cliquez sur l’appareil voulu dans la
section Caméras.
•• Pour changer la façon dont les plans apparaissent : cliquez sur le bouton Apparence du plan
situé dans le coin inférieur droit de la fenêtre Importation des médias.
•• Pour passer de la présentation en pellicule à la présentation par liste : cliquez sur les boutons
Présentation par liste et Présentation en pellicule en bas de la fenêtre Importation des médias.
(Caméras à système de fichiers et archives de caméra uniquement.)
Remarque : Lorsque vous sélectionnez un plan dans la présentation par liste, la pellicule du
plan sélectionné s’affiche en haut du navigateur d’événements. La pellicule est totalement
interactive. Elle permet d’accéder aux points de départ et d’arrivée, aux marqueurs et aux
mots-clés.
•• Pour trier des plans dans la présentation en liste d’après des données, par exemple d’après la
durée, la date de création, le classement, un mot-clé, etc. : cliquez sur les en-têtes de colonnes
en haut de la présentation par liste. Pour en savoir plus sur la présentation par liste, consultez
Importation à partir d’un disque dur à la page 37.
•• Pour ajouter des dossiers de média fréquemment utilisé à la section Favoris : faites-les glisser de la
présentation par liste.
Pour supprimer un dossier de la section Favoris, cliquez sur le dossier tout en maintenant
la touche Contrôle enfoncée, puis choisissez « Supprimer de la barre latérale » dans le
menu contextuel.
•• Pour fermer automatiquement la fenêtre Importation des médias au début de l’importation :
cochez la case « Fermer la fenêtre après le début de l’importation ».
Chapitre 3 Importation de média 30
••
Pour ajouter un dossier à la présentation en liste en le faisant glisser : faites glisser le dossier du Finder sur la présentation par liste, puis parcourez son contenu en présentation par liste.
4 Procédez de l’une des manières suivantes :
••
Pour importer tous les plans : cliquez sur Tout importer.
••
Pour importer uniquement certains plans : sélectionnez chaque plan à importer en cliquant sur chaque plan tout en maintenant la touche Commande, puis cliquez sur Importer la sélection (le bouton Importer change de nom).
Conseil : Pour sélectionner plusieurs plans regroupés, vous pouvez les encadrer en faisant glisser le pointeur de sorte à former le rectangle de sélection.
••
Pour importer certaines parties de plans : faites glisser le curseur à l’intérieur de la pellicule pour sélectionner la plage d’images de votre choix, puis cliquez sur Importer la sélection. Vous pouvez également sélectionner plusieurs plages dans chaque plan. Pour en savoir plus, consultez Sélection d’une plage à la page 100.
Conseil : Vous pouvez également sélectionner un plan, appuyez sur la barre d’espace pour le lire et appuyez sur la touche I pour définir un point de départ ou sur la touche O pour définir un point d’arrivée.
5 Dans la fenêtre qui apparaît, choisissez comment vous voulez organiser les médias importés dans la bibliothèque d’événements :
••
Pour ajouter les plans importés à un événement existant : sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local.
••
Pour créer un événement : sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, Mariage de Paul et Sandra) dans le champ de texte, puis choisissez le disque sur lequel vous voulez stocker l’événement dans le menu local « Enregistrer dans ».
Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55.
6 Si vous comptez créer du média optimisé ou proxy, analyser la vidéo ou analyser l’audio, cochez les cases correspondantes.
Si vous ne configurez pas Final Cut Pro de sorte à analyser votre média pendant l’importation, vous pouvez analyser les plans ultérieurement (le cas échéant) depuis le navigateur d’événements.
Chapitre 3 Importation de média 31
7 Cliquez sur Importer.
Par défaut, la fenêtre Importation des médias se ferme lorsque vous cliquez sur Importer. Vous pouvez commencer à travailler sur vos plans dans le navigateur d’événements. Final Cut Pro importe votre média en arrière-plan.
Si vous avez sélectionné des options à l’étape précédente, Final Cut Pro transcode et optimise alors les fichiers à l’issue du processus d’importation. Vous pouvez voir la progression des tâches d’importation et autres tâches en arrière-plan dans la fenêtre Tâches d’arrière-plan.
8 Lorsque des tâches en arrière-plan sont terminées, débranchez l’iPhone, iPad ou iPod touch.
Importation à partir d’un appareil photo numérique
Il est possible d’importer de la vidéo et des images fixes à partir d’un appareil photo numérique. La procédure ci-dessous explique comment importer de la vidéo et des images fixes directement dans Final Cut Pro. Vous pouvez également importer vos photos dans Aperture ou dans iPhoto et y accéder à travers le navigateur de photos de Final Cut Pro.
Pour vérifier si votre appareil est compatible avec Final Cut Pro, consultez la page web décrivant les appareils pris en charge par Final Cut Pro X à l’adresse http://help.apple.com/finalcutpro/cameras/.
Importation de plans d’images fixes et de plans vidéo à partir d’un appareil photo numérique
1 Branchez votre caméra sur votre ordinateur à l’aide du câble fournie avec celle-ci et allumez-la.
Si votre caméra n’apparaît pas à gauche de la fenêtre Importation des médias (dans la section Caméras ou Appareils), retirez la carte mémoire de la caméra, puis insérez-la dans le logement pour carte de votre Mac (si celui-ci en possède un) ou dans un lecteur de carte externe.
2 Dans le Finder, localisez le dossier DCIM dans l’arborescence de la caméra, puis les fichiers d’images et de vidéos. Ces fichiers peuvent se trouver dans le dossier DCIM ou dans un dossier situé à un ou deux niveaux inférieurs. La structure des fichiers varie selon les modèles et les fabricants.
3 Dans Final Cut Pro, effectuez l’une des opérations suivantes :
••
Sélectionnez Fichier > Importer > Média (ou appuyez sur Commande + I), puis suivez les instructions de Importation à partir d’un disque dur à la page 37.
••
Faites glisser les fichiers du Finder sur un événement ou sur la timeline de Final Cut Pro. Les fichiers sont alors importés en utilisant les réglages d’importation que vous avez définis dans les préférences Importation. Consultez Importation à partir d’un disque dur à la page 37.
Une fois l’importation terminée, il se peut que vous disposiez de fichiers audio utilisables pour remplacer la piste audio de certaines vidéos. Pour ce faire, vous pouvez automatiquement synchroniser les plans vidéo et audio.
Importation à partir des caméras à bande
Vous pouvez importer des médias à partir d’un caméscope ou d’un dispositif à bande. Pour déterminer quels plans vous devez importer (plutôt que de tous les importer), vous pouvez les visualiser dans Final Cut Pro avant de les importer.
Final Cut Pro prend en charge l'importation de contenu à bande des format multimédias suivants : DV (y compris DVCAM, DVCPRO et DVCPRO50), DVCPRO HD et HDV.
Pour vérifier si votre appareil est compatible avec Final Cut Pro, consultez la page web
décrivant les appareils pris en charge par Final Cut Pro X à l’adresse http://help.apple.com/
finalcutpro/cameras/.
Chapitre 3 Importation de média 32
Importation de médias à partir d’un caméscope ou d’un dispositif à bande
1 Connectez le caméscope à votre ordinateur par le biais du câble FireWire fourni avec votre
caméscope et configurez votre matériel, le cas échéant, pour le contrôler à distance par FireWire.
Remarque : Pour de meilleurs résultats lors de l’importation à partir d’un caméscope à bande,
il est recommandé d’importer la vidéo à l’aide du même caméscope que celui utilisé pour
l’enregistrement.
2 Allumez le caméscope et mettez-le en mode magnétoscope (VTR ou VCR). (Le nom de ce mode
peut varier selon votre modèle de caméra. Pour en savoir plus, consultez la documentation fournie
avec votre caméscope.)
3 Dans Final Cut Pro, effectuez l’une des opérations suivantes :
•• Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I).
•• Cliquez sur le bouton Média à l’extrémité gauche de la barre d’outils.
La fenêtre Importation des médias apparaît.
4 Si plusieurs matériels sont connectés à votre ordinateur, choisissez dans la liste des caméras
située à gauche celui à partir duquel vous voulez importer.
La fenêtre Importation des médias affiche l’image de la position active de la bande.
5 Utilisez les commandes de lecture (ou les touches J, K et L) pour placer la bande sur le point à
partir duquel vous voulez commencer l’importation, puis cliquez sur Importer.
6 Dans la fenêtre qui apparaît, choisissez comment vous voulez organiser les médias importés dans
la bibliothèque d’événements :
•• Pour ajouter les plans importés à un événement existant : sélectionnez « Ajouter à l’événement
existant » et choisissez l’événement dans le menu local.
•• Pour créer un événement : sélectionnez « Créer un nouvel événement » et saisissez un nom
(par exemple, Mariage de Paul et Sandra) dans le champ de texte, puis choisissez le disque sur
lequel vous voulez stocker l’événement dans le menu local « Enregistrer dans ».
Chapitre 3 Importation de média 33
Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55.
7 Si vous comptez transcoder votre média, l’organiser ou analyser l’audio, cochez les cases correspondantes.
Si vous ne configurez pas Final Cut Pro de sorte à analyser votre média pendant l’importation, vous pouvez analyser les plans ultérieurement (le cas échéant) depuis le navigateur d’événements.
8 Cliquez sur Importer.
Final Cut Pro lance immédiatement l’importation à partir de la position sur la bande. L’application poursuit l’importation (et enregistre les fichiers de média résultants dans l’événement que vous avez spécifié) jusqu’à ce que l’un des cas de figure suivants se produise :
••
la fin de la bande soit atteinte ;
••
Le disque dur vers lequel vous effectuez l’importation est plein.
••
Vous pouvez interrompre la session d’importation en cliquant sur Arrêter l’importation ou Fermer (pour fermer la fenêtre Importation des médias).
La vidéo est lue pendant son importation. L’importation de la vidéo prend autant de temps que sa visualisation à vitesse normale.
9 Lorsque la section de la vidéo que vous voulez importer a été importée, cliquez sur Arrêter l’importation. Utilisez ensuite les commandes d’importation pour placer votre vidéo à un point à partir duquel vous voulez recommencer l’importation, puis répétez les étapes 5 à 7. Si vous avez sélectionné des options à l’étape 6, Final Cut Pro transcode et optimise alors les fichiers à l’issue du processus d’importation. Vous pouvez voir la progression des tâches en arrière-plan dans la fenêtre Tâches d’arrière-plan.
10 Une fois l’importation effectuée, cliquez sur Fermer pour fermer la fenêtre Importation des médias.
Vous pouvez en outre créer une archive à partir de votre dispositif à bande, en enregistrant le contenu de la bande du début à la fin et en enregistrant les plans capturés sous forme d’archive. Pour en savoir plus, consultez Création et gestion des archives de caméra à la page 429.
Si votre caméra ou dispositif n’est pas reconnu
Si vous avez connecté votre caméra ou caméscope à votre ordinateur mais que la fenêtre Importation des médias ne s’ouvre pas ou que Final Cut Pro ne contrôle pas votre dispositif, vous pouvez tenter plusieurs opérations pour établir la connexion.
Vérifiez votre équipement et votre ordinateur.
1 Assurez-vous que vous utilisez votre équipement dans sa configuration adéquate :
••
Votre caméscope ou caméra doit être compatible avec Final Cut Pro. Pour obtenir la liste des appareils compatibles avec Final Cut Pro X, consultez la page web http://help.apple.com/
finalcutpro/cameras/.
••
Votre appareil doit être correctement connecté à votre ordinateur.
••
Votre caméscope doit être placé en mode de sortie adéquat. Sur certains caméscopes, ce mode est appelé le mode magnétoscope (ou encore VTR ou VCR), mais tous les caméscopes n’utilisent pas la même terminologie, c’est pourquoi il est nécessaire de consulter la documentation fournie avec votre matériel. Sur certains caméscopes, vous devez régler la sortie sur mode DV ou HDV, selon que le contenu est standard (DV) ou haute définition (HDV).
Chapitre 3 Importation de média 34
••
Si vous connectez un caméscope à bande à votre ordinateur, vous devez utiliser un câble FireWire (aussi appelé IEEE 1394 ou i.LINK), et non pas un câble USB.
Consultez À propos des cartes mémoire et des câbles à la page 43 pour en savoir plus.
••
Si vous importez des plans vidéo à partir d’un appareil photo ou d’un autre dispositif à mémoire flash, assurez-vous que le format de fichier de votre vidéo est MPEG-2, MPEG-4 ou AVCHD, ces formats étant tous compatibles avec Final Cut Pro.
••
Si votre appareil photo n’est pas pris en charge par Final Cut Pro, essayez d’importer les données sous forme de fichiers à l’aide d’un logement pour carte de votre Mac ou d’un lecteur de carte externe.
Consultez Importation à partir d’un disque dur à la page 37 pour en savoir plus.
••
Si vous avez activé la permutation rapide d’utilisateur, assurez-vous que personne n’essaie d’utiliser simultanément le caméscope depuis un autre compte.
2 Si vous n’arrivez toujours pas à importer le média après avoir vérifié les éléments ci-dessus, essayez les opérations suivantes :
••
Éteignez puis rallumez l’appareil.
••
Déconnectez le câble de l’appareil et de l’ordinateur, puis rebranchez-le.
••
Quittez puis rouvrez Final Cut Pro.
••
Redémarrez votre ordinateur.
••
Essayez d’utiliser un autre câble.
••
Essayez d’utiliser un autre ordinateur sur lequel Final Cut Pro est installé.
••
Si vous utilisez un caméscope produisant des fichiers, utilisez le Finder pour copier le volume monté sur un disque local. Ouvrez ensuite les fichiers dans Final Cut Pro de la même façon que vous ouvrez une archive.
Remarque : Lorsque des images s’affichent en rouge avec un triangle d’avertissement jaune dans la timeline ou dans l’événement, Final Cut Pro vous signale en fait qu’une partie de votre projet ou de votre événement est manquante. Pour en savoir plus, consultez Icônes d’avertissement à la page 432.
Importation à partir d’autres applications
Importation à partir de Motion
Vous pouvez créer et modifier des effets vidéo, des titres, des transitions et des générateurs dans Motion 5 pour les exploiter dans Final Cut Pro. Si vous enregistrez un modèle dans Motion, celui-ci est alors « publié » et mis à disposition dans son navigateur multimédia respectif dans Final Cut Pro.
Reportez-vous aux informations relatives aux modèles Final Cut Pro X dans l’Aide Motion à l’adresse http://help.apple.com/motion/.
Pour en savoir plus, consultez les sections suivantes :
••
Création de versions de transitions spécialisées dans Motion à la page 221
••
Création de versions d’effets vidéo spécialisées dans Motion à la page 246
••
Création de versions de générateurs spécialisées dans Motion à la page 250
Chapitre 3 Importation de média 35
Importation à partir d’iMovie
Il vous est possible d’importer l’un de vos projets iMovie et votre bibliothèque d’événements iMovie dans Final Cut Pro.
Remarque : pour importer un projet de bande-annonce iMovie, vous devez au préalable le convertir en projet iMovie standard. Pour en savoir plus, choisissez Aide dans iMovie ‘11 et lancez une recherche sur les termes « Convertir une bande-annonce en projet ».
Important : les projets et plans iMovie tirés de la bibliothèque d’événements d’iMovie ne sont pas analysés automatiquement lors de l’importation car ils conservent leurs résultats d’analyse d’origine d’iMovie. Vous pouvez passer outre l’analyse iMovie en analysant vos plans dans Final Cut Pro après l’importation. Pour en savoir plus, consultez Analyser vos données à la page 51.
Importer un projet iMovie
1 Dans Final Cut Pro, choisissez Fichier > Importer > Projet iMovie, puis localisez votre projet iMovie, généralement situé dans le dossier Vidéos de votre disque dur.
2 Cliquez sur Importer.
Le projet s’ouvre dans la timeline et tous les événements associés apparaissent dans la bibliothèque d’événements.
Importation de votre bibliothèque d’événements iMovie
1 Dans Final Cut Pro, choisissez Fichier > Importer > Bibliothèque d’événements iMovie.
2 Lisez le message qui apparaît et cliquez sur OK.
Les événements de votre bibliothèque d’événements iMovie apparaissent dans la bibliothèque d’événements de Final Cut Pro.
Importation à partir d’iPhoto et d’Aperture
Lorsque vous faites glisser des photos et des vidéos d’iPhoto et d’Aperture dans Final Cut Pro, elles sont importées en adoptant les réglages d’importation que vous avez définis dans les préférences Importation. Pour en savoir plus, consultez Importation à partir d’un disque dur à la page 37.
Importation de photos et de vidéos à partir d’iPhoto ou d’Aperture
1 Dans Final Cut Pro, effectuez l’une des opérations suivantes :
••
Choisissez Fenêtre > Navigateur multimédia > Photos.
••
Dans la barre d’outils, cliquez sur le bouton Photos.
Chapitre 3 Importation de média 36
2 Si nécessaire, accédez à la section iPhoto ou Aperture du navigateur de photos.
3 Pour utiliser une ou plusieurs photos ou vidéos dans votre projet, faites-les glisser depuis le navigateur
de photos et déposez-les sur une icône d’événement dans la bibliothèque d’événements
ou sur un projet dans la timeline. Pour sélectionner plusieurs plans, vous pouvez cliquer dessus
tout en maintenant la touche Commande enfoncée ou tracer un rectangle de sélection les
englobant tous.
Vous pouvez également faire glisser des photos et des vidéos depuis iPhoto ou Aperture et les
déposer directement sur un événement dans la bibliothèque d’événements ou un projet dans la
timeline, sans passer par le navigateur de photos.
Importation à partir d’iTunes
Vous pouvez importer dans Final Cut Pro de la musique et du son provenant de votre
bibliothèque iTunes.
Importation de musique et de son à partir d’iTunes
1 Dans Final Cut Pro, effectuez l’une des opérations suivantes :
•• Choisissez Fenêtre > Navigateur multimédia > Musique et son.
•• Cliquez sur le bouton Musique et son dans la barre d’outils.
2 Dans le navigateur de musique et son, choisissez iTunes dans le menu local situé en haut.
Conseil : Si le dossier que vous recherchez n’est pas visible, vous pouvez l’ajouter à la liste
de sources en le faisant glisser depuis le Finder ou le bureau jusque dans le navigateur de
musique et son.
3 Dans la liste qui s’affiche, recherchez le son ou la musique que vous désirez :
•• Pour rechercher un élément : saisissez votre texte dans le champ de recherche. Pour filtrer votre
recherche, cliquez sur le bouton Filtre et choisissez le filtre souhaité.
•• Pour obtenir un aperçu d’un élément : double-cliquez sur l’élément ou sélectionnez-le et cliquez
sur le bouton Lecture .
•• Pour sélectionner plusieurs éléments : cliquez sur chaque élément tout en maintenant la touche
Commande enfoncée.
Chapitre 3 Importation de média 37
4 Faites glisser le ou les fichiers de son vers la timeline.
Remarque : Pour de meilleures performances en lecture et à l’importation, Final Cut Pro transcode
automatiquement tous les fichiers audio MP3 en fichiers audio WAV et conserve les fichiers
MP3 originaux pour une utilisation ultérieure. Pour en savoir plus sur l’emplacement des fichiers
de données originaux et des fichiers de données transcodés, consultez la section Emplacement
de vos fichiers de média et de projet à la page 407.
Importation à partir de dispositifs
Importation à partir d’un disque dur
Vous pouvez importer des données (vidéo, audio, images et fichiers graphiques) depuis le disque
dur de votre ordinateur, un périphérique de stockage externe connecté, une carte mémoire insérée
dans le logement pour carte de votre ordinateur ou un lecteur de carte, ou un volume réseau
attaché. Vous pouvez importer des données en utilisant la fenêtre Importation des médias ou en
faisant glisser des fichiers depuis le Finder.
Lorsque vous faites glisser des médias du Finder dans Final Cut Pro, ceux-ci sont importés d’après
les réglages d’organisation, de transcodage et d’analyse que vous avez définis dans les préférences
de Final Cut Pro. Si vous ne voulez pas utiliser la fenêtre Importation des médias pour
gérer votre importation, et si vous voulez toujours utiliser les mêmes réglages d’organisation, de
transcodage et d’analyse, l’importation par glisser-déposer des fichiers dans Final Cut Pro s’avère
être une bonne solution. Consultez Préférences d’importation à la page 440 pour en savoir plus
sur les préférences d’importation.
Remarque : Certains appareils basés sur les fichiers autorisent la copie, via le Finder, des données
enregistrées (en respectant leur structure de répertoire originale) dans un dossier de votre ordinateur.
Pour importer du média copié de cette façon, consultez Accès aux médias sur une archive
ou une image disque à la page 40.
Importation de média d’un disque dur à partir de la fenêtre Importation des médias
1 Si le média à importer se trouve sur un périphérique de stockage externe ou une carte mémoire,
branchez l’appareil sur votre ordinateur et mettez-le sous tension.
2 Pour ouvrir la fenêtre Importation des médias, procédez de l’une des manières suivantes :
•• Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I).
•• Cliquez sur le bouton Média à l’extrémité gauche de la barre d’outils.
3 Dans la section Appareils de gauche de la fenêtre Importation des médias, sélectionnez le disque
dur de votre ordinateur, le périphérique de stockage externe branché ou la carte mémoire
duquel ou de laquelle importer le média.
4 Utilisez la présentation par liste située en bas de la fenêtre pour accéder à un fichier ou à un dossier,
puis sélectionnez-le. (Lorsque vous importez à partir d’un disque dur, les pellicules ne sont
alors visibles que pour les différents plans sélectionnés.)
Chapitre 3 Importation de média 38
Conseil : Cliquez tout en maintenant la touche Commande enfoncée pour sélectionner plusieurs fichiers ou dossiers
Ajoutez les dossiers d’importation favoris.Accédez aux fichiers et dossiers.Lancez la lecture du plan sélectionné.Survolez le plan sélectionné.Cliquez sur l’en-tête d’une colonne pour trier les éléments en fonction de la catégorie correspondante.
5 Procédez de l’une des façons suivantes :
••
Pour effectuer le preview du plan sélectionné : lancez sa lecture à l’aide des commandes de lecture ou effectuez-en le survol en déplaçant horizontalement le pointeur sur la pellicule.
••
Pour changer de disque dur à partir duquel importer : sélectionnez le disque dur dans la section Appareils ou sélectionnez l’emplacement dans la section Favoris.
••
Pour trier des plans dans la présentation en liste d’après des données, par exemple d’après la durée, la date de création, le classement, un mot-clé, etc. : cliquez sur les en-têtes de colonnes en haut de la présentation par liste.
••
Pour ajouter des dossiers de média fréquemment utilisé à la section Favoris : faites glisser un dossier de la liste de droite sur la section Favoris située à gauche.
Pour supprimer un dossier de la section Favoris, cliquez sur le dossier tout en maintenant la touche Contrôle enfoncée, puis choisissez « Supprimer de la barre latérale » dans le menu contextuel.
••
Pour fermer automatiquement la fenêtre Importation des médias au début de l’importation : cochez la case « Fermer la fenêtre après le début de l’importation ».
••
Pour ajouter un dossier à la présentation en liste en le faisant glisser : faites glisser le dossier du Finder sur la présentation par liste, puis parcourez son contenu en présentation par liste.
6 Lorsque vous êtes prêt à importer, cliquez sur Importer la sélection.
7 Dans la fenêtre qui apparaît, choisissez comment vous voulez organiser les médias importés dans la bibliothèque d’événements :
••
Pour ajouter les plans importés à un événement existant : sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local.
••
Pour créer un événement : sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, Mariage de Paul et Sandra) dans le champ de texte, puis choisissez le disque sur lequel vous voulez stocker l’événement dans le menu local « Enregistrer dans ».
Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55.
Chapitre 3 Importation de média 39
8 Pour que Final Cut Pro copie vos fichiers de médias et les ajoute au dossier des événements que vous avez spécifié, cochez la case.
9 Si vous comptez organiser votre média, le créer du média optimisé ou proxy, analyser la vidéo ou analyser l’audio, cochez les cases correspondantes.
Si vous ne configurez pas Final Cut Pro de sorte à analyser votre média pendant l’importation, vous pouvez analyser les plans ultérieurement (le cas échéant) depuis le navigateur d’événements.
10 Cliquez sur Importer.
Par défaut, la fenêtre Importation des médias se ferme lorsque vous cliquez sur Importer. Vous pouvez commencer à travailler sur vos plans dans le navigateur d’événements. Final Cut Pro importe votre média en arrière-plan.
Si vous avez sélectionné des options à l’étape précédente, Final Cut Pro commence à transcoder et optimiser les fichiers à l’issue du processus d’importation. Vous pouvez voir la progression des tâches d’importation et autres tâches en arrière-plan dans la fenêtre Tâches d’arrière-plan.
Si vous avez importé du média à partir d’un périphérique externe et que vous avez indiqué à Final Cut Pro de copier les fichiers de média dans le dossier Final Cut Events (plutôt que de simplement faire référence à leur emplacement d’origine), vous pouvez débrancher l’appareil une fois les tâches en arrière-plan terminées.
Remarque : Pour en savoir plus sur la restauration d’événements et de projets à partir de copies de sauvegarde, consultez Sauvegarde des projets, des événements et de votre bibliothèque de projets à la page 421.
Importation de média par glissement depuis le Finder
Procédez de l’une des manières suivantes :
mm
Sélectionnez un fichier, cliquez tout en maintenant la touche Commande enfoncée pour sélectionner plusieurs fichiers ou sélectionnez un dossier de fichiers et faites-les glisser du Finder sur l’événement.
Le ou les plans apparaissent dans l’événement.
mm
Sélectionnez et faites glisser un fichier, cliquez tout en maintenant la touche Commande enfoncée pour sélectionner plusieurs fichiers, ou sélectionnez et faites glisser un dossier de fichiers du Finder sur une collection de mots-clés.
Le ou les plans apparaissent dans l’événement et le mot-clé est automatiquement ajouté aux plans en question.
Important : Si la préférence d’importation « Importer des dossiers sous forme de collections de mots-clés » est cochée, une collection de mot-clé est alors créée pour chaque nom de dossier et les fichiers dans le dossier se voient attribués ce mot-clé.
mm
Sélectionnez, ou cliquez tout en maintenant la touche Commande enfoncée pour sélectionner plusieurs fichiers, et faites glisser le ou les fichiers sur la timeline d’un projet.
Le ou les plans apparaissent dans celle-ci et dans le dossier des événements (Events) par défaut du projet.
Le fichier ou les fichiers sont importés en utilisant vos réglages d’importation par défaut.
Chapitre 3 Importation de média 40
Accès aux médias sur une archive ou une image disque
Si vous avez créé une archive de caméra, il vous est possible d’utiliser le média stocké dans
l’archive de deux manières :
•• Vous pouvez connecter l’archive de caméra de sorte à mettre son média à disposition
de Final Cut Pro. Bien que toutes les archives soient toujours répertoriées dans la fenêtre
Importation des médias, il vous est impossible d’utiliser un quelconque média dans une
archive tant que celle-ci n’est pas connectée.
•• Vous pouvez importer des médias à partir de l’archive ou d’image disque archivés au préalable
à l’aide de la fenêtre « Lister et transférer » de Final Cut Pro 7 ou antérieur. Ce faisant, des
copies des médias sont créées sur votre disque local.
Remarque : Certains appareils basés sur les fichiers autorisent la copie, via le Finder, des données
enregistrées (en respectant leur structure de répertoire originale) dans un dossier de votre
ordinateur. Pour importer des médias copiés de cette façon, suivez les instructions reprises
ci-dessous.
Importation de données à partir d’une archive ou d’une image disque
1 Pour ouvrir la fenêtre Importation des médias, procédez de l’une des manières suivantes :
•• Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I).
•• Cliquez sur le bouton Média à l’extrémité gauche de la barre d’outils.
2 Procédez de l’une des manières suivantes :
•• Pour monter une archive de caméra : Dans la section Archives d’appareil située à gauche dans la
fenêtre Importation des médias, sélectionnez une archive de caméra pour vous y connecter.
Remarque : Pour déconnecter l’archive de caméra, cliquez sur l’icône d’éjection.
Archive de caméra
•• Pour monter une image disque : Dans la section Appareils de gauche de la fenêtre Importation
des médias, sélectionnez le disque dur de votre ordinateur, le périphérique de stockage
externe branché ou la carte mémoire duquel ou de laquelle importer le média. Utilisez ensuite
la liste située en bas de la fenêtre pour accéder à l’image disque voulue, puis sélectionnez-la.
L’archive (ou l’images disque) est alors connectée à Final Cut Pro et son média s’affiche dans la
fenêtre Importation des médias.
3 Pour importer le média, consultez la section Importation à partir des caméras à système de
fichiers à la page 22“.
Chapitre 3 Importation de média 41
Organisation des fichiers lors de l’importation
Vous avez le choix du mode d’organisation de votre média au moment où vous l’importez dans Final Cut Pro.
••
Copier les fichiers dans le dossier Final Cut Events : cette option duplique les fichiers de médias et place la copie dans le dossier Final Cut Events sur votre ordinateur. Si vous importez un média depuis un autre disque ou volume, ou si vous voulez conserver une copie de tous les fichiers de média qui ont été importés dans Final Cut Pro au même emplacement (à savoir dans le dossier Final Cut Events), cochez cette case.
Si vous importez des fichiers alors que la case est décochée, Final Cut Pro crée alors des fichiers de référence (alias de fichiers) pointant simplement sur les fichiers de média source, sans copier ces derniers. Au moment où vous sauvegardez des événements et des projets utilisant ces fichiers, Final Cut Pro copie uniquement les fichiers de référence (et non les fichiers de média source). Si après avoir sauvegardé votre projet ou événement, vous souhaitez remplacer les fichiers de référence par les fichiers de média source à proprement parler, sélectionnez les événements, puis choisissez Fichier > Organiser les fichiers d’événements.
••
Importer des dossiers sous forme de collections de mots-clés : lorsque vous possédez des dossiers de fichiers dont les noms de dossiers sont explicites, sélectionner cette option permet de créer un mot-clé pour chaque nom de dossier et d’appliquer ce mot-clé à tous les fichiers du dossier pendant l’importation. De plus, une collection de mots-clés est créée pour chaque mot-clé.
À l’issue de l’importation, ces plans incluent les mots-clés « B-roll » et « Callaways »À l’issue de l’importation, ces plans incluent les mots-clés « Interviews » et « Callaways »
Organisation de fichiers pendant l’importation
1 Pour importer un fichier, choisissez Fichier > Importer > Fichiers, puis accédez au fichier à importer.
2 Dans la fenêtre qui apparaît, choisissez comment vous voulez organiser les médias importés dans la bibliothèque d’événements :
••
Pour ajouter les médias importés à un événement existant : sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local.
••
Pour créer un événement : sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, Mariage de Paul et Sandra) dans le champ de texte, puis choisissez le disque sur lequel vous voulez stocker l’événement dans le menu local « Enregistrer dans ».
Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55.
3 Sélectionnez l’une des cases d’organisation ou les deux (abordées ci-dessus).
4 Si vous comptez transcoder votre média, l’organiser ou analyser l’audio, cochez les cases correspondantes.
Si vous ne configurez pas Final Cut Pro de sorte à analyser votre média pendant l’importation, vous pouvez analyser les plans ultérieurement (le cas échéant) depuis le navigateur d’événements.
Chapitre 3 Importation de média 42
5 Cliquez sur Importer.
Final Cut Pro importe votre média en arrière-plan. Si vous avez sélectionné des options à l’étape précédente, Final Cut Pro transcode et optimise alors les fichiers à l’issue du processus d’importation. Vous pouvez voir la progression des tâches en arrière-plan dans la fenêtre Tâches d’arrière-plan.
6 Pour commencer à manipuler vos plans, fermez la fenêtre Importation des médias afin de pouvoir accéder au navigateur d’événements.
Copie de l’intégralité des fichiers de média externes utilisés par un événement dans son dossier d’événement
1 Sélectionnez l’événement dans la bibliothèque d’événements.
2 Choisissez Fichier > Organiser les fichiers d’événements.
3 Dans la fenêtre qui s’affiche, cliquez sur Continuer.
Final Cut Pro duplique les fichiers de médias et place la copie dans le dossier Final Cut Events sur votre ordinateur.
Importation pendant l’enregistrement
Vous pouvez enregistrer une vidéo directement dans Final Cut Pro à l'aide d'une caméra intégrée à votre ordinateur ou d'une caméra externe iSight.
Enregistrement de vidéo et d’audio en direct dans Final Cut Pro
1 Procédez de l’une des manières suivantes :
••
Pour enregistrer à l’aide de la caméra intégrée : cliquez sur le bouton Importer des médias dans la barre d’outils.
••
Pour réaliser l'enregistrement à l'aide d'une caméra externe iSight : connectez la caméra iSight à votre ordinateur avec un câble FireWire et cliquez sur le bouton Importation de média dans la barre d'outils.
2 Dans la liste des caméras située dans la partie gauche de la fenêtre Importation des médias, sélectionnez la caméra à partir de laquelle vous souhaitez effectuer l’importation.
Une image vidéo en direct provenant de la caméra apparaît alors dans la fenêtre Importation des médias.
Chapitre 3 Importation de média 43
3 Cliquez sur Importer.
La fenêtre Réglages de l’événement s’affiche.
4 Choisissez comment vous comptez organiser le média importé dans la bibliothèque d’événements :
••
Pour ajouter les médias importés à un événement existant : sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local.
••
Pour créer un événement : sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, Mariage de Paul et Sandra) dans le champ de texte, puis choisissez le disque sur lequel vous voulez stocker l’événement dans le menu local « Enregistrer dans ».
Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55.
5 Si vous comptez organiser votre média, le créer du média optimisé ou proxy, analyser la vidéo ou analyser l’audio, cochez les cases correspondantes.
Si vous ne configurez pas Final Cut Pro de sorte à analyser votre média pendant l’importation, vous pouvez analyser les plans ultérieurement (le cas échéant) depuis le navigateur d’événements.
6 Une fois prêt pour l’enregistrement, cliquez sur Importer.
La caméra lance l’enregistrement sans délai.
7 Lorsque vous voulez arrêter l’enregistrement, cliquez sur Arrêter l’importation.
Un plan vidéo est ainsi créé. Vous pouvez cliquer sur Importer pour recommencer l’enregistrement. Vous avez la possibilité de répéter cette procédure autant de fois que nécessaire.
Conseil : Il est également possible d'enregistrer des vidéos depuis des caméscopes connectés par câble FireWire à l'aide de QuickTime X. Pour en savoir plus, consultez l'aide de QuickTime Player.
À propos des cartes mémoire et des câbles
Pour importer du média de votre dispositif d’enregistrement vers votre ordinateur, vous devez retirer la carte mémoire de votre matériel et l’insérer soit directement dans votre ordinateur, soit dans un lecteur de carte mémoire. Vous pouvez également connecter votre matériel directement à l’ordinateur à l’aide du câble qui convient. Cela vous permet ensuite d’importer les images sur la carte mémoire ou sur l’appareil via la fenêtre Importation des médias. Pour en savoir plus, consultez Importation à partir d’un disque dur à la page 37 et Importation à partir des caméras à système de fichiers à la page 22.
••
Cartes mémoire : de nombreux caméscopes et matériels produisant des fichiers enregistrent leur média sur une carte mémoire amovible. Vous pouvez connecter un lecteur de cartes à votre ordinateur et l’utiliser pour transférer le contenu de votre carte mémoire à votre ordinateur. Certains ordinateurs Mac intègrent un logement pour carte SD (Secure Digital) ou SDXC (SD eXtended Capacity) qui leur permet de lire et d’écrire des données directement sur le support SD inséré dans ce logement. Si votre Mac est doté d’un logement de carte mémoire, vous pouvez retirer la carte de l’appareil photo, l’insérer dans votre Mac, puis importer les fichiers.
Pour en savoir plus, accédez au site http://support.apple.com/kb/ht3553?viewlocale=fr_FR.
Chapitre 3 Importation de média 44
Vous pouvez également connecter votre dispositif à l’ordinateur à l’aide d’un câble FireWire ou USB. Le type de câble dont vous avez besoin varie selon le type de matériel que vous utilisez :
••
Matériel USB : vous utilisez un câble USB pour les caméscopes produisant des fichiers, pour les appareils photo numériques qui enregistrent des vidéos, ainsi que pour l’iPhone, l’iPad et l’iPod touch. Le câble USB doit comporter au moins un connecteur qui se branche sur votre Mac (dans la partie supérieure de l’illustration ci-dessous). Il se peut que l’autre extrémité du câble USB, qui se branche sur votre matériel d’enregistrement, se présente différemment (dans la partie inférieure de l’illustration ci-dessous).
••
Matériel FireWire : pour la plupart des caméscopes qui enregistrent sur bande, vous devez utiliser un câble FireWire doté d’un connecteur 6 broches à brancher sur votre Mac d’une part (partie supérieure de l’illustration ci-dessous) et d’un connecteur à 4 broches à brancher sur votre caméscope d’autre part (partie inférieure de l’illustration ci-dessous).
Il se peut que vous disposiez d’un câble FireWire 800 avec une extrémité différente qui se branche sur votre caméscope ou votre ordinateur.
••
Matériel Thunderbolt : les dispositifs qui utilisent la technologie d’entrée/sortie Thunderbolt présentent un connecteur qui se branche sur le port MiniDisplay de votre Mac et ressemble au connecteur ci-dessous.
Si aucun câble n’est fourni avec votre dispositif et si vous n’êtes pas sûr du type de matériel que vous possédez, vous pouvez vérifier le logo situé près des ports de câble sur votre périphérique pour voir s’ils correspondent aux logos USB ou FireWire ci-dessus. Dans le cas contraire, consultez la documentation fournie avec votre matériel.
Remarque : Tous les ordinateurs Mac ne sont pas dotés d’un port FireWire. Vérifiez la configuration de votre système pour confirmer que votre Mac prend en charge les câbles FireWire avant de tenter de connecter un caméscope DV ou HDV standard.
Pour vérifier si votre appareil est compatible avec Final Cut Pro, consultez la page web
décrivant les appareils pris en charge par Final Cut Pro X à l’adresse http://help.apple.com/
finalcutpro/cameras/.
Chapitre 3 Importation de média 45
Formats de média pris en charge
Vous pouvez importer et utiliser les formats vidéo, audio et d’images fixes suivants dans Final Cut Pro :
Formats vidéo
••
Codec Apple Animation Codec
••
Codec Apple Intermediate Codec
••
Apple ProRes (toutes les versions)
••
AVC-Intra
••
AVCHD (notamment AVCCAM, AVCHD Lite et NXCAM)
••
DV (DVCAM, DVCPRO et DVCPRO50 inclus)
••
DVCPRO HD
••
H.264
••
HDV
••
iFrame
••
Motion JPEG (OpenDML uniquement)
••
MPEG IMX (D-10)
••
REDCODE RAW (R3D)
••
Sans compression 10 bits 4:2:2
••
Sans compression 8 bits 4:2:2
••
XAVC
••
XDCAM HD/EX/HD422
••
Formats QuickTime
Formats audio
••
AAC
••
AIFF
••
BWF
••
CAF
••
MP3
••
MP4
••
WAV
Formats d’images fixes
••
BMP
••
GIF
••
JPEG
••
PNG
••
PSD (statique et avec calques)
••
RAW
••
TGA
••
TIFF
Chapitre 3 Importation de média 46
Formats de conteneur
••
3GP
••
AVI
••
MP4
••
MXF
••
QuickTime
Importation et réglage de fichiers vidéo REDCODE RAW
Vous avez la possibilité d’importer et de travailler sur des fichiers REDCODE RAW (R3D) dans Final Cut Pro.
Les fichiers vidéo au format Raw suppose quelques étapes supplémentaires avant et après l’importation.
Après avoir importé les fichiers R3D RAW, vous pouvez apporter des réglages de l’étalonnage non destructifs directement depuis Final Cut Pro.
Importation de fichiers REDCODE RAW (R3D)
1 Installez le module approprié.
Afin que Final Cut Pro puisse reconnaître les fichiers R3D RAW, vous devez télécharger et installer le module correspondant. Pour en savoir plus, rendez-vous à l’adresse http://www.red.com/.
2 Importez le média.
Important : Lorsque vous importez le média, assurez-vous de désélectionner « Créer un média optimisé » et « Créer un média proxy », car toute tâche de transcodage réalisée durant l'importation sera mise de côté si vous ajustez les réglages RAW dans la prochaine étape.
Pour en savoir plus sur l'importation de médias, consultez Importation à partir des caméras à système de fichiers à la page 22 et Importation à partir d’un disque dur à la page 37. Pour en savoir plus sur le transcodage des médias, consultez la section Transcodage des fichiers de média à la page 415.
Remarque : Si vous importez des fichiers depuis une caméra RED ONE, il est recommandé d'importer uniquement les fichiers R3D RAW. Les caméras RED ONE génèrent de manière générale une série de maximum quatre fichiers de séquence de référence QuickTime (.mov) pour chaque fichier R3D RAW. Si vous sélectionnez le fichier R3D et les séquences de référence lors de la procédure d'importation, Final Cut Pro importe uniquement le fichier R3D. Si vous avez besoin d'importer une séquence de référence, sélectionnez uniquement la séquence, pas le fichier R3D.
3 Adaptez les réglages RAW (à travers Final Cut Pro ou une application externe telle que REDCINE-X PRO).
Vous avez la possibilité d’appliquer un étalonnage non destructif sur « une lumière » à des plans R3D RAW, immédiatement après l’importation, pour apporter à votre métrage une apparence plus finie en vue de son montage et de son passage en revue.
Si vous disposez d’un service de production professionnel avec des besoins en étalonnage sophistiqués, vous pouvez passer en revue ces réglages RAW lors de l’étape de finalisation. Pour en savoir plus, consultez « Ajustement des réglages RED RAW » ci-après.
Chapitre 3 Importation de média 47
4 Vous avez la possibilité de générer du média optimisé ou proxy à partir de fichiers R3D RAW.
Pour en savoir plus, consultez « Transcodage des plans après l’importation » dans Transcodage
des fichiers de média à la page 415.
Remarque : Dans ce cas, assurez-vous de bien configurer les préférences Final Cut Pro en conséquence.
Pour en savoir plus, consultez Préférences de lecture à la page 438.
5 Ajoutez les plans R3D RAW à votre projet et montez-les comme vous le feriez pour tout
autre plan.
Ajustement des réglages RED RAW
Vous pouvez ajuster les fichiers REDCODE RAW (R3D) à l'aide de la fenêtre Réglages RED RAW.
Les métadonnées relatives aux fichiers REDCODE RAW (R3D) sont stockées à deux emplacements
particuliers :
•• Réglages internes (intégrés) : il s’agit des informations de métadonnées enregistrées par la
caméra et incorporées au fichier R3D RAW. Ces réglages sont conservés avec le fichier. Ils
peuvent être remplacés par des réglages dans le fichier .RMD externe, mais ne sont jamais
écrasés. Vous pouvez annuler ces réglages de caméra en supprimant tout fichier RMD ou
en sélectionnant « Réglages d'origine de la caméra » dans le menu Revenir à de la fenêtre
Réglages RED RAW.
•• Fichier RMD externe : il s’agit du fichier de métadonnées externe portant l’extension .RMD. Ce
fichier est créé par Final Cut Pro, REDCINE-X PRO ou autre application similaire. Si vous ajustez
les réglages RED RAW dans Final Cut Pro et qu’un fichier .RMD existe, celui-ci est remplacé
lors de l'enregistrement des modifications. Les réglages de caméra intégrés sont conservés
tels quels.
1 Installez le module approprié.
Afin que Final Cut Pro puisse reconnaître les fichiers R3D RAW, vous devez télécharger et installer
le module correspondant. Pour en savoir plus, rendez-vous à l’adresse http://www.red.com/.
2 Dans le navigateur d’événements ou la timeline, sélectionnez le ou les plans que vous souhaitez
régler.
Remarque : Les plans composés ne peuvent pas être ajustés.
3 Procédez de l’une des manières suivantes :
•• Choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4).
•• Dans la barre d’outils, cliquez sur le bouton Inspecteur.
4 Cliquez sur le bouton d’informations dans la partie supérieure de la fenêtre qui apparaît.
5 Dans l'inspecteur d'informations, cliquez sur le bouton « Modifier les réglages RED RAW ».
Si le bouton « Modifier les réglages RED RAW » ne s'affiche pas, choisissez « Afficher l'état
du fichier » dans le menu local Actions situé dans la partie inférieure de l'inspecteur
d'informations.
Chapitre 3 Importation de média 48
6 Ajuster les réglages dans la fenêtre Réglages RED RAW.
Vos modifications sont enregistrées sans perte dans un fichier de métadonnées externe portant l’extension .RMD qui remplace le précédent s'il en existe un. Contrairement aux effets vidéo qui s’appliquent à un plan, ces réglages sont associés au fichier (à travers le fichier de métadonnées .RMD). Toute modification que vous apportez à ces réglages s’applique à toutes les copies du ou des plans sélectionnés.
Remarque : Final Cut Pro prend en charge la carte RED ROCKET, une carte PCI qui offre des performances particulièrement accrues.
Pour en savoir plus sur les fichiers REDCODE RAW (R3D) et la carte RED ROCKET, consultez le site web http://www.red.com.
4
49
Présentation de l’analyse des données
Final Cut Pro vous offre la possibilité d’analyser vos données de média et de corriger automatiquement les problèmes courants trouvés dans vos vidéos, vos images fixes et vos fichiers audio. Par exemple, vous pouvez stabiliser des vidéos tremblantes, ajuster la balance des couleurs et supprimer des bourdonnements ou des tonalités saturées.
Vous pouvez également analyser des plans pour identifier leur contenu. L’analyse permet de détecter le nombre de personnes présentes dans un plan et d’identifier s’il s’agit d’un gros plan, d’un plan moyen ou d’un plan élargi. Cela peut être utile lorsque vous devez trouver rapidement un certain type de plan en visionnant du métrage ou en éditant un projet. Pour obtenir la liste complète des options d'analyse audio et vidéo, consultez Options d’analyse des vidéos et des images fixes à la page 49 et Options d’analyse audio à la page 50.
Vous pouvez analyser le média pendant ou après son importation dans Final Cut Pro. Final Cut Pro peut également être configuré de façon à analyser automatiquement les plans que vous faites glisser sur la timeline de Final Cut Pro depuis le Finder.
Après certains types d'analyse, des mots-clés sont automatiquement ajoutés aux plans ou aux plages de plans pour décrire les résultats de l'analyse. Par exemple, le mot-clé Tremblement excessif est assigné aux plages de plans contenant des vidéos tremblantes. Dans le navigateur d'événements, les plans possédant des mots-clés d'analyse sont indiqués avec une ligne violette dans la partie supérieure. (Les plans auxquels des mots-clés ont été ajoutés manuellement sont indiqués par une ligne bleue dans la partie supérieure. Pour en savoir plus, consultez Ajout de mots-clés aux plans à la page 69.)
Options d’analyse des vidéos et des images fixes
Final Cut Pro offre des options d’analyse automatique des vidéos et des images fixes pour découvrir et corriger des vidéos tremblantes, ajuster la balance des couleurs dans des vidéos ainsi que trouver des personnes et définir les angles de prises de vue dans les vidéos et les images fixes. Vous pouvez analyser les vidéos lors de leur importation ou analyser des plans vidéo dans le navigateur d’événements après l'importation. Les mots-clés sont automatiquement ajoutés aux plans ou aux plages de plans en fonction des résultats de l'analyse.
Final Cut Pro propose les options d’analyse de vidéo et d’images fixes suivantes :
••
Analyser pour la stabilisation et l’obturateur roulant : analyse les plans vidéo et associent le mot-clé d'analyse Tremblement excessif aux plans ou aux plages de plans qui présentent un tremblement ou un obturateur roulant excessif, ou les deux. Si un plan comporte le mot-clé Tremblement excessif, ce problème peut être résolu après avoir ajouté le plan à la timeline en activant les corrections Stabilisation et Obturateur roulant. Consultez Correction des problèmes de tremblement excessif et d’obturateur roulant à la page 161. Si un plan ne comporte aucun problème de stabilisation, le mot clé Prise stabilisée lui est ajoutée.
Analyser les données
Chapitre 4 Analyser les données 50
Remarque : Si vous effectuez une analyse pour résoudre des problèmes de stabilisation, il est recommandé de cocher la case « Créer des collections intelligentes après l’analyse ». L’activation de cette fonctionnalité vous permet de localiser facilement les plans auxquels le mot-clé Tremblement excessif est appliqué.
Important : L’analyse pour la stabilisation et l’obturateur roulant est disponible uniquement après importation. Pour en savoir plus, consultez Analyser vos données à la page 51.
••
Analyser la balance des couleurs : analyse les plans vidéo pour détecter la balance des couleurs et le contraste. La balance des couleurs s’ajuste automatiquement lorsque vous ajoutez le plan à la timeline. Vous pouvez activer ou désactiver l’ajustement automatique des couleurs à tout moment.
••
Supprimer le pulldown : analyse les plans vidéo et supprime les modèles de pulldown.
Important : Cette option est disponible uniquement pour l’importation depuis une caméra ou un autre appareil à bande.
••
Rechercher les personnes : analyse les plans vidéo et les images fixes pour définir le nombre de personnes présentes et les types de plans. Une fois l’analyse effectuée, les mots-clés suivants sont ajoutés aux plans ou aux plages de plans : Une personne, Deux personnes, Groupe, Gros plan, Plan moyen ou Plan élargi.
Remarque : Si vous effectuez une analyse pour rechercher les personnes, il est recommandé de cocher la case « Créer des collections intelligentes après l’analyse ». L’activation de cette fonctionnalité vous permet de localiser facilement les plans auxquels le mot-clé Rechercher les personnes est appliqué.
••
Consolider les résultats de recherche de personnes : consolide tous les mots-clés résultant de l’analyse de recherche de personnes en un seul mot-clé de type de plan et un seul mot-clé de personne pour chaque segment de deux minutes de la vidéo. Le mot-clé de type de prise est celui du type de prise le plus large et le mot-clé de personne choisi est celui représentant le plus grand nombre de personnes. Par exemple, si un segment vidéo contient les mots-clés Medium Shot, Wide Shot, One Person et Group, les mots-clés d'analyse sont réduits à Wide Shot et Group durant la consolidation.
••
Créer des collections intelligentes après l’analyse : crée une collection intelligente pour chaque mot-clé appliqué lors de l’analyse de plans vidéo pour rechercher des problèmes de stabilisation ou de l’analyse de plans vidéo ou d’images fixes pour rechercher des personnes. Les collections intelligentes sont classées par ordre alphabétique dans un dossier de personnes à l'intérieur de l'événement dans la bibliothèque d'événements.
Lorsque vous faites glisser un fichier de média du Finder sur un événement Final Cut Pro ou sur la timeline, l’importation démarre automatiquement sans afficher de fenêtre contenant les options d’importation. Vous pouvez régler les options d’importation automatique dans la fenêtre des préférences d’importation de Final Cut Pro.
Options d’analyse audio
Final Cut Pro offre des options d'analyse automatique pour résoudre des problèmes audio courants, analyser et regrouper des canaux audio et supprimer les canaux muets. Vous pouvez analyser les données audio lors de leur importation ou analyser des plans vidéo présentant des problèmes audio dans le navigateur d’événements ou la timeline.
Chapitre 4 Analyser les données 51
Final Cut Pro propose les options d’analyse d’audio suivantes :
••
Analyser et résoudre les problèmes audio : analyse l’audio à la recherche de bourdonnement, de bruits et de tonalités. Final Cut Pro résout automatiquement les problèmes graves (marqués en rouge) et signale les problèmes moins importants (signalés en jaune). Pour en savoir plus, consultez Amélioration de l’audio à la page 207.
••
Scinder l’audio mono et grouper l’audio stéréo : les canaux audio sont analysés et groupés en mono dual ou stéréo, selon les résultats de l’analyse. Les canaux audio corrigés automatiquement sont signalés comme étant sélectionnés automatiquement. Pour en savoir plus sur les canaux audio, consultez la section Configuration des canaux audio à la page 176.
••
Supprimer les canaux silencieux : les canaux audio sont analysés et ceux laissés silencieux sont automatiquement supprimés. Les plans desquels des canaux sont supprimés sont signalés comme étant sélectionnés automatiquement. Pour en savoir plus sur les canaux audio, consultez la section Configuration des canaux audio à la page 176.
Lorsque vous faites glisser un fichier de média du Finder sur un événement ou sur la timeline de Final Cut Pro, l’importation démarre automatiquement sans afficher de fenêtre contenant les options d’importation. Vous pouvez régler les options d’importation automatique dans la fenêtre des préférences d’importation de Final Cut Pro.
Analyser vos données
Vous pouvez analyser les plans pendant l’importation, après l’importation dans le navigateur d’événements, ou configurer Final Cut Pro pour qu’il analyse automatiquement les plans lorsque vous les faites glisser sur un événement ou sur la timeline de Final Cut Pro.
Remarque : L’analyse pour la stabilisation et l’obturateur roulant est disponible uniquement après importation.
Analyse des plans lors de l’importation
1 Procédez de l’une des manières suivantes :
••
Pour importer un fichier à partir d’un caméscope ou d’une caméra compatible, d’un iPad, d’un iPhone, d’un iPod ou de tout autre appareil : connectez l’appareil à votre ordinateur, activez-le et choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). Dans la fenêtre qui s'affiche, sélectionnez les fichiers que vous souhaitez importer, puis cliquez sur le bouton Importer.
••
Pour importer un fichier à partir d’un caméscope à bande : Connectez le caméscope à votre ordinateur, allumez-le et réglez-le sur le mode VTR ou VCR. Puis, sélectionnez Fichier > Importer > Média (ou appuyez sur Commande + I), et cliquez sur le bouton Importer.
••
Pour importer un fichier à partir d’une carte mémoire : Insérez la carte mémoire dans le logement prévu à cet effet de votre Mac ou dans un lecteur de carte connecté à votre ordinateur et choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). Dans la fenêtre qui s'affiche, sélectionnez les fichiers que vous souhaitez importer, puis cliquez sur le bouton Importer.
••
Pour importer un fichier situé sur votre disque dur ou sur un périphérique de stockage connecté à votre ordinateur : Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). Dans la fenêtre qui s'affiche, sélectionnez les fichiers que vous souhaitez importer, puis cliquez sur le bouton Importer.
••
Pour importer des fichiers à partir d’une archive : Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). Dans la fenêtre qui s'affiche, sélectionnez ensuite une archive de caméra dans la liste de gauche, cliquez sur Ouvrir une archive et sélectionnez les fichiers que vous souhaitez importer et cliquez enfin sur le bouton Importer.
Chapitre 4 Analyser les données 52
2 Dans la fenêtre qui apparaît, choisissez comment vous voulez organiser les médias importés dans la bibliothèque d’événements :
••
Pour ajouter les médias importés à un événement existant : sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local.
••
Pour créer un événement : sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, « Mariage de Pierre et Sandra ») dans le champ de texte. Utilisez le menu local « Enregistrer dans » pour choisir le disque sur lequel vous voulez stocker l’événement.
Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55.
3 Sélectionnez la ou les options d’analyse vidéo et audio que vous souhaitez appliquer.
Pour obtenir les descriptions des options d'analyse audio et vidéo, consultez Options d’analyse des vidéos et des images fixes à la page 49 et Options d’analyse audio à la page 50.
Final Cut Pro analyse alors les fichiers en arrière-plan, une fois l’importation terminée.
4 Cliquez sur Importer.
L’importation peut prendre quelques minutes, selon les options sélectionnées à l’étape 3. Vous pouvez voir l’état de tous les processus en cours en arrière-plan dans la fenêtre Tâches d’arrière-plan.
Analyse des plans après importation
1 Dans le navigateur d'événements, cliquez sur un ou plusieurs plans tout en maintenant la touche Contrôle enfoncée, puis choisissez « Analyser et corriger » dans le menu contextuel.
Conseil : Pour trouver rapidement un plan utilisé dans la timeline, cliquez sur le plan en maintenant la touche Contrôle enfoncée et choisissez « Afficher dans le navigateur d'événements » dans le menu contextuel.
2 Dans la fenêtre qui s’affiche, sélectionnez plusieurs ou toutes les options relatives à l’analyse vidéo et à l’analyse audio que vous souhaitez appliquer, puis cliquez sur OK.
La procédure de transcodage peut prendre un certain temps, en fonction des options d’analyse sélectionnées. Vous pouvez voir l’état de tous les processus en cours en arrière-plan dans la fenêtre Tâches d’arrière-plan.
Analyse automatique des fichiers multimédias lorsqu'ils sont déplacés vers un événement ou vers la timeline
1 Choisissez Final Cut Pro > Préférences.
2 Dans la fenêtre Préférences, cliquez sur Importer et sélectionnez chaque option relatives à l’analyse vidéo et à l’analyse audio que vous souhaitez appliquer.
Lorsque vous avez terminé, fermez la fenêtre Préférences.
3 Pour importer un ou plusieurs fichiers, sélectionnez un fichier (ou cliquez sur plusieurs fichiers en maintenant la touche Commande enfoncée) dans le Finder et faites-le glisser sur un événement ou sur la timeline.
Chapitre 4 Analyser les données 53
Afficher les mots-clés d’analyse sur les plans
Si vous analysez du média pour chercher des séquences tremblantes ou des personnes, des mots-clés d'analyse tels que Tremblement excessif, Une personne ou Gros plan sont ajoutés aux plans correspondants. Les plans ou les plages de plan avec les mots-clés d'analyse sont marqués d'une ligne violette dans le navigateur d'événements.
Une ligne violette indique que le plan possède un ou plusieurs mots-clés d’analyse.
Vous pouvez afficher les mots-clés d’analyse d'un plan à plusieurs emplacements dans Final Cut Pro.
Affichage des mots-clés dans la fenêtre Informations du skimmer
1 Choisissez Présentation > Afficher les infos du skimmer (ou appuyez sur Contrôle + Y).
2 Survolez le plan dans le navigateur d’événements.
Les mots-clés, y compris les mots-clés d'analyse, sont affichés dans la fenêtre Informations du skimmer lorsque le pointeur est placé sur le plan.
Pour désactiver Informations de skimmer, choisissez Présentation > Masquer les informations de skimmer (ou appuyez sur Contrôle + Y).
Affichage des mots-clés en présentation par liste dans le navigateur d’événements
1 Cliquez sur le bouton Présentation par liste.
Chapitre 4 Analyser les données 54
2 Pour afficher les mots-clés d’un plan, cliquez sur le triangle d’affichage en regard de celui-ci.
Les mots-clés d’analyse sont répertoriés en regard de la roue dentée violette.
Affichage du contenu d’une collection intelligente
Si vous choisissez de créer des collections intelligentes après l’analyse, les plans auxquels des mots-clés sont associés sont regroupés automatiquement en collections intelligentes au sein de l'événement dans la bibliothèque d'événements. Une collection intelligente est créée pour chaque mot-clé d'analyse et placée dans un dossier de personnes ou de stabilisation, en fonction du type d'analyse.
mm
Dans la bibliothèque d'événements, sélectionnez une collection intelligente de mots-clés à l'intérieur d'un dossier de personnes ou de stabilisation dans un événement.
Les plans contenant ce mot-clé d'analyse s’affichent dans le navigateur d’événements. Par exemple, si vous sélectionnez la collection intelligente Medium Shot, tous les plans de l'événement possédant ce mot-clé s'affichent dans le navigateur d'événements.
Collection intelligente Medium ShotCes plans incluent le mot-clé d’analyse Medium Shot (coupe moyenne).
5
55
Présentation des événements et des plans
Lorsque vous importez du contenu vidéo, audio ou des images fixes ou que vous les enregistrez directement dans Final Cut Pro, les fichiers de média source (votre métrage brut) s’affichent comme plans dans un ou plusieurs événements de la bibliothèque d’événements. Un événement correspond à un dossier qui peut contenir des dizaines, des centaines, voire des milliers de plans vidéo, de clips audio et d’images fixes. Chaque événement de la bibliothèque d’événements correspond à un dossier de votre disque dur qui contient les fichiers de média originaux, tout fichier de rendu relatif à votre média et un fichier de base de données comprenant le suivi de l’emplacement de l’ensemble des éléments.
Lorsque vous sélectionnez un événement dans la bibliothèque d’événements, le média qu’il contient s’affiche sous forme de plans dans le navigateur d’événements. Il vous suffit de sélectionner des plans ou des sections de plan dans le navigateur d’événements pour commencer à travailler dessus. Vous pouvez trier les plans dans le navigateur d’événements par date de création, par date d’importation, par bande, par scène, par durée de plan ou par type de fichier.
Sélectionnez un événement dans la bibliothèque d’événements.Le navigateur d’événements affiche les plans dans l’événement sélectionné.
Lorsque vous importez du contenu vidéo dans un nouvel événement, vous devez attribuer un nom à ce dernier. En donnant des noms explicites à vos événements (par exemple, « Mariage des Dupont 2011 »), vous organisez vos données de manière à les retrouver facilement. Par défaut, Final Cut Pro présente les événements dans la bibliothèque d’événements en les triant selon leur date d’enregistrement. Vous pouvez organiser la bibliothèque d’événements différemment ou la masquer pour bénéficier d’un espace de travail plus étendu. La bibliothèque d’événements contient également les collections de mots-clés et les collections intelligentes qui vous permettent d’organiser efficacement vos projets de montage vidéo à l’aide de mots-clés et de filtres de recherche.
Organisation de votre média
Chapitre 5 Organisation de votre média 56
Organisation des événements
Création d’un événement
Après l’importation de vos fichiers de média source dans Final Cut Pro, il se peut que vous ayez
besoin de créer des événements supplémentaires pour organiser votre média. Par exemple, après
avoir importé une prise du média pour un client donné, le cas peut se présenter où vous devez
scinder le média en plusieurs événements en fonction de l’endroit ou du moment de la journée
de la prise.
Création d’un événement dans la bibliothèque d’événements
1 Si la bibliothèque d’événements n’est pas affichée, cliquez sur le bouton Bibliothèque d’événements
dans le coin inférieur gauche du navigateur d’événements.
2 Choisissez Fichier > Nouvel événement (ou appuyez sur Option + N).
Un nouvel événement s’affiche dans la bibliothèque d’événements
3 Saisissez un nom pour l’événement, puis appuyez sur Entrée.
4 Déplacer les plans à partir d’autres événements vers le nouvel événement, si nécessaire.
Attribution d’un nouveau nom à un événement
Modification du nom d’un événement
Au cours de l’élaboration de votre projet, il se peut que vous deviez renommer un événement
pour mieux refléter les plans qu’il contient.
1 Dans la bibliothèque d’événements, sélectionnez l’événement dont vous souhaitez
modifier le nom.
2 Procédez de l’une des manières suivantes :
•• Cliquez sur le nom de l’événement et saisissez un nouveau nom.
•• Appuyez sur Retour et saisissez un nouveau nom.
Important : La modification du nom d’un événement se répercute sur le dossier de l’événement
situé sur le disque dur où est enregistré votre média source.
Fusion ou scission d’événements
Vous pouvez fusionner (combiner) plusieurs événements dans la bibliothèque d’événements
(par exemple, si le média qu’ils contiennent est étroitement lié). Vous pouvez également scinder
un événement en plusieurs si vous considérez que l’événement devient trop difficile à gérer.
Chapitre 5 Organisation de votre média 57
Fusion de plusieurs événements
1 Dans la bibliothèque d’événements, procédez de l’une des manières suivantes :
••
Faites glisser les événements que vous souhaitez combiner sur un nouvel événement.
••
Sélectionnez les événements que vous souhaitez combiner, puis choisissez Fichier > Fusionner les événements.
2 Dans la fenêtre Fusionner les événements qui s’affiche, attribuez un nom à l’événement.
3 Choisissez le disque sur lequel vous souhaitez stocker les fichiers de média source de l’événement dans le menu local Emplacement, puis cliquez sur OK.
Final Cut Pro fusionne les événements sélectionnés en un seul événement dans la bibliothèque d’événements. Les fichiers de média source de tous les plans sont déplacés dans le dossier fusionné de l’événement sur le disque dur et stockés à l’emplacement défini dans le menu local.
Scission d’un événement en plusieurs
1 Créez les nouveaux événements nécessaires.
2 Déplacez les plans que vous souhaitez séparer de l’événement original vers les nouveaux événements.
Les fichiers de média source de tous les plans sont déplacés vers les dossiers d’événement sur le disque correspondant aux nouveaux événements créés dans la bibliothèque d’événements.
Important : Si vous déconnectez le disque où sont enregistrés les événements fusionnés ou scindés, vous ne pouvez plus accédez aux événements ou à leurs fichiers de média source depuis Final Cut Pro.
Copie et déplacement de plans entre les événements
Vous pouvez copier et déplacer des plans d’un événement à l’autre. Lorsque vous copiez un plan d’un événement à l’autre, le fichier correspondant est alors dupliqué sur le disque. Dans le cas du déplacement, le fichier correspondant est déplacé du dossier du premier événement à l’autre sur le disque.
Remarque : Lorsque vous importez des médias dans Final Cut Pro, vous avez la possibilité de cocher la case « Copier les fichiers dans le dossier Final Cut Events » ce qui permet de dupliquer les fichiers de média source sur votre disque dur. Si vous importez des fichiers alors que la case est décochée, Final Cut Pro crée alors des fichiers de référence (alias) pointant simplement sur les fichiers de média source, sans copier ces derniers. Au moment où vous copiez ou déplacez les plans entre des événements, Final Cut Pro copie ou déplace uniquement les fichiers de référence (et non les fichiers de média source). Si après avoir copié ou déplacé les plans, vous souhaitez remplacer les fichiers de référence correspondants par les fichiers de média source à proprement parler, sélectionnez les événements, puis choisissez Fichier > Organiser les fichiers d’événements. Pour plus d’informations sur les fichiers et plans, consultez Fichiers de média et plans à la page 18.
Chapitre 5 Organisation de votre média 58
Copie de plans d’un événement à l’autre
1 Dans la bibliothèque d’événements, sélectionnez l’événement qui contient les plans que vous souhaitez copier.
2 Dans le navigateur d’événements, sélectionnez le ou les plans que vous souhaitez copier.
3 Procédez de l’une des manières suivantes :
••
Si les deux événements sont situés sur le même disque dur : Faites glisser les plans en gardant la touche Option enfoncée d'un événement à l'autre en commençant par faire glisser l'élément, puis par appuyer sur la touche Option.
••
Si les événements sont situés sur des disques durs différents : faites glisser les plans d’un événement à l’autre.
Déplacement de plans d’un événement à l’autre
1 Dans la bibliothèque d’événements, sélectionnez l’événement qui contient les plans que vous souhaitez déplacer.
2 Dans le navigateur d’événements, sélectionnez le ou les plans que vous souhaitez déplacer.
3 Procédez de l’une des manières suivantes :
••
Si les deux événements sont situés sur le même disque dur : faites glisser les plans d’un événement à l’autre.
••
Si les événements sont situés sur des disques durs différents : faites glisser les plans d’un événement à l’autre tout en maintenant la touche Commande enfoncée.
Il se peut que l’événement vers lequel vous avez copié ou déplacé les plans ait été réorganisé dans la bibliothèque d’événements. Il apparaît sous l’année durant laquelle le plan le plus récent qu’il contient a été enregistré.
La copie ou le déplacement d’un plan volumineux appartenant à un événement situé sur un disque dur vers un événement conservé sur un autre disque dur peut prendre quelques minutes puisque les fichiers de média source sont copiés ou déplacés d’un disque à l’autre.
Copie ou déplacement d’événements
Vous pouvez facilement copier ou déplacer un événement d’un ordinateur à un disque dur ou d’un disque dur à un autre. Cela peut s’avérer utile si vous souhaitez travailler sur votre événement depuis un autre ordinateur sur lequel est installé Final Cut Pro ou libérer de l’espace sur le disque dur de votre ordinateur.
Copie d’un événement
1 Assurez-vous qu’un disque dur externe est connecté à votre ordinateur.
2 choisissez « Regrouper les événements par disque » dans le menu local Action sous la bibliothèque d’événements.
L’icône et le nom du disque connecté s’affichent dans la bibliothèque d’événements.
3 Sélectionnez un événement dans le navigateur d’événements.
4 Procédez de l’une des manières suivantes :
••
Choisissez Édition > Dupliquer l’événement (ou appuyez simultanément sur les touches Commande + D).
Chapitre 5 Organisation de votre média 59
••
Faites glisser l’événement sur l’icône du disque dur externe.
5 Dans la fenêtre Dupliquer l’événement, attribuez un nom au nouvel événement.
6 Pour stocker vos fichiers sur un second emplacement, définissez-le dans le menu local Emplacement.
7 Cliquez sur OK.
Final Cut Pro réalise une copie de l’événement à l’emplacement spécifié. Le programme effectue également des copies des fichiers de média source et les conserve dans un nouveau dossier d’événement. Souvenez-vous que la copie d’un événement contenant des fichiers de média source volumineux peut nécessiter plusieurs minutes.
Déplacement d’un événement
1 Assurez-vous qu’un disque dur externe est connecté à votre ordinateur.
2 choisissez « Regrouper les événements par disque » dans le menu local Action sous la bibliothèque d’événements.
L’icône et le nom du disque connecté s’affichent dans la bibliothèque d’événements.
3 Sélectionnez un événement dans le navigateur d’événements.
4 Procédez de l’une des manières suivantes :
••
Choisissez Fichier > Déplacer l’événement.
••
Faites glisser l’événement sur l’icône du disque dur externe tout en maintenant la touche Commande enfoncée.
5 Pour stocker vos fichiers sur un second emplacement, définissez-le dans le menu local Emplacement.
6 Cliquez sur OK.
Final Cut Pro déplace l’événement à l’emplacement spécifié. Il déplace également le dossier Final Cut Events contenant les fichiers de média source. Souvenez-vous que le déplacement d’un événement contenant des fichiers de média source volumineux peut nécessiter plusieurs minutes.
Important : Si vous déconnectez le disque contenant l’événement déplacé, vous ne pouvez plus accéder à l’événement ou aux fichiers de média source dans Final Cut Pro.
Chapitre 5 Organisation de votre média 60
Tri des événements
Dans la bibliothèque d’événements, vous pouvez afficher vos événements de différentes manières, y compris selon le disque sur lequel ils sont stockés ou leur date d’enregistrement.
Tri des événements en fonction de leur emplacement ou de leur date de stockage
mm
Pour afficher les événements en fonction du disque sur lequel ils sont stockés : choisissez « Regrouper les événements par disque » dans le menu local Action sous la bibliothèque d’événements.
mm
Pour afficher les événements en fonction de la date de leur enregistrement : choisissez « Grouper les événements par date » dans le menu local Action et choisissez une option dans le sous-menu.
Affichage des plages de date d’un événement
Final Cut Pro peut afficher les plages de dates des fichiers de média source contenus dans chaque événement.
mm
Choisissez « Afficher la plage de dates dans la bibliothèque d’événements » dans le menu local Action .
Tri des événements par les plus récents
mm
Choisissez « Disposer les événements par date décroissante » dans le menu local Action .
Chapitre 5 Organisation de votre média 61
Suppression de plans ou d’événements
Vous pouvez supprimer les plans non désirés d’un événement ou supprimer la totalité d’un événement afin de libérer de l’espace sur votre disque dur. Lorsque vous supprimez un plan d’un événement ou la totalité d’un événement, Final Cut Pro place le média source dans la Corbeille.
Remarque : La bibliothèque d’événements doit au moins contenir un événement.
Suppression de plans d’un événement ou de la totalité d’un événement
1 Dans la bibliothèque d’événements, sélectionnez l’événement que vous souhaitez supprimer ou dont vous souhaitez supprimer des plans.
2 Effectuez l’une des opérations suivantes :
••
Pour supprimer des plans de l’événement : sélectionnez les plans que vous souhaitez supprimer, puis choisissez Fichier > Placer dans la Corbeille (ou appuyez sur Commande + Supprimer).
••
Pour supprimer la totalité d’un événement : choisissez Fichier > Placer l’événement dans la Corbeille (ou appuyez sur Commande + Supprimer).
Les fichiers de média source des plans sélectionnés ou l’événement et tous les fichiers de média source qui lui sont associés sont placés dans la Corbeille du Finder. Pour supprimer de façon définitive les fichiers de média source de votre disque dur, videz la Corbeille.
AVERTISSEMENT : Une fois la Corbeille vidée, il est impossible de restaurer les plans ou l’événe-ment et leurs fichiers de média source supprimés.
Organisation des plans
Affichage et tri des plans
Vous pouvez afficher vos plans dans le navigateur d’événements de deux manières.
••
Présentation en pellicule : affiche les plans de l’événement sélectionné sous forme de séries de vignettes. La présentation en pellicule est utile pour localiser visuellement vos plans.
Chapitre 5 Organisation de votre média 62
•• Présentation par liste : affiche une liste de vos plans et les informations de fichiers associées.
Cette présentation vous permet d’afficher ou de trier vos plans en fonction de leur durée, de
leur date de création, de leur classement, de leurs mots-clés, etc. Lorsque vous sélectionnez un
plan dans la présentation par liste, la pellicule du plan sélectionné s’affiche en haut du navigateur
d’événements. La pellicule est totalement interactive. Elle permet d’accéder aux points de
départ et d’arrivée, aux marqueurs et aux mots-clés.
Passage de la présentation en pellicule à la présentation par liste
Procédez de l’une des manières suivantes :
mm Cliquez sur le bouton Présentation en pellicule situé dans le coin inférieur gauche du navigateur
d’événements.
mm Cliquez sur le bouton Présentation par liste situé dans le coin inférieur gauche du navigateur
d’événements.
Chapitre 5 Organisation de votre média 63
Personnalisation de la présentation en pellicule
mm Pour ajuster le temps représenté par chaque vignette dans une pellicule de plan : faites glisser le curseur
Durée situé dans le coin inférieur droit du navigateur d’événements.
Curseur réglé sur 5 secondes
Curseur réglé sur 30 secondes
Ajuster le curseur Durée augmente ou réduit le niveau de détail affiché dans la pellicule de
chaque plan. Plus les vignettes représentent une longue durée, moins chaque plan comprend de
vignettes et plus il y a de plans affichés dans le navigateur d’événements.
Chapitre 5 Organisation de votre média 64
mm Pour ajuster la hauteur de la pellicule : dans le coin inférieur droit du navigateur d’événements, cliquez
sur le bouton Apparence du plan et ajustez le curseur Hauteur du plan.
mm Pour activer et désactiver les formes d’onde audio : dans le coin inférieur droit du navigateur d’événements,
cliquez sur le bouton Apparence du plan et décochez la case « Afficher les formes
d’ondes » dans la fenêtre qui s’affiche.
Lorsque les formes d’onde audio sont activées, elles s’affichent au bas de chaque pellicule de
plan, augmentant la hauteur de tous les plans dans le navigateur d’événements.
Chapitre 5 Organisation de votre média 65
Personnalisation de la présentation par liste
mm
Pour choisir quel type d’information s’affiche dans les colonnes de la présentation par liste et pour personnaliser les colonnes : dans le navigateur d’événements, cliquez sur l’en-tête d’une colonne tout en maintenant la touche Contrôle enfoncée et choisissez une option de catégorie dans le menu contextuel.
mm
Pour réorganiser les colonnes dans la présentation par liste : dans le navigateur d’événements, faites glisser l’en-tête d’une colonne à l’emplacement de votre choix.
mm
Pour limiter l’affichage des plans à une catégorie dans la présentation par liste : cliquez sur l’en-tête d’une colonne dans le navigateur d’événements pour trier les plans d’après la catégorie en question.
mm
Pour afficher le classement et les mots-clés d’un plan dans la présentation par liste : cliquez sur le triangle d’affichage situé à gauche du nom du plan.
Mot-cléClassement
Si un triangle d’affichage s’affiche à gauche d’un plan dans la présentation par liste, cela signifie qu’un classement, un mot-clé ou les deux ont été appliqués au plan.
Tri des plans dans le navigateur d’événements
Vous pouvez trier les plans dans le navigateur d’événements selon un ordre qui permet de mieux les localiser visuellement.
1 Dans la bibliothèque d’événements, sélectionnez l’événement dont vous souhaitez trier les plans.
2 Procédez de l’une des, ou des deux, manières suivantes :
••
Pour grouper les plans par catégorie : choisissez « Grouper les plans par » dans le menu local Action (sous la bibliothèque d’événements), puis choisissez une catégorie dans le sous-menu. Choisissez l’option de tri Croissant ou Décroissant dans le même sous-menu.
••
Pour définir l’option de tri des plans dans l’événement sans les grouper : choisissez « Disposer les plans par » dans le menu local Action (sous la bibliothèque d’événements), puis choisissez une catégorie dans le sous-menu.
Remarque : Il est possible de grouper des plans et de définir leur option de tri (organisation) de manière indépendante.
Réinitialisation de l’option de tri par défaut dans le navigateur d’événements
1 Dans la bibliothèque d’événements, sélectionnez l’événement qui contient les plans dont vous souhaitez réinitialiser l’option de tri.
2 Choisissez Grouper les plans par > Aucun, et Grouper les plans par > Croissant, dans le menu local Action sous le navigateur d’événements.
3 Choisissez Disposer les plans par > Contenu créé, et Disposer les plans par > Croissant dans le menu local Action.
Chapitre 5 Organisation de votre média 66
Modification du nom des plans
Vous pouvez renommer à tout moment les plans dans le navigateur d’événements, l’index de la
timeline ou l’inspecteur d’informations.
Le fait de renommer un plan n’a d’effets que sur cette instance particulière du plan. Ainsi, les
plans que vous ajoutez à la timeline depuis le navigateur d’événements ou que vous copiez d’un
événement à l’autre ou au sein de la timeline, constituent des instances de plan (des copies)
indépendantes les unes des autres et qui peuvent avoir leur propre nom.
Important : La modification du nom d’un plan dans Final Cut Pro n’est pas répercutée sur le nom
du fichier source de ce plan sur le disque.
Modification du nom d’un plan dans le navigateur d’événements
mm Pour renommer un plan dans la présentation en pellicule : sélectionnez le nom d’un plan et saisissez
un nouveau nom.
mm Pour renommer un plan dans la présentation par liste : sélectionnez le nom d’un plan, appuyez sur
Retour et saisissez un nouveau nom.
Modification du nom d’un plan dans l’index de la timeline
1 Pour ouvrir l’index de la timeline, cliquez sur le bouton Index de la timeline situé dans le coin
inférieur gauche de la fenêtre principale de Final Cut Pro (ou appuyez sur Commande + Maj + 2).
2 Cliquez sur le bouton Plans en haut de l’index de la timeline.
Bouton Plans
3 Cliquez sur le champ Nom d’un plan, puis saisissez un nouveau nom.
Modification du nom d’un plan dans l’inspecteur d’informations
1 Sélectionnez un plan dans le navigateur d’événements ou la timeline.
2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur de la barre d’outils (illustré
ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche.
3 Dans la section Nom de l’inspecteur d’informations, cliquez sur le champ Nom, puis saisissez un
nouveau nom.
Chapitre 5 Organisation de votre média 67
Classement des plans comme Favoris ou Rejetés
Si vos plans contiennent des sections dont vous n’êtes pas satisfait ou que vous ne voulez pas
utiliser dans un projet, parce qu’ils sont flous, par exemple, vous pouvez les signaler comme
Rejetés. Vous pouvez facilement classer les plans que dont vous êtes satisfait et ceux dont vous
ne l’êtes pas lorsque vous les passez en revue. Lorsque vous êtes prêt à réaliser un projet ou à
présenter un plan à un client, vous pouvez vous focaliser sur vos meilleurs métrages en affichant
uniquement ceux marqués comme favoris. Vous pouvez également supprimer les fichiers de
média source de vos plans rejetés pour libérer de l’espace sur votre disque dur.
Favori Rejeté
Classement des plans
1 Dans le navigateur d’événements, sélectionnez une plage, un plan ou plusieurs plans non consécutifs,
que vous souhaitez évaluer.
2 Procédez de l’une des manières suivantes :
•• Si vous êtes satisfait de la sélection : appuyez sur la touche F ou cliquez sur le bouton Favori
dans la barre d’outils.
Dans le navigateur d’événements, un trait vert s’affiche au-dessus des images marquées
comme favorites.
•• Si vous n’êtes pas satisfait de la sélection : appuyez sur la touche Supprimer ou cliquez sur le
bouton Rejeter dans la barre d’outils.
Chapitre 5 Organisation de votre média 68
Un trait rouge s’affiche au-dessus des images marquées comme rejetées.
Remarque : Si l’option « Masquer les projets rejetés » est activée dans le menu local Filtre dans
la partie supérieur du navigateur d’événements, les clips rejetés ne s’affichent pas.
Suppression des classements de plans
1 Assurez-vous que les plans avec lesquels vous souhaitez travailler sont affichés dans le navigateur
d’événements.
Il se peut que vous deviez choisir une nouvelle option, telle que Tous les plans dans le menu
local Filtre dans le coin supérieur gauche du navigateur d’éléments pour que tous les plans auxquels
vous souhaitez accéder soient visibles.
Choisissez Tous les
plans pour recenser
tous les plans inclus
dans l’événement,
indépendamment de
leur classement.
2 Dans le navigateur d’événements, sélectionnez les plans dont vous souhaitez supprimer le classement,
puis appuyez sur la touche U ou cliquez sur le bouton Effacer le classement dans la barre
d’outils.
Les traits verts ou rouges ne s’affichent plus au-dessus des plans.
Plans dont le classement
a été supprimé
Chapitre 5 Organisation de votre média 69
Ajout de mots-clés aux plans
Vous pouvez appliquer des plans pour vous aider à localiser rapidement les plans dont vous avez
besoin pour composer votre film. Une fois que vous avez appliqué un mot-clé à un plan ou à une
plage de plans, le plan ou la plage en question est marqué par un trait bleu dans le navigateur
d'événements. (Les plans comprenant des mots-clé d'analyse, qui sont appliqués automatiquement
après certains types d'analyse, sont marqués d'une ligne violette. Pour en savoir plus,
consultez Présentation de l’analyse des données à la page 49.)
De plus, lorsqu’un mot-clé est appliqué à un plan ou à une plage de plans, une collection de
mots-clés s’affiche dans la bibliothèque d’événements. Une collection de mots-clés contient des
pointeurs (alias) renvoyant vers des plans marqués par un mot-clé spécifique. Par exemple, si
vous appliquez le mot-clé « Nicholas » à tous les plans contenant Nicholas, vous pouvez sélectionner
la collection de mots-clés « Nicholas » dans la bibliothèque d’événements pour afficher
tous les plans contenant ce mot-clé dans le navigateur d’événements.
Une ligne bleue indique que le
Collections de mots-clés plan possède des mots-clés.
Vous pouvez appliquer un ou plusieurs mots-clés à une plage d’un plan, à un plan entier ou à un
groupe de plans dans un événement.
Application de mots-clés à l’aide de l’éditeur de mots-clés
1 Dans le navigateur d’événements, sélectionnez une plage, un plan précis ou plusieurs plans non
contigus auxquels vous souhaitez appliquer des mots-clés.
2 Pour ouvrir l’éditeur de mots-clés, cliquez sur le bouton Mots-clés dans la barre d’outils.
3 Au sommet de l’éditeur de mots-clés, saisissez le ou les mots-clés que vous souhaitez appliquer à
la sélection, puis appuyez sur Retour.
Saisissez un mot-clé ou
une phrase de mots-clé,
puis appuyez sur Retour.
Chapitre 5 Organisation de votre média 70
4 Répétez l’étape 3 pour chaque mot-clé que vous souhaitez ajouter à la sélection.
Une ligne bleue s’affiche en haut de la sélection dans le navigateur d’événements, indiquant que
les mots-clés lui ont été appliqués.
5 Lorsque vous avez terminé l’ajout de mots-clés, fermez l’éditeur de mots-clés.
Ajout de mots-clés à l’aide de raccourcis clavier
Pour ajouter des mots-clés à vos plans à l’aide de raccourcis clavier, vous devez préalablement
assigner des mots-clés aux raccourcis clavier.
1 Si l’éditeur de mots-clés n’est pas ouvert, cliquez sur le bouton Mots-clés dans la barre d’outils.
2 Dans l’éditeur de mots-clés, cliquez sur le triangle d’affichage à gauche de Raccourcis clavier.
3 Saisissez un mot-clé ou une phrase dans chaque champ, puis appuyez sur Retour.
Pour réassigner un raccourci clavier, sélectionnez le champ lui correspondant et saisissez un nouveau
mot-clé.
Saisissez à cet
emplacement
les mots-clés ou
l’expression-clé
à affecter aux
raccourcis clavier.
4 Pour utiliser un raccourci clavier, sélectionnez une plage ou un ou plusieurs plans non contigus
auxquels vous souhaitez ajouter des mots-clés, puis appuyez simultanément sur Contrôle et sur
la touche numérotée correspondante (1 à 9).
Affichage des mots-clé appliqués aux plans
mm Pour identifier rapidement des plans qui possèdent des mots-clé : sélectionnez un événement dans
le navigateur d’événements.
Les plans qui possèdent un ou plusieurs mots-clé s'affichent dans le navigateur d'événements
marqués d'une ligne bleue dans la partie supérieure.
Chapitre 5 Organisation de votre média 71
mm
Pour afficher tous les mots-clés appliqués à un plan : choisir Présentation > Afficher les infos du skimmer (ou appuyer sur Contrôle + Y) et survoler le plan dans le navigateur d'événements.
Vous pouvez aussi afficher les mots-clés en sélectionnant le plan dans le navigateur d'événements et en cliquant sur le bouton Mots-clés dans la barre d'outils. Les mots-clés appliqués au plan sont affichés dans l'éditeur de mots-clés.
mm
Pour afficher tous les plans qui possèdent un mot-clé spécifique : Sélectionner une collection de mots-clés dans la bibliothèque d’événements.
Les plans contenant ce mot-clé s’affichent dans le navigateur d’événements.
Suppression de tous les mots-clés d’une sélection
1 Dans le navigateur d’événements, sélectionnez une plage, un plan précis ou plusieurs plans non contigus desquels vous souhaitez supprimer des mots-clés.
Une ligne bleue tracée en haut des plans indique les sections des plans auxquelles sont appliqués des mots-clés.
2 Choisissez Marquer > Supprimer tous les mots-clés (ou appuyez sur Contrôle + 0).
Suppression d’un sous-ensemble de mots-clés d’une sélection
1 Dans le navigateur d’événements, sélectionnez une plage, un plan précis ou plusieurs plans non contigus desquels vous souhaitez supprimer des mots-clés.
Une ligne bleue tracée en haut des plans indique les sections des plans auxquelles sont appliqués des mots-clés. Chaque mot-clé assigné à un plan est également repris dans la présentation par liste.
2 Cliquez sur le bouton Mots-clés dans la barre d’outils pour ouvrir l’éditeur de mots-clés, sélectionnez le ou les mots-clés que vous souhaitez supprimer et appuyez sur Supprimer.
Sélectionnez le ou les mots-clés à supprimer de la sélection, puis appuyez sur suppr.
Chapitre 5 Organisation de votre média 72
Ajout ou modification de notes de plan
Lorsque vous réexaminez vos plans, vous pouvez ajouter et modifier des notes à leur sujet dans
le navigateur d’événements ou l’index de la timeline. Vous pouvez retrouver rapidement vos
plans en saisissant le texte des notes dans le champ de recherche du navigateur d’événements
ou de l’index de la timeline, ou dans le champ de texte de la fenêtre Filtre.
Remarque : Vous pouvez ajouter des notes à chaque instance d’un plan. Ainsi, les plans que vous
ajoutez à la timeline depuis le navigateur d’événements ou que vous copiez d’un événement à
l’autre ou au sein de la timeline, constituent des instances de plan (des copies) indépendantes les
unes des autres.
Ajout ou modification de notes de plan dans le navigateur d’événements
1 Cliquez sur le bouton Présentation par liste situé dans le coin inférieur gauche du navigateur
d’événements.
2 Sélectionnez le plan auquel vous voulez ajouter des notes ou dont vous voulez modifier
les notes.
Remarque : Les notes s’appliquent à un plan intégral et non à des plages de sélection.
3 Cliquez sur le champ Notes du plan, puis saisissez vos remarques ou modifiez-les.
Ajout ou modification de notes de plan dans l’index de la timeline
1 Pour ouvrir l’index de la timeline, cliquez sur le bouton Index de la timeline situé dans le coin
inférieur gauche de la fenêtre principale de Final Cut Pro (ou appuyez sur Commande + Maj + 2).
2 Pour ouvrir la fenêtre Plans, cliquez sur le bouton Plans en haut de l’index de la timeline.
Bouton Plans
Chapitre 5 Organisation de votre média 73
3 Si la colonne Notes n’est pas visible dans la fenêtre Plans, cliquez sur l’en-tête d’une colonne en maintenant la touche Contrôle enfoncée et choisissez Notes dans le menu contextuel.
4 Cliquez sur le champ Notes du plan, puis saisissez vos remarques ou modifiez-les.
Saisir ici les notes pour un plan.
Organisation des plans en fonction des rôles
Il est possible d’organiser les plans en fonction de rôles (étiquettes de métadonnées affectées aux plans).
Lorsque vous importez des plans (vidéo, audio ou images fixes), Final Cut Pro attribue automatiquement l’un des cinq rôles par défaut aux composants vidéo et audio de chaque plan : Vidéo, Titres, Dialogue, Musique et Effets. Vous pouvez aussi créer des rôles et des sous-rôles personnalisés et les attribuer à vos plans.
Vous pouvez visualiser et réaffecter des rôles dans l’index de la timeline, le navigateur d’événements ou l’inspecteur d’informations. Vous pouvez par exemple identifier facilement tous vos plans de dialogue et les lire isolément par rapport aux autres plans audio. Consultez Affichage et réattribution de rôles à la page 311.
Recherche de plans dans le navigateur d’événements
Dans Final Cut Pro, il vous est possible de rechercher du média de deux manières.
••
Filtrer rapidement les plans par marquage : utilisez le menu local Filtre dans le navigateur d’événements pour localiser rapidement des plans en fonction de leur classement, de l’absence de classement ou de mots-clés.
••
Rechercher d’après une combinaison de critères à l’aide de la fenêtre Filtre : utilisez la fenêtre Filtre pour effectuer des recherches complexes de plans, aussi appelées recherches pondérées. Vous pouvez utiliser une large gamme de critères de recherche, notamment par le nom du plan, le classement, le type de média, le tremblement excessif, des mots-clés, la présence de personnes, des informations relatives au format et la date.
Filtrage rapide des plans par classement
Utilisez le menu local Filtre dans le navigateur d’événements pour trouver rapidement des plans en fonction de leur classement.
1 Dans la bibliothèque d’événements, sélectionnez un ou plusieurs événements que vous souhaitez rechercher.
Chapitre 5 Organisation de votre média 74
2 Choisissez une option dans le menu local Filtre au sommet du navigateur d’événements.
•• Tous les plans : affiche tous les plans de l’événement.
•• Masquer les projets rejetés : affiche tous les plans ou toutes les plages, excepté ceux marqués
comme rejetés.
•• Aucun classement ou mot-clé : affiche uniquement les plans ou les plages sans classement
ou mot-clé.
•• Favoris : affiche uniquement les plans ou les plages classés comme favoris.
•• Rejetés : affiche uniquement les plans ou les plages classés comme rejetés.
Recherche des plans selon une combinaison de critères
La fenêtre Filtre vous permet de combiner plusieurs critères de recherche. Par exemple, vous
pouvez rechercher des plans vidéo contenant le texte « extérieur » dans leurs métadonnées.
1 Dans la bibliothèque d’événements, sélectionnez l’événement ou le dossier dans lequel vous
souhaitez effectuer votre recherche.
2 Cliquez sur le bouton Filtre situé au sommet du navigateur d’événements.
3 Dans la fenêtre Filtre, choisissez vos critères de recherches ou règles, dans le menu local Ajouter
une règle.
Menu local Ajouter
une règle
•• Texte : recherchez des plans par leur nom ou les notes les concernant dans la présentation par
liste à l’aide de texte. Vous pouvez ajouter plusieurs règles textuelles pour rechercher plus d’un
mot ou d’une phrase ou pour éliminer des mots ou des phrases spécifiques de la recherche.
•• Classements : recherchez des plans en fonction de leur classement (favori ou rejeté).
•• Type de média : recherchez des plans dont les fichiers de média source sont d’un type particulier,
tel que vidéo, audio ou fixe.
•• Stabilisation : recherchez des plans vidéo identifiés par Final Cut Pro comme présentant un
tremblement excessif.
•• Mots-clés : recherchez des plans en fonction des mots-clés leur étant assignés. Vous pouvez
sélectionner un ou plusieurs mots-clés à rechercher.
Chapitre 5 Organisation de votre média 75
•• Personnes : recherchez des plans identifiés par Final Cut Pro comme contenant des personnes.
•• Infos sur le format recherchez des plans en fonction des informations sur leur format, telles que
la fréquence d’image vidéo ou le numéro de la scène.
•• Date : recherchez des plans en fonction de la date de création du fichier de média ou de la
date d’importation du média dans Final Cut Pro.
•• Rôles : recherchez des plans en fonction des rôles qui leur ont été attribués.
Pour supprimer une règle, cliquez sur le bouton Supprimer situé à droite de la règle. Pour
exclure une règle de la recherche sans la supprimer, il suffit de décocher la case située à gauche
de celle-ci.
4 Effectuez une recherche plus précise en choisissant des éléments des menus locaux pour les
règles ajoutées.
5 Procédez de l’une des manières suivantes :
•• Pour spécifier qu’un plan doit correspondre à au moins un des critères ou des mots-clés : choisissez
N’importe quel(le) dans le menu local situé dans le coin supérieur gauche de la fenêtre Filtre.
•• Pour spécifier qu’un plan doit correspondre à tous les critères et mots-clés : Choisissez Tous dans le
menu local.
Les plans qui correspondent aux critères de recherche s’affichent dans le navigateur d’événements
et les icônes indiquant l’état de recherche s’affichent à droite du bouton Filtre au sommet
du navigateur d’événements.
Si vous le souhaitez, vous pouvez enregistrer les résultats de votre recherche sous forme de
collection intelligente qui regroupe automatiquement les plans en fonction de vos critères
de recherche.
Effacement d’une recherche pondérée
mm Cliquez sur le bouton Réinitialiser situé à droite des icônes d’état de recherche dans le coin supérieur
droit du navigateur d’événements.
Conseil : Si les plans ne s’affichent toujours pas, assurez-vous de choisir l’option « Tous les plans »
ou « Masquer les projets refusés » dans le menu local Filtre situé dans le coin supérieur gauche
du navigateur d’événements.
Recherche de plans par nom et par notes
Vous pouvez utiliser le champ de recherche pour trouver rapidement des plans par nom ou par
notes (en mode de présentation par liste) sans devoir ouvrir la fenêtre Filtre.
1 Dans la bibliothèque d’événements, sélectionnez un ou plusieurs événements que vous
souhaitez rechercher.
2 Dans le champ de recherche, saisissez le nom ou les notes du plan que vous recherchez.
Chapitre 5 Organisation de votre média 76
Conduite d’un flux de production de filtrage et de recherche
L’exécution d’une recherche pondérée suivie d’un filtrage des plans dans le navigateur d’événements en fonction du classement est un moyen efficace de trouver rapidement des plans. Il s’agit aussi de la meilleure méthode pour trouver des plans spécifiques n’ayant pas été évalués et les comparer à ceux l’ayant été.
1 Dans la bibliothèque d’événements, sélectionnez l’événement ou le dossier dans lequel vous souhaitez effectuer votre recherche.
2 Recherchez des plans à l’aide d’une combinaison de critères de recherche tel que décrit précédemment dans la section « Recherche des plans selon une combinaison de critères ». Toutefois, veillez à ne pas appliquer de filtre de classement dans la fenêtre Filtre.
3 Utilisez le menu local Filtre, tel que décrit précédemment dans la section « Filtrage rapide des plans par classement », pour filtrer rapidement les plans en fonction de leur classement.
4 Répétez l’étape 3 jusqu’à trouver les plans que vous recherchez.
Enregistrement des recherches sous forme de collections intelligentes
Lorsque vous recherchez des plans dans un événement à l’aide de la fenêtre Filtre, vous pouvez enregistrer vos résultats en créant une collection intelligente qui regroupe les plans correspondant aux critères de recherche. Chaque fois qu’un nouveau plan qui satisfait les critères de recherche de la collection intelligente est ajouté à l’événement, il est automatiquement ajouté à celle-ci.
Les plans qui s’affichent dans les collections intelligentes ne sont pas dupliqués. Les collections intelligentes filtrent des plans dans un événement pour vous aider à vous centrer sur les plans dont vous avez besoin pour une tâche spécifique.
Création d’une collection intelligente se reposant sur des critères de recherche
1 Dans la bibliothèque d’événements, sélectionnez un événement.
2 Utilisez la fenêtre Filtre pour rechercher des plans en fonction des critères de recherche indiqués.
3 Dans la fenêtre Filtre, cliquez sur le bouton Nouvelle collection intelligente.
Une nouvelle collection intelligente sans titre s’affiche dans la bibliothèque d’événements.
4 Saisissez un nom pour la collection intelligente et appuyez sur Retour.
Lorsque vous ajoutez à l’événement des plans qui satisfont les critères de recherche de la collection intelligente, ils sont automatiquement ajoutés à celle-ci.
Modification du contenu d’une collection intelligente
1 Dans la bibliothèque d’événements, double-cliquez sur la collection intelligente dont vous souhaitez modifier le contenu.
La fenêtre Filtre de la collection intelligente s’affiche.
Collection intelligente
Chapitre 5 Organisation de votre média 77
2 Modifiez les critères de recherche dans la fenêtre Filtre.
3 Lorsque vous avez terminé, fermez la fenêtre.
Remarque : Si vous modifiez le classement ou les mots-clés d’un plan de telle manière qu’il ne satisfait plus les critères de recherche de la collection intelligente, le plan ne s’affiche plus dans cette collection.
Suppression d’une collection intelligente
mm
Dans la bibliothèque d’événements, sélectionnez la collection intelligente que vous souhaitez éliminer, puis choisissez Fichier > Supprimer la collection intelligente (ou appuyez sur Commande + Supprimer).
La collection intelligente est supprimée de la bibliothèque d’événements, mais les plans qui lui sont associés (qui apparaissent dans celle-ci) ne sont pas affectés.
Organisation des mots-clés et des collections intelligentes
Vous pouvez organiser les collections de mots-clés et les collections intelligentes dans la bibliothèque d’événements sous forme de dossiers.
Organisation des collections à l’aide de dossiers
1 Dans la bibliothèque d’événements, sélectionnez l’événement contenant les collections que vous souhaitez organiser, puis choisissez Fichier > Nouveau dossier.
2 Saisissez un nom pour le nouveau dossier qui s’affiche dans l’événement.
3 Sélectionnez les collections intelligentes et les collections de mots-clés que vous souhaitez organiser et faites-les glisser dans le nouveau dossier.
Vous pouvez afficher et masquer le contenu du dossier en cliquant sur le triangle d’affichage situé à gauche du nom du dossier.
6
78
Présentation de la lecture et du survol
Final Cut Pro simplifie le visionnage et l’écoute de média, que celui-ci se situe dans le navigateur d’événements, dans la bibliothèque de projets ou dans la timeline. Ses fonctionnalités de preview dynamiques vous permettent retrouver rapidement ce que vous recherchez sans perdre de vue la tâche que vous devez réaliser.
Deux outils sont à votre disposition pour effectuer un preview et reproduire du média dans Final Cut Pro :
••
La tête de lecture marque le point actif sur la timeline ou dans le navigateur d’événements. Vous pouvez à loisir déplacer la tête de lecture en la faisant glisser ou en cliquant sur une autre zone de la timeline ou du navigateur d’événements. Elle vous permet en outre de faire défiler ou de reproduire la vidéo à partir de son point actif.
La tête de lecture se présente sous la forme d’un trait vertical gris fixe à moins que vous ne la déplaciez ailleurs ou cliquiez sur un autre point.
••
Le skimmer, d’autre part, vous permet de prévisualiser les plans sur la timeline, dans le navigateur d’événements ou dans la bibliothèque de projets, sans affecter pour autant la position de la tête de lecture. Utilisez le skimmer pour survoler le contenu ou parcourir à loisir les plans pour effectuer la lecture depuis l’emplacement du pointeur en fonction de sa vitesse de déplacement.
Le skimmer se présente sous la forme d’un trait vertical rose au fur et à mesure que vous déplacez le pointeur sur la zone en cours de survol. Si vous avez activé la fonction de magnétisme, le skimmer devient alors orange lorsqu’il s’aligne sur un point précis.
Tête de lectureTête de lectureSkimmerSkimmer
Lorsque la fonction de survol est activée, vous avez la possibilité de parcourir les données multimédias pour visualiser le contenu d’autres plans tout en conservant l’emplacement de la tête de lecture sur la timeline. Si cette dernière, ainsi que le skimmer, sont présents sur le même plan, le skimmer prend la priorité et devient l’emplacement par défaut de lecture ou de montage.
Si le survol est désactivé ou que le skimmer est absent sur un plan, la tête de lecture constitue
alors l’emplacement par défaut.
Lecture et survol du média
Chapitre 6 Lecture et survol du média 79
Lecture du média
Vous avez la possibilité de reproduire des projets et des plans dans Final Cut Pro. Les options de lecture comprennent la lecture depuis le début, à partir d’un certain point, en boucle et à différentes vitesses. Vous avez également la possibilité d’effectuer la lecture en plein écran.
Le réglage de lecture sélectionné dans les préférences Montage de Final Cut Pro définit si Final Cut Pro utilise un média proxy, votre média original ou un média optimisé lors de la lecture. Consultez Préférences de lecture à la page 438 pour en savoir plus.
Lecture de plans vidéo et de clips audio
mm
Pour lire un projet ou un plan depuis le début : sélectionnez le projet ou le plan, puis choisissez Présentation > Lecture > Lire depuis le début (ou appuyez sur Maj + Contrôle + I).
mm
Pour lire une section d’un projet, des plans sélectionnés ou une plage d’images depuis le début : sélectionnez le projet, les plans, l’intégralité ou une partie d’un même plan, puis choisissez Présentation > Lecture > Lire la sélection, ou appuyez sur Barre oblique (/).
Si vous sélectionnez un plan entier, une partie d’un plan ou le projet complet, la zone sélectionnée s’encadre en jaune.
Cadre jaune
mm
Pour lire un projet ou un plan à partir d’un point précis : dans le navigateur d’événements ou la timeline, cliquez sur un point dans un projet ou dans un plan à l’endroit où vous voulez commencer (ou placez la tête de lecture sur le point voulu dans la timeline) et appuyez sur la barre d’espace ou cliquez sur le bouton de lecture dans le visualiseur (ou appuyez sur la touche L).
La lecture du plan ou du projet commence au niveau du skimmer ou de la tête de lecture.
mm
Pour lire dans la zone de la tête de lecture ou du Skimmer : choisissez Présentation > Lecture > Lire le contexte, ou appuyez sur Maj + point d’interrogation (?).
Skimmer
mm
Pour interrompre la lecture : appuyez sur la barre d’espace.
Chapitre 6 Lecture et survol du média 80
Usage des touches J, K et L pour la lecture
Les touches J, K et L de votre clavier vous permettent de lire un projet ou un plan. La lecture se lance depuis la tête de lecture (dans le cas d’un projet) ou depuis le skimmer (dans le cas d’un plan). Vous pouvez aussi passer par les touches J, K et L pour contrôler un dispositif de lecture vidéo.
Fait défiler les vitesses de lecture vers l’avantFait défiler les vitesses de lecture vers l’arrièrePause
Ces touches vous permettent d’accélérer la lecture jusqu’à 32 fois (32x).
mm
Pour lancer la lecture normale (vitesse 1x) : appuyez sur L.
mm
Pour lancer la lecture inverse (vitesse 1x) : appuyez sur J.
mm
Pour mettre la lecture en pause : appuyez sur K.
mm
Pour doubler la vitesse de lecture : appuyez sur L ou sur J deux fois.
mm
Pour inverser immédiatement le sens de lecture : appuyez sur J pour lire dans le sens inverse, ou sur L pour lire dans le sens normal.
mm
Pour faire avancer ou reculer la tête de lecture d’une image à la fois : maintenez la touche K enfoncée, et appuyez sur J ou sur L.
mm
Pour déplacer la tête de lecture à vitesse réduite de moitié (1/2x) : maintenez la touche K enfoncée tout en appuyant sur la touche J ou L.
Si vous faites appel aux raccourcis clavier pour contrôler un appareil (comme un caméscope ou une caméra), la vitesse de lecture avant (L) et inverse (J) peut différer en fonction de votre équipement vidéo.
Lecture en boucle du média
Il est possible d’activer la mise en boucle de sorte qu’un projet (ou une partie de projet) se lise continuellement en boucle.
1 Pour activer la lecture en boucle, effectuez l’une des opérations suivantes :
••
Choisissez Présentation > Lecture > Lecture en boucle (ou appuyez sur Commande + L).
••
Cliquez sur le bouton Lecture en boucle.
2 Procédez de l’une des manières suivantes :
••
Pour mettre tout le projet en boucle : appuyez sur la barre d’espace.
••
Pour mettre une partie d’un projet en boucle : sélectionnez une plage ou un plan dans la timeline, puis choisissez Présentation > Lecture > Sélection, ou appuyez sur la touche de la barre oblique (/).
Chapitre 6 Lecture et survol du média 81
Lecture de vidéo en présentation Plein écran
1 Sélectionnez ou ouvrez un projet dans la bibliothèque de projets ou ouvrez un plan dans le navigateur d’événements et positionnez la tête de lecture à l’endroit où vous voulez que la vidéo commence.
2 Procédez de l’une des manières suivantes :
••
Choisissez Présentation > Lecture > Lire en plein écran (ou appuyez sur Commande + Maj + F).
••
Cliquez sur le bouton « Lire en plein écran » situé sous le visualiseur.
L’élément se lit en présentation Plein écran à partir du point où se trouve la tête de lecture.
3 Pour quitter la présentation Plein écran, appuyez sur la touche Échap.
Lorsque vous reproduisez des plans, les images au niveau de la tête de lecture ou du skimmer sont lues dans le visualiseur. Si vous devez comparer deux plans simultanément, vous pouvez passer par le visualiseur d’événements, un visualiseur à part permettant la lecture exclusive de plans d’événement. Le visualiseur d’événements s’affiche à gauche du visualiseur principal. Pour en savoir plus, consultez Lecture et survol du média dans le visualiseur d’événements à la page 83.
Survol du média
Il vous est possible de survoler rapidement votre vidéo et votre audio pour en effectuer un preview, rechercher un plan particulier ou réaliser un montage. Lorsque le survol est activé et que vous déplacez le pointeur sur un plan situé dans le navigateur d’événements ou sur la timeline, le contenu sous le pointeur se lit alors dans le visualiseur.
Vous pouvez aussi passer par les outils de montage Lame de rasoir, Trim et Sélection de plage pour survoler les plans sur la timeline ou dans l’éditeur de précision.
Au fur et à mesure que vous effectuez le montage dans Final Cut Pro, il se peut que le survol ait tendance à vous distraire lorsque vous déplacez le pointeur d’un point à un autre. Vous pouvez dans ce cas désactiver complètement la fonction du survol (ou vous limiter à rendre inopérant le survol audio).
Survol de plans
mm
Dans le navigateur d’événements ou la timeline, déplacez le pointeur sur un plan.
Le skimmer (représenté par un trait vertical rose) indique exactement où se trouve le point actif au fur et à mesure que vous survolez le média ; les images correspondantes s’affichent en outre dans le visualiseur.
Skimmer
Conseil : Vous pouvez aussi appuyer à tout moment sur la barre d’espace pour lire depuis l’emplacement du skimmer.
Chapitre 6 Lecture et survol du média 82
Survol de plans à l’aide des outils de montage
Vous avez la possibilité de survoler les plans tout en utilisant les outils Lame de rasoir, Trim et
Sélection de plage sur la timeline ou dans l’éditeur de précision. Ceux-ci se comportent comme
des skimmers au fur et à mesure que vous placez le pointeur sur un plan.
1 Sélectionnez un plan sur la timeline ou ouvrez l’éditeur de précision.
2 Choisissez Lame de rasoir, Trim ou Sélection de plage dans le menu local Outils situé sur la barre
d’outils.
3 Déplacez l’outil en avant ou en arrière sur un plan.
Lorsque vous utilisez un outil de montage faisant office de skimmer, il vous est possible de survoler
et d’ajouter des marqueurs à des plans sous les plans connectés dans la timeline.
Activation et désactivation de la fonction de survol
mm Pour activer et désactiver le survol : cliquez sur le bouton Survol, choisissez Présentation > Survol,
ou appuyez sur S.
mm Pour activer et désactiver le survol audio : cliquez sur le bouton « Audio lors du survol », choisissez
Présentation > Audio lors du survol, ou appuyez sur Maj + S.
Une fois la fonction activée, les boutons de survol apparaissent en bleu.
La fonction de survol audio
est désactivée.
La fonction de survol est activée.
Remarque : Lorsque le survol est désactivé, vous avez néanmoins la possibilité de survoler à
l’aide des outils de montage Lame de rasoir, Trim et Sélection de plage.
Survol d’audio pour des plans ou des composants audio précis
Vous pouvez configurer le survol de plan pour limiter la fonction à un plan particulier. Cela
s’avère utile si vous disposez d’un plan connecté dans la timeline et souhaitez en effectuer le
survol sans avoir à écouter l’audio du plan dans le scénario principal.
Important : Le survol audio doit également être activé afin de pouvoir utiliser
cette fonctionnalité.
Vous pouvez aussi faire appel au survol de plan pour écouter également un composant audio
particulier lors du montage des plans présentant des composants audio développés. Si le survol
de plan est éteint, vous pouvez alors entendre l’audio combiné de tous les composants intégrant
le plan au fur et à mesure que vous effectuez le survol.
Chapitre 6 Lecture et survol du média 83
Conseil : Pour afficher les composants audio sous leur forme développée, sélectionnez le plan dans la timeline, puis choisissez Plan > Développer les composants audio (ou appuyez sur Option + Contrôle + S).
mm
Pour activer ou désactiver le survol, choisissez Présentation >Survol du plan (ou appuyez sur Commande + Option + S).
Lecture et survol du média dans le visualiseur d’événements
Il se peut que vous ayez parfois besoin de deux visualiseurs afin de pouvoir lire et survoler les plans d’événements de façon isolée des plans dans la timeline. Le visualiseur d’événements représente un affichage vidéo distinct qui apparaît en regard du visualiseur principal. En ouvrant le visualiseur d’événements et le visualiseur, vous pouvez ainsi afficher deux plans simultanément : l’un dans le navigateur d’événements et l’autre dans la timeline.
Visualiseur d’événementsVisualiseur
Vous ne pouvez utiliser le visualiseur d’événements pour lire des plans que dans le navigateur d’événements. Comme pour le visualiseur principal, vous pouvez afficher les instruments vidéo, les canaux de couleurs, les zones sécurisées des titres et de l’action, ainsi que les angles multicam (avec le visualiseur d’événements configuré de façon à afficher les angles). Les commandes de lecture et d’ajustement sont identiques dans le visualiseur et dans le visualiseur d’événements. Les autres opérations en relation avec le visualiseur (notamment les commandes à l’écran et les effets intégrés) se font à travers le visualiseur principal.
L’interface du double visualiseur s’inspire des systèmes à bande linéaires qui incluaient des moniteurs pour la source et pour l’enregistrement. Le moniteur source servait à la prévisualisation des plans source et aux sélections dans les plans en question. Le moniteur d’enregistrement permettait la reproduction du programme une fois monté.
Ouvrir le visualiseur d’événements
mm
Choisissez Fenêtre > Afficher le visualiseur d’événements (ou appuyez sur Commande + Contrôle + 3).
Pour fermer le visualiseur d’événements, choisissez Fenêtre > Masquer le visualiseur d’événements (ou appuyez sur Commande + Contrôle + 3).
Remarque : Si vous utilisez des instruments vidéo avec le visualiseur d’événements, il peut s’avérer pratique d’afficher les instruments sous l’image vidéo plutôt que sur le côté gauche (par défaut). Pour afficher les instruments repris sous l’image vidéo, choisissez Présenter verticalement dans le menu local Réglages du visualiseur d’événements. Pour en savoir plus, consultez Utilisation des instruments vidéo à la page 387.
Chapitre 6 Lecture et survol du média 84
Lecture sur un deuxième écran
Si vous possédez un deuxième écran branché sur votre ordinateur, vous pouvez y afficher le visualiseur afin de lire la vidéo, ou le navigateur d’événements pour consulter les plans d’un événement, étendant ainsi votre espace de travail dans la fenêtre Final Cut Pro.
Affichage du visualiseur sur un second moniteur
1 Branchez un deuxième écran (moniteur informatique branché sur la carte graphique PCI) et assurez-vous qu’il est relié au secteur et allumé.
2 Dans Final Cut Pro, choisissez Fenêtre > Afficher les visualiseurs sur le second moniteur.
Le visualiseur apparaît alors sur le deuxième écran. Toutes les fonctionnalités du visualiseur (notamment les commandes à l’écran) sont dès lors disponibles sur le deuxième écran.
Remarque : Si le visualiseur d’événements est également visible, les deux visualiseurs s’affichent alors sur le deuxième écran.
3 Pour renvoyer le visualiseur sur la fenêtre principale de Final Cut Pro, choisissez Fenêtre > Afficher les visualiseurs dans la fenêtre principale.
Affichage de la bibliothèque et du navigateur d’événements sur un second moniteur
1 Branchez un deuxième écran (moniteur informatique branché sur la carte graphique PCI) et assurez-vous qu’il est relié au secteur et allumé.
2 Dans Final Cut Pro, choisissez Fenêtre > Afficher les événements sur le second moniteur.
La bibliothèque et le navigateur d’événements apparaissent sur le deuxième écran. Toutes les fonctionnalités propres aux événements (notamment la sélection, les marqueurs, les mots-clés, etc.) sont dès lors disponibles sur le deuxième écran.
Pour renvoyer la bibliothèque d’événements et le navigateur d’événements sur la fenêtre principale de Final Cut Pro, choisissez Fenêtre > Afficher les événements dans la fenêtre principale.
Chapitre 6 Lecture et survol du média 85
Lecture sur un moniteur externe
Final Cut Pro propose l’option de sortie A/V pour envoyer la vidéo et l’audio de votre ordinateur à un moniteur externe. En plus de pouvoir vérifier à quoi la vidéo et l’audio ressemblent sur un moniteur broadcast NTSC/PAL ou HD, cette fonctionnalité vous permet également de tester la sortie sur des dispositifs plus sophistiqués, tels que des vecteurscopes et des oscilloscopes.
La sortie A/V n’est disponible que sous OS X Lion 10.7.2 ou ultérieur et nécessite une interface vidéo matérielle et logicielle de tierce partie compatible. Les appareils DV FireWire ne sont pas pris en charge. Pour en savoir plus, contactez le fabricant de l’équipement ou accédez à la page web des ressources Final Cut Pro X à l’adresse http://www.apple.com/fr/finalcutpro/resources.
Lecture vidéo et audio sur un moniteur externe
1 Installez les matériel et logiciel d’interfaçage vidéo en suivant les instructions du fabricant.
2 Branchez un moniteur externe sur l’interface vidéo et assurez-vous qu’il est relié au secteur et allumé.
3 Pour sélectionner un équipement de sortie A/V, choisissez Final Cut Pro > Préférences (ou appuyez sur Commande + Virgule), cliquez sur Lecture, puis choisissez un dispositif dans la fenêtre Lecture des préférences.
4 Dans Final Cut Pro, choisissez Fenêtre > Sortie A/V.
Le contenu du visualiseur s’affiche sur le moniteur broadcast. Les fonctionnalités du visualiseur (par exemple, ses commandes à l’écran et les éléments venant se superposer sur la zone de titre ou d’action sécurisée) ne s’affichent que dans Final Cut Pro.
Remarque : la vidéo et l’audio sont synchronisés au niveau de l’image vidéo (et non de l’échantillonnage audio).
Pour désactiver la sortie A/V, choisissez Fenêtre > Sortie A/V.
Chapitre 6 Lecture et survol du média 86
À propos du rendu en arrière-plan
Lorsque vous ajoutez des effets, des transitions, des générateurs, des titres ou autres éléments faisant appel à un rendu avant la lecture, l’indicateur de rendu en arrière-plan (représenté par un trait orange) apparaît en dessous du timecode sur la timeline.
Indicateur de rendu en arrière-plan
Par défaut, le rendu en arrière-plan se lance après 5 secondes d’inactivité et d’immobilité du pointeur dans Final Cut Pro. Ce rendu en arrière-plan se poursuit si vous utilisez une autre application. Vous pouvez modifier ce réglage dans les préférences de Final Cut Pro.
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Création d’un projet
Pour créer un film dans Final Cut Pro, vous devez créer au préalable un projet, qui contient tous
vos choix de montage et les données utilisées. Vous devez ensuite ajouter les plans à la timeline
du projet puis les monter.
Au moment de créer un projet Final Cut Pro, vous devez effectuer plusieurs choses :
•• Attribuez un nom au projet.
•• Indiquer un événement par défaut pour le projet.
L’événement par défaut stocke les données déposées sur le projet à partir du Finder ou d’un
navigateur multimédia de Final Cut Pro. Si vous faites glisser le média depuis le Finder sur la
timeline, il vient alors se placer automatiquement dans l’événement par défaut du projet.
Il vous est également possible de définir le timecode de début et les propriétés vidéo, audio et
de rendu applicables au projet.
Après avoir créé votre projet, vous devez y ajouter des plans à partir de la bibliothèque
d’événements.
Remarque : Si vous créez un projet et que vous n’avez pas encore importé de média dans
Final Cut Pro, vous devez le faire à ce stade. Consultez la section Présentation de l’importation à
la page 21 pour en savoir plus.
Début d’un projet
1 Procédez de l’une des manières suivantes :
•• Dans Final Cut Pro, choisissez Fichier > Nouveau projet (ou appuyez sur Commande + N).
•• Assurez-vous que la bibliothèque de projets est ouverte, puis cliquez sur le bouton
Nouveau projet.
2 Dans la fenêtre qui s’affiche, attribuez un nom au projet dans le champ Nom.
3 Choisissez un événement par défaut pour le projet.
Si vous faites glisser des fichiers multimédias directement du Finder vers la timeline du projet, ou
si vous ajoutez des données au projet à l’aide de l’un des navigateurs multimédias, les données
en question sont automatiquement ajoutées à l’événement par défaut du projet.
4 Si vous voulez personnaliser davantage les réglages pour votre projet, cliquez sur « Utiliser les
réglages personnalisés ».
Remarque : Final Cut Pro affiche les réglages automatiques par défaut, mais conserve en
mémoire ceux que vous avez utilisés en dernier. Cette étape peut dès lors s’avérer facultative.
Création et gestion de projets
Chapitre 7 Création et gestion de projets 88
5 Si vous voulez que le timecode de votre projet commence par une autre valeur que 00:00:00:00,
tapez une valeur de timecode de début dans le champ Timecode de début.
6 Pour apporter des modifications aux propriétés vidéo ou audio du projet, sélectionnez
Personnaliser, puis utilisez les menus locaux à votre disposition.
À moins que vous n’ayez des besoins précis pour le projet que vous créez, il est préférable de
laisser l’option « Définir automatiquement d’après le 1er plan vidéo » sélectionnée.
7 Cliquez sur OK.
Le nouveau projet s’affiche enfin dans la bibliothèque de projets avec le nom que vous lui avez
attribué à l’étape 2.
Nouveau projet
Vous pouvez dès lors ajouter des plans depuis le navigateur d’événements et commencer à
monter votre projet de façon plus poussée, par exemple en lui ajoutant des titres, des effets spéciaux,
de la musique de fond, des effets sonores, etc.
Vous pouvez modifier à tout moment le nom d’un projet, son événement par défaut ainsi que
d’autres propriétés du projet. Consultez Modification du nom et des propriétés d’un projet à la
page 89 pour en savoir plus.
Preview et ouverture d’un projet
Pour retrouver le contenu d’un projet, vous pouvez en effectuer le preview avant de l’ouvrir.
Preview d’un projet
1 Si la bibliothèque de projets n’est pas déjà ouverte, cliquez sur le bouton Bibliothèque de projets
situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro.
2 Sélectionnez un projet dans la bibliothèque de projets.
3 Pour effectuer un preview d’un projet dans le visualiseur, sélectionnez-le et procédez de l’une
des manières suivantes :
•• Pour survoler le projet : placez le pointeur sur la pellicule (située à droite du nom du projet).
•• Pour lancer la lecture du projet à partir du skimmer (représenté par le trait vertical rose) : appuyez
sur la barre d’espace ; rappuyez dessus pour interrompre la lecture du projet.
Chapitre 7 Création et gestion de projets 89
Ouverture d’un projet
1 Ouvrez la bibliothèque de projets.
2 Accédez au projet à ouvrir, puis double-cliquez dessus.
Modification du nom et des propriétés d’un projet
Au fur et à mesure de l’évolution de votre projet, il se peut que vous soyez amené à le renommer
et à en modifier les propriétés.
Réattribution du nom d’un projet
1 Si la bibliothèque de projets n’est pas déjà ouverte, cliquez sur le bouton Bibliothèque de projets
situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro.
2 Sélectionnez un projet, puis cliquez sur le nom du projet pour le mettre en surbrillance.
3 Saisissez le nouveau nom du projet dans le champ Nom et appuyez sur Retour.
En fonction de l’agencement de votre bibliothèque de projets, la position du projet dans la liste
peut changer après avoir renommé ce dernier.
Changement de l’événement par défaut et modification des propriétés d’un projet
Lorsque vous créez un projet, vous définissez ses propriétés et vous lui attribuez un événement
par défaut destiné à stocker des données que vous avez fait glisser directement sur la timeline
du projet depuis le Finder ou un navigateur multimédia de Final Cut Pro.
Dans la plupart des cas, Final Cut Pro gère automatiquement les propriétés du projet en se
basant sur les propriétés du premier plan que vous ajoutez au projet ; vous pouvez toutefois
modifier presque toutes les propriétés d’un projet. Si vous devez modifier les propriétés
du projet, choisissez celles vidéo et audio selon le mode de partage de votre film final avec
votre public.
1 Pour ce faire, ouvrez la bibliothèque de projets, puis sélectionnez un projet.
2 Procédez de l’une des manières suivantes :
•• Choisissez Fichier > Propriétés du projet (ou appuyez sur Commande + J).
•• Si la fenêtre de l’inspecteur est masquée, cliquez sur le bouton Inspecteur dans la barre
d’outils.
Cliquez ensuite sur le bouton Propriétés situé en haut de la fenêtre.
Bouton Propriétés
Chapitre 7 Création et gestion de projets 90
3 Cliquez sur le bouton Propriétés du projet .
Bouton Propriétés du projet
4 Dans la fenêtre qui s’affiche, adaptez les réglages selon vos besoins.
Sélectionnez un présentation par défaut dans le menu local.Modifiez les propriétés vidéo, audio et de rendu du projet.
Nom
••
Nom : saisissez un nom pour le projet.
Événement par défaut
••
Événement par défaut : choisissez l’événement par défaut du projet.
Timecode de début
••
Timecode de début : si vous voulez que le timecode de votre projet commence par une autre valeur que 00:00:00:00, tapez une valeur de timecode de début.
Timecode Drop Frame
••
Drop Frame : cochez cette case pour activer le timecode Drop Frame (option disponible uniquement pour les médias à 29,97 et 59,94 ips).
Dans le timecode Non-Drop Frame le compteur de timecode défile à vitesse constante sans effectuer de sauts de valeur. Le timecode Non-Drop Frame est disponible comme option d’affichage pour toutes les fréquences d’images.
Dans le timecode Drop Frame, les images 0 et 1 sont ignorées au cours de la première seconde de chaque minute, sauf si le nombre de minutes est exactement divisible par 10.
Propriétés vidéo
••
Format : choisissez le format vidéo (méthode particulière d’encodage vidéo).
••
Résolution : choisissez la taille d’image de la vidéo.
••
Fréquence : choisissez le nombre d’images par seconde (ips).
Remarque : Vous ne pouvez pas modifier la fréquence d’images d’un projet, sauf si la timeline est totalement vide.
Chapitre 7 Création et gestion de projets 91
Propriétés audio et de rendu
•• Canaux audio : choisissez s’il faut présenter l’audio sous forme de son Surround multicanal ou
de son stéréo.
•• Fréquence d’échantillonnage : choisissez la fréquence d’échantillonnage audio de votre projet
(à savoir le nombre de fois qu’un signal est mesuré, c’est-à-dire échantillonné, par seconde).
Plus la fréquence d’échantillonnage est supérieure, plus l’audio est de qualité élevée et plus les
fichiers produits sont volumineux. La fréquence d’échantillonnage que vous choisissez dépend
des données source que vous utilisez et de la destination finale de votre audio.
•• Format du rendu : permet de choisir le codec à utiliser pour le rendu en arrière-plan de
votre projet.
5 Cliquez sur OK.
Définition de l’ordre de référencement d’événements par un projet
Si vous avez des plans en double dans différents événements, il vous est possible de définir
l’ordre dans lequel Final Cut Pro recherche les plans.
1 Pour ce faire, ouvrez la bibliothèque de projets, puis sélectionnez un projet.
2 Procédez de l’une des manières suivantes :
•• Choisissez Fichier > Propriétés du projet (ou appuyez sur Commande + J).
•• Si la fenêtre de l’inspecteur est masquée, cliquez sur le bouton Inspecteur dans la barre
d’outils.
Cliquez ensuite sur le bouton Propriétés situé en haut de la fenêtre.
Bouton Propriétés
3 Cliquez sur le bouton « Modifie les références aux événements » dans la section
Événements référencés.
Chapitre 7 Création et gestion de projets 92
4 Dans la fenêtre qui s’affiche, faites glisser les événements pour définir l’ordre dans lequel
Final Cut Pro recherche les plans.
5 Une fois l’ordre établi, cliquez sur OK.
Organisation des projets dans la bibliothèque de projets
Tous vos projets vidéo Final Cut Pro sont répertoriés dans la bibliothèque de projets. Vous
pouvez commencer l’organisation de vos projets en branchant des disques durs supplémentaires,
en créant des dossiers pour y conserver des projets et en attribuant à ces derniers des
noms évocateurs et précis. Au fur et à mesure que votre bibliothèque de projets grandit, vous
pouvez renommer, copier, déplacer et supprimer vos projets selon vos besoins.
Utilisation de dossiers pour organiser les projets
1 Si la bibliothèque de projets n’est pas déjà ouverte, cliquez sur le bouton Bibliothèque de projets
situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro.
2 Sélectionnez un disque, un dossier ou un projet auquel vous voulez ajouter un dossier, puis cliquez
sur le bouton Nouveau dossier situé dans le coin inférieur gauche de la fenêtre principale
de Final Cut Pro.
Chapitre 7 Création et gestion de projets 93
Un nouveau dossier au nom évocateur apparaît sur le disque ou dans le dossier que vous avez sélectionné, ou au même niveau que le projet sélectionné.
3 Procédez de l’une des façons suivantes :
••
Pour renommer le dossier : sélectionnez le dossier, cliquez sur son nom, puis attribuez-lui un nouveau nom.
••
Pour ajouter un projet au dossier : faites glisser le projet sur le dossier.
••
Pour ouvrir ou fermer le dossier : cliquez sur le triangle d’affichage à gauche du nom du dossier.
Copie d’un projet
Copier un projet s’avère utile pour travailler sur une nouvelle version ou pour transférer la copie sur un autre ordinateur.
1 Pour ce faire, ouvrez la bibliothèque de projets, puis sélectionnez un projet.
2 Choisissez Fichier > Dupliquer le projet.
3 Dans la fenêtre qui s’affiche, choisissez un emplacement pour le fichier dupliqué dans le menu local Emplacement.
4 Sélectionnez une option pour indiquer ce qui doit être dupliqué :
••
Dupliquer le projet : copie uniquement le fichier du projet.
••
Dupliquer le projet et les événements référencés : copie le fichier du projet, tout événement référencé par le fichier du projet et l’intégralité du média inclus dans les événements référencés.
••
Dupliquer le projet et les plans utilisés : copie le fichier du projet et les fichiers de média se rapportant à tout plan utilisé dans le projet.
Chapitre 7 Création et gestion de projets 94
••
Inclure les fichiers de rendu : cochez cette case pour inclure les fichiers de rendu pour les plans et les projets. Si vous voulez libérer de l’espace sur le disque dur, décochez cette case.
Choisissez un emplacement d’enregistrement du projet.Sélectionnez une option pour la copie.
5 Cliquez sur OK.
Final Cut Pro copie le projet dans l’emplacement choisi d’après l’option indiquée. Le projet voit son nom complété d’un suffixe (par exemple « :film de François1 »), puis le projet s’affiche dans la bibliothèque de projets.
Copie rapide d’un projet sur un périphérique de stockage externe
mm
Ouvrez la bibliothèque de projets, sélectionnez un projet, puis faites glisser le projet sur l’icône du disque dur externe située dans la bibliothèque de projets.
Déplacement d’un projet
Vous avez la possibilité de déplacer un projet en toute simplicité vers un disque dur branché ou un autre ordinateur connecté. Le déplacement du fichier d’un projet s’avère utile si vous voulez travailler dessus en utilisant un autre ordinateur où Final Cut Pro est installé ou si vous cherchez à libérer de l’espace sur le disque dur de votre ordinateur.
Important : Impossible d'annuler un déplacement de projet avec la commande Annuler.
1 Pour ce faire, ouvrez la bibliothèque de projets, puis sélectionnez un projet.
2 Procédez de l’une des manières suivantes :
••
Choisissez Fichier > Déplacer le projet.
••
Maintenez la touche Commande enfoncée pendant le glissement du projet sur l’icône d’un autre disque dur externe reprise dans la bibliothèque de projets.
3 Dans la fenêtre qui s’affiche, choisissez un emplacement cible du projet (à savoir un disque dur ou un ordinateur) dans le menu local Emplacement.
Chapitre 7 Création et gestion de projets 95
4 Sélectionnez une option pour indiquer ce qui doit être déplacé :
••
Déplacer le projet : déplace uniquement le fichier du projet.
••
Déplacer le projet et les événements référencés : déplace le fichier du projet, tout événement référencé par le fichier du projet et l’intégralité du média inclus dans les événements référencés.
Sélectionnez l’emplacement vers lequel vous souhaitez déplacer le projet.Sélectionnez une option pour le déplacement.
5 Cliquez sur OK.
Final Cut Pro déplace le projet à l’emplacement choisi d’après l’option que vous avez indiquée. Consultez la section Emplacement de vos fichiers de média et de projet à la page 407 pour en savoir plus sur l’emplacement par défaut des projets Final Cut Pro et des événements.
Suppression d’un projet ou de son dossier
La suppression du dossier d’un projet entraîne également celle de tous les projets qu’il contient. Votre média n’est pas pour autant supprimé car il est stocké dans les événements.
1 Pour ce faire, ouvrez la bibliothèque de projets, puis sélectionnez un projet.
2 Procédez de l’une des manières suivantes :
••
Pour supprimer un projet : sélectionnez le projet, puis choisissez Fichier > Placer le projet dans la Corbeille (ou appuyez sur Commande + Supprimer).
••
Pour supprimer un dossier et tout projet que le dossier contient : sélectionnez le dossier, puis choisissez Fichier > Placer le dossier dans la Corbeille (ou appuyez sur Commande + Supprimer).
Le projet ou son dossier (ainsi que les projets qu’il contient) est alors supprimé de la bibliothèque de projets et placé dans la Corbeille du Finder.
3 Pour supprimer de façon permanente le projet ou le dossier d’un projet ainsi que ses fichiers et libérer de l’espace sur votre disque dur, videz la Corbeille du Finder.
AVERTISSEMENT : Une fois la Corbeille vidée, le fichier ou le dossier ne peut plus être récupéré.
Il vous est également possible de supprimer les fichiers de rendu d’un projet. Consultez Affichage des tâches d’arrière-plan à la page 418 pour en savoir plus.
Chapitre 7 Création et gestion de projets 96
Enregistrement des projets
Final Cut Pro enregistre en effet automatiquement toutes les modifications que vous apportez au fur et à mesure de vos manipulations dans le projet, plutôt que de vous obliger à le faire manuellement. Vous pouvez en outre annuler toutes vos modifications jusqu’au moment de la dernière fermeture et réouverture de Final Cut Pro, en choisissant Édition > Annuler (ou en appuyant sur Commande + Z).
Vous pouvez créer plusieurs versions d'un projet en le dupliquant. Pour en savoir plus sur la duplication de projets, consultez la section Organisation des projets dans la bibliothèque de projets à la page 92.
Les modifications que vous apportez à un plan dans un projet n’influe pas sur son fichier source. Ainsi, si vous avez réalisé de nombreux changements dans un plan mais voulez repartir depuis le début, vous pouvez restaurer facilement le plan à son état d’origine en ajoutant une nouvelle copie du plan (accessible depuis la bibliothèque d’événements) à votre projet.
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Présentation du montage
Le terme montage vidéo fait référence à la fois aux grandes étapes du flux de production d’un projet et aux tâches manuelles très spécifiques que vous réalisez sur les plans dans la timeline d’un projet.
••
Sélections et ajout de plans à la timeline : l’ajout et l’organisation de plans dans votre projet constituent la base de la création d’un film avec Final Cut Pro. Vous déplacez et organisez les plans dans la timeline. Consultez les sections Présentation de l’ajout de plans à la page 106, Disposition des plans dans la timeline à la page 124 et Présentation de l’audio à la page 164.
••
Coupe et trim des plans : Final Cut Pro fournit de nombreux outils pour ajuster les points de départ et d’arrivée des plans dans la timeline et pour contrôler le passage d’un plan au suivant. Consultez Présentation du trim à la page 130.
••
Ajustement précis de votre projet : Final Cut Pro fournit de nombreux outils de montage avancé pour procéder facilement à la finition d’un film parfaitement abouti. Consultez les rubriques de la section relative au montage avancé.
••
Ajout d’effets et étalonnage : les touches finales incluent les effets visuels et l’étalonnage. Consultez les sections Présentation des transitions, des titres, des effets et des générateurs à la page 212 et Présentation de l’étalonnage à la page 371.
Sélection de plans et de plages
À propos des sélections et des pellicules de film
L’étape de base du montage d’un projet vidéo consiste à choisir ce que vous voulez inclure dans le film final. Dans Final Cut Pro, vous indiquez les plans ou les parties de plans sur lesquels vous voulez réaliser une action en effectuant une sélection. Final Cut Pro offre de nombreux outils puissants pour effectuer des sélections rapidement et avec précision, notamment les pellicules, qui sont des séries de vignettes. Vos plans vidéo apparaissent sous forme de pellicules dans la timeline (là où vous créez vos projets) et dans le navigateur d’événements (là où sont affichées vos données source). Une seule pellicule vidéo peut représenter plusieurs secondes de vidéo regroupant des centaines d’images vidéo (à savoir des images spécifiques). Les clips exclusivement audio se présentent comme des formes d’onde audio, affichant les changements de volume dans le temps.
Lorsque vous ajoutez des plans à la timeline d’un projet depuis le navigateur d’événements, vous pouvez ajouter un ou plusieurs plans complets, ou une plage au sein d’un plan. Vous pouvez ensuite affiner séparément les plans dans la timeline, par exemple en leur ajoutant des effets vidéo ou en insérant des transitions entre eux.
Montage de votre projet
Chapitre 8 Montage de votre projet 98
Vous pouvez régler l’apparence des pellicules dans le navigateur d’événements et dans la timeline afin de simplifier les sélections. Par exemple, développer la largeur d’une pellicule (en réduisant la durée affichée par chaque vignette) vous permet d’effectuer des sélections plus précises.
Pellicule développée dans le navigateur d’événements pour des sélections précises
Vous pouvez également modifier l’aspect des pellicules dans la timeline pour pouvoir visualiser et sélectionner plus facilement les formes d’onde audio.
Aspect de la pellicule modifié pour faciliter la visualisation et la sélection des formes d’onde audio
Sélection d’un ou plusieurs plans
Les plans représentent vos fichiers vidéo, audio et graphiques et vous permettent de manipuler vos données dans Final Cut Pro sans modifier ces fichiers. Pour ajouter des plans à votre projet, les réorganiser ou leur appliquer des trims, vous devez d’abord les sélectionner. Il vous est possible de sélectionner un seul plan ou plusieurs plans en même temps.
La sélection de plusieurs plans vous permet de les déplacer au sein de votre projet, ou d’un événement à un autre, comme s’il s’agissait d’un groupe. Cela s’avère également utile si vous avez apporté des modifications à un plan et que vous voulez appliquer les mêmes modifications à plusieurs autres plans.
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Sélection d’un plan complet
Procédez de l’une des manières suivantes :
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Cliquez une fois sur le plan.
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Placez le skimmer ou la tête de lecture sur un plan et appuyez sur X.
Remarque : Cela génère une sélection de plage qui correspond aux bords du plan.
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Dans le navigateur d’événements, appuyez sur la Flèche vers le haut ou Flèche vers le bas pour déplacer la sélection sur un plan adjacent.
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Dans le navigateur d’événements, tout en maintenant la touche Option enfoncée, faites glisser le pointeur du point de départ au point d’arrivée du plan.
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Dans la timeline, placez le skimmer (ou la tête de lecture si le survol est désactivé) sur le plan que vous voulez sélectionner, puis appuyez sur la touche C. Cette méthode sélectionne le plan dans le scénario principal.
Les plans et les scénarios connectés sont associés aux plans figurant dans le scénario principal et apparaissent au-dessus et en dessous de celui-ci. Pour sélectionner un plan ou un scénario connecté avec cette méthode « touche C », placez le pointeur sur le plan connecté, puis appuyez sur la touche C. Pour en savoir plus, consultez les sections Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés à la page 110 et Ajout de scénarios à la page 274.
Une bordure jaune apparaît autour du plan pour indiquer qu’il est sélectionné.
Remarque : Une sélection de plan dans la timeline (illustrée ci-dessus) se distingue sur les plans visuels et fonctionnels d’une sélection de plage dans la timeline, qui présente des poignées distinctes permettant d’ajuster ses points de départ et d’arrivée. Toutes les sélections dans le navigateur d’événements représentent en fait des sélections de plage (dont les points de départ et d’arrivée sont réglables)
Sélection de plusieurs plans dans le navigateur d’événements ou la timeline
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Pour sélectionner plusieurs plans individuels : cliquez sur les plans à sélectionner tout en maintenant la touche Commande enfoncée.
Remarque : Cliquez sur un plan du navigateur d’événements comportant des plages établies tout en maintenant la touche Commande enfoncée entraîne la sélection des plages plutôt que du plan entier.
mm
Pour sélectionner tous les plans et plages présents dans le navigateur d’événements ou la timeline : Cliquez sur Navigateur d’événements ou sur Timeline pour l’activer, puis choisissez Édition > Tout sélectionner (ou appuyez sur Commande + A).
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mm
Pour sélectionner plusieurs plans par glissement : tracez un rectangle de sélection englobant les plans à sélectionner dans la timeline ou le navigateur d’événements.
Désélection de plans dans le navigateur d’événements ou la timeline
mm
Pour désélectionner un seul plan : cliquez sur le plan en maintenant la touche Commande enfoncée ou cliquez hors du plan sélectionné (ou sélectionner un autre plan).
mm
Pour désélectionner plusieurs plans : cliquez sur les plans à désélectionner tout en maintenant la touche Commande enfoncée.
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Pour désélectionner tous les plans et plages : choisissez Édition > Sélectionner > Aucun (ou appuyez sur les touches Commande + Maj + A).
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Pour désélectionner tous les plans et plages dans le navigateur d’événements : Appuyez simultanément sur les touches + X.
Sélection d’une plage
Au lieu de sélectionner des plans complets, vous pouvez sélectionner une plage au sein d’un plan dans la timeline ou le navigateur d’événements. Dans la timeline, vous pouvez également sélectionner une plage couvrant plusieurs plans. Vous pouvez appliquer des trims aux sélections de plage, leur attribuer des classements et des mots-clés et les modifier de toute autre manière. Vous pouvez ajuster les points de départ et d’arrivée d’une sélection de plage en faisant glisser l’un des bords figurant de part et d’autre de celle-ci. Vous pouvez également créer différentes sélections de plage sur un ou plusieurs plans dans le navigateur d’événements.
Poignées de plage
Remarque : Cette illustration reprend une sélection de plage dans la timeline. Les sélections de plage du navigateur d’événements possèdent des poignées de plage droites.
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Sélection d’une plage
Procédez de l’une des manières suivantes :
mm
Dans le navigateur d’événements, faites glisser le pointeur sur un plan (pellicule).
La plage sélectionnée est encadrée en jaune.
Si la pellicule s’étend sur deux lignes et que vous souhaitez prolonger la sélection sur la seconde ligne, il vous suffit de continuer à faire glisser le pointeur au-delà du point de retour à la ligne. Lorsque vous atteignez le bord, le pointeur passe à la ligne suivante.
Conseil : Dans le navigateur d’événements, faites glisser le pointeur tout en maintenant la touche Option enfoncée sur un plan (ou pellicule) quelconque où des plages sont déjà établies pour remplacer ces dernières par la nouvelle plage.
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Dans la timeline, choisissez Sélection de plage dans le menu local Outils situé sur la barre d’outils (ou appuyez sur R).
Le pointeur prend la forme de l’outil Sélection de plage .
Faites glisser l’outil Sélection de plage sur un ou plusieurs plans dans la timeline pour sélectionner une plage. Pour ajuster les points de départ et d’arrivée de la sélection de plage, faites glisser les poignées figurant de part et d’autre de la plage.
Conseil : Pour activer temporairement l’outil Sélection de plage, maintenez la touche R enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé.
Poignées de plage
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Utilisez les touches I et O pour définir les points de départ et d’arrivée de la sélection de plage. Pour en savoir plus, reportez-vous aux instructions ci-dessous.
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Dans le navigateur d’événements ou la timeline, placez le skimmer (ou la tête de lecture) sur un plan, puis appuyez sur la touche X.
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Final Cut Pro définit les points de départ et d’arrivée de la sélection de plage sur ceux du plan.
Conseil : Pour utiliser cette méthode « touche X » avec des plans connectés ou des plans figurant dans un scénario connecté, placez le pointeur sur le plan, puis appuyez sur la touche X.
mm
Tout en maintenant la touche Commande enfoncée, cliquez sur un trait de marqueur coloré en haut d’un plan.
Ces traits permettent d’indiquer un élément particulier parmi les suivants : favori (vert), rejeté (rouge), mots-clé ajoutés manuellement (bleu) ou mots-clés d'analyse (violet).
Définition du point de départ ou d’arrivée d’une plage
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Pour définir le point de départ : placez le skimmer (ou la tête de lecture, si le survol est désactivé) à l’endroit où vous voulez que la sélection commence, puis choisissez Marquer > Définir le début de la plage (ou appuyez sur la touche I).
Pour supprimer le point de départ de la plage, appuyez sur Option + I.
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Pour définir le point d’arrivée : placez le skimmer (ou la tête de lecture, si le survol est désactivé) à l’endroit où vous voulez que la plage se termine, puis choisissez Marquer > Définir la fin de la plage (ou appuyez sur la touche O).
Pour supprimer le point d’arrivée de la plage, appuyez sur Option + O.
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Pour régler le point de départ ou d’arrivée de la plage pendant la lecture d’un plan ou de votre projet : appuyez sur la barre d’espace pour lancer la lecture, puis appuyez sur la touche I ou O au moment où vous voulez définir le point de départ ou d’arrivée.
Conseil : Dans le navigateur d’événements, il vous est aussi possible d’appuyer sur Commande + Maj + I et sur Commande + Maj + O pour définir plusieurs plages au cours de la lecture.
Si vous utilisez les outils Lame de rasoir, Trim et Sélection de plage dans la timeline ou l’éditeur de précision, vous pouvez utiliser les touches I et O pour définir les points de départ et d’arrivée d’une sélection dans un plan ou un scénario connecté, ainsi que dans les plans figurant sous les plans et les scénarios connectés. Placez le pointeur directement sur un plan, puis appuyez sur la touche I pour définir le point de départ ou sur la touche O pour définir le point d’arrivée.
Prolongement ou raccourcissement de la sélection de plage
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Pour modifier le début ou la fin de la plage : faites glisser le côté gauche ou droit de la bordure de sélection jaune.
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Pour réinitialiser le point de départ ou d’arrivée d’une plage au sein du même plan d’événement ou du projet : déplacez le skimmer et appuyez sur la touche I ou O.
Conseil : Vous pouvez également appuyer sur la touche I ou O pendant la lecture d’un plan.
mm
Pour prolonger ou raccourcir une plage au sein d’un plan d’événement : placez le skimmer sur l’image à laquelle vous voulez que la plage commence ou se termine, puis cliquez (ou faites glisser le pointeur) tout en maintenant la touche Maj enfoncée.
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Pour étendre ou raccourcir une plage à l’aide du timecode : choisissez Modifier > Modifier la durée (ou appuyez sur Contrôle + D), puis saisissez la nouvelle durée. (Cela ne fonctionne qu’avec des sélections de plage simples.)
La sélection de plage est prolongée ou raccourcie en conséquence.
Si vous avez besoin du skimmer et qu’il est absent, vous pouvez activer le survol à tout moment.
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Définition de plusieurs plages dans des plans d’événement au cours de la lecture
Il vous est possible de définir plusieurs plages dans des plans repris dans le navigateur d’événements au cours de la lecture.
1 Reproduisez un plan d’un événement.
2 Lors de la lecture du plan, effectuez l’une des opérations suivantes :
••
Pour ajouter le point de départ d’une plage : appuyez sur Commande + Maj + I.
••
Pour ajouter le point d’arrivée d’une plage : appuyez sur Commande + Maj + O.
Remarque : Pour définir plusieurs plages dans le même plan, répétez ces raccourcis clavier pendant que la lecture s’effectue.
Définition de la sélection de plage coïncidant avec les bords du plan
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Placez le skimmer ou la tête de lecture sur un plan et appuyez sur X.
Final Cut Pro définit une sélection de plage depuis le point de départ au point d’arrivée du plan. Toute sélection préalablement établie est alors supprimée.
Effacement des plages
Vous pouvez supprimer une ou plusieurs plages dans le navigateur d’événements ou la timeline.
Remarque : Cette opération n’influe en rien sur le média du plan, que ce soit dans le navigateur d’événements ou dans la timeline.
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Pour supprimer une plage particulière dans un événement : cliquez sur la plage tout en maintenant la touche Option enfoncée.
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Pour supprimer la sélection d’une plage dans la timeline : cliquez à l’extérieur de la plage ou sélectionnez-en une autre.
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Pour effacer une ou plusieurs plages dans le navigateur d’événements ou la timeline : sélectionnez la ou les plages et appuyez sur Marquer > Effacer les plages sélectionnées (ou appuyez sur Option + X).
Remarque : Les plages sélectionnées sont encadrées en jaune. Celles désélectionnées (disponibles uniquement dans le navigateur d’événements) présentent une bordure fine orange.
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Pour supprimer toutes les plages d’un événement : choisissez Édition > Tout sélectionner (ou appuyez sur Commande + A) pour sélectionner toutes les plages de l’événement actif, puis choisissez Marquer > Effacer les plages sélectionnées (ou appuyez sur Option + X).
Gestion de plusieurs sélections de plage dans des plans d’événement
Dans le navigateur d’événements, vous avez la possibilité de définir plusieurs plages dans un ou plusieurs plans et vous pouvez sélectionner et désélectionner des plages après les avoir établies. Par exemple, vous pouvez définir plusieurs plages dans un plan d’événement long, puis désélectionner certaines de ces plages avant d’ajouter à la timeline toutes les plages sélectionnées en une seule fois.
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Remarque : Les plages sélectionnées sont encadrées en jaune. Les plages désélectionnées présentent un cadre fin orange. Les commandes de montage manipulent uniquement les sélections jaunes.
Plages sélectionnéesPlages non sélectionnées
Remarque : Les commandes décrites dans cette section supposent que le navigateur d’événements soit l’élément actif de l’interface de Final Cut Pro. Pour activer le navigateur d’événements, déplacez le pointeur dessus ou cliquez dessus. Lorsque le navigateur d’événements est actif, son arrière-plan se présente en gris plus clair.
Réglage de plusieurs plages sur un plan d’événement
1 Dans le navigateur d’événements, sélectionnez une plage au sein d’un même plan.
2 Pour définir une autre plage, effectuez l’une des opérations suivantes :
••
Faites glisser, tout en maintenant la touche Commande enfoncée, une autre section du plan.
••
Placez le skimmer ou la tête de lecture sur l’image où vous voulez que commence une plage supplémentaire et appuyez sur Commande + Maj + I. Placez le skimmer ou la tête de lecture sur l’image où doit se terminer la nouvelle plage et appuyez sur Commande + Maj + O.
Remarque : Ces raccourcis clavier fonctionnent également pendant la lecture pour vous permettre de régler des plages supplémentaires à la volée.
••
Faites glisser, tout en maintenant la touche Option enfoncée, le pointeur sur ou au sein de plages pour les remplacer par une nouvelle plage.
••
Tout en maintenant la touche Commande enfoncée, cliquez sur un trait de marqueur coloré en haut d’un plan.
Ces traits permettent d’indiquer un élément particulier parmi les suivants : favori (vert), rejeté (rouge), mots-clé ajoutés manuellement (bleu) ou mots-clés d'analyse (violet).
La sélection de plage supplémentaire apparaît dans le plan.
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Pour désélectionner une plage, cliquez dessus tout en maintenant la touche Option enfoncée.
Sélection et désélection de plages et de plans dans un événement
Vous avez la possibilité de définir, de sélectionner ou de désélectionner plusieurs plages à l’intérieur de plans d’événement ou d’événements.
Important : Les commandes de montage manipulent uniquement les sélections jaunes. Les commandes de montage ignorent les plages orange (désélectionnées).
Plages sélectionnéesPlages non sélectionnées
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Pour sélectionner une plage indépendamment : cliquez sur la plage.
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Pour sélectionner ou désélectionner une plage : cliquez sur la plage tout en maintenant la touche Commande enfoncée.
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Pour sélectionner toutes les plages d’un plan : cliquez sur une zone du plan où aucune plage n’est définie.
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Pour sélectionner toutes les plages et tous les plans de l’événement actif : choisissez Édition > Tout sélectionner (ou appuyez sur les touches Commande + A).
Les plages (ainsi que tous les plans sans plage) s’encadrent alors en jaune pour indiquer qu’elles sont sélectionnées.
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Pour désélectionner toutes les plages et tous les plans de l’événement actif : choisissez Édition > Tout désélectionner (ou appuyez sur les touches Commande + Maj + A).
Les plages deviennent alors orange.
Annulation de la sélection de plages dans des plans d’un événement
Vous pouvez supprimer des plages particulières, plusieurs plages ou même toutes les plages incluses dans l’événement actif.
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Pour supprimer une plage particulière dans un événement : cliquez sur la plage tout en maintenant la touche Option enfoncée.
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Pour annuler les plages sélectionnées dans un événement : sélectionnez les plages à supprimer, puis choisissez Marquer > Effacer les plages sélectionnées (ou appuyez sur Option + X).
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Pour supprimer toutes les plages d’un événement : choisissez Édition > Tout sélectionner (ou appuyez sur Commande + A) pour sélectionner toutes les plages de l’événement actif, puis choisissez Marquer > Effacer les plages sélectionnées (ou appuyez sur Option + X).
Navigation entre les sélections dans un événement
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Pour atteindre le début de la sélection de plage : choisissez Marquer > Aller à > Début de la plage (ou appuyez sur Maj + I).
Répétez cette commande pour accéder au début de la sélection de plage précédente ou au début du plan.
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Pour atteindre la fin de la sélection de plage : choisissez Marquer > Aller à > Fin de la plage (ou appuyez sur Maj + O).
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Répétez cette commande pour accéder à la fin de la sélection de plage suivante ou à la fin du plan.
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Pour sélectionner le plan précédent (ou ses plages) : appuyez sur Flèche vers le haut.
Pour ajouter à la sélection, appuyez sur Maj + Flèche vers le haut.
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Pour sélectionner le plan suivant (ou ses plages) : appuyez sur Commande + Flèche vers le bas.
Pour ajouter à la sélection, appuyez sur Maj + Flèche vers le bas.
Ajout et suppression de plans
Présentation de l’ajout de plans
Pour créer un projet de film, vous ajoutez des plans à la timeline dans un ordre chronologique. Vous disposez d’un grand choix d’outils et de techniques pour ajouter des plans selon vos besoins ou votre style de montage. Vous pouvez réorganiser à tout moment les plans dans la timeline.
Dans Final Cut Pro, vous pouvez monter vos projets sans vous soucier de la connexion ou de la synchronisation entre les plans. Par exemple, si vous faites glisser un plan dans la timeline, Final Cut Pro réorganise automatiquement celle-ci pour insérer le nouveau plan sans déranger le travail déjà réalisé. Cela est vrai pour tous les types de plans : vidéo, audio, titres, générateurs, images fixes, etc.
Vous pouvez utiliser les plans de plusieurs événements dans un même projet. Vous pouvez également ajouter des plans depuis les navigateurs multimédias de Final Cut Pro et le Finder. La suppression de plans de la timeline n’a aucun impact sur les plans ou les fichiers présents dans le navigateur d’événements, les navigateurs multimédias ou le Finder.
Les plans et les scénarios connectés restent associés (et synchronisés) aux plans figurant dans le scénario principal jusqu’à ce que vous les déplaciez ou les supprimiez explicitement.
Plan connectéPlan connecté ne contenant que des données audioScénario principal
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Glissement de plans vers la timeline
Vous pouvez ajouter des plans à la timeline en les faisant glisser depuis le navigateur d’événements, un navigateur multimédia de Final Cut Pro (tel que le navigateur de photos ou de générateurs) ou le Finder.
Glissement de plans depuis le navigateur d’événements ou un navigateur multimédia
1 Procédez de l’une des manières suivantes :
••
Dans la bibliothèque d’événements, sélectionnez l’événement contenant les plans que vous voulez ajouter à votre projet.
••
Ouvrez le navigateur multimédia contenant les données que vous voulez ajouter à votre projet.
2 Faites glisser un ou plusieurs plans du navigateur d’événements ou d’un navigateur multimédia vers la timeline.
Selon l’endroit où vous déposez les plans dans la timeline, vos actions peuvent entraîner un montage par ajout, insertion, connexion ou remplacement. Final Cut Pro règle automatiquement les plans adjacents pour faire tenir tous les plans que vous avez fait glisser.
Conseil : Vous pouvez ajouter un plan à la fois à votre projet ; cependant, il est parfois plus facile d’ajouter plusieurs plans en même temps et de les réorganiser par la suite dans la timeline.
Glissement de fichiers depuis le Finder
1 Disposez les fenêtres à l’écran de façon à voir à la fois la fenêtre principale de Final Cut Pro et les fichiers dans le Finder.
2 Faites glisser les fichiers du Finder vers la timeline.
Selon l’endroit où vous déposez les plans dans la timeline, vos actions peuvent entraîner un montage par ajout, insertion, connexion ou remplacement.
Remarque : Si vous ajoutez des plans à la timeline depuis un navigateur multimédia de Final Cut Pro ou le Finder, vous importez les données dans l’événement par défaut associé au projet en cours. Vous pouvez configurer l’événement par défaut dans la fenêtre des réglages du projet. Final Cut Pro applique alors les réglages d’optimisation et d’analyse par défaut aux nouveaux plans. Vous pouvez définir les traitements d’optimisation et d’analyse par défaut dans les préférences de Final Cut Pro.
Si vous ajoutez des images fixes à la timeline, elles ont une durée de 4 secondes par défaut. Vous pouvez modifier cette durée par défaut dans les préférences de Final Cut Pro.
Ajout de plans à votre projet
Vous pouvez ajouter simplement un plan à votre projet en procédant à un montage par ajout, qui consiste à ajouter un ou plusieurs plans à la fin d’un projet ou d’un scénario.
Ajout de plans à votre projet dans la timeline
1 Sélectionnez un ou plusieurs plans dans le navigateur d’événements.
2 Pour ajouter les plans à la timeline, effectuez l’une des opérations suivantes :
••
Choisissez Édition > Ajouter à la fin (ou appuyez sur la touche E).
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•• Dans la barre d’outils, cliquez sur le bouton Ajouter.
Si aucun élément n’est sélectionné, le plan apparaît à la fin du scénario principal dans la timeline.
Si un scénario est sélectionné, le plan apparaît à la fin de celui-ci.
Insertion de plans dans votre projet
Un montage par insertion place le plan source de façon à ce que tous les plans situés après le
point d’insertion soient déplacés vers l’avant (Ripple) dans la timeline pour faire de la place au
plan inséré. Aucun plan n’est supprimé de votre projet. Un montage par insertion allonge le
projet de la durée du plan inséré.
D A B C
A D B C
Après montage
Avant montage
Vous pouvez recourir au montage par insertion lorsque vous souhaitez ajouter un plan au début
ou au milieu de votre projet. Vous pouvez également réaliser ce type de montage pour interrompre
l’action dans un plan par celle dans le plan inséré. L’action du plan d’origine reprend
ensuite, au terme du plan inséré.
Remarque : Vous pouvez utiliser un montage à trois points pour réaliser un montage par insertion.
Pour en savoir plus, consultez Présentation du montage à trois points à la page 284.
Insertion de plans du navigateur d’événements dans la timeline
1 Sélectionnez un ou plusieurs plans dans le navigateur d’événements.
2 Placez la tête de lecture sur le point où vous voulez insérer le plan dans le scénario principal ou
un scénario sélectionné (ou effectuez une sélection de plage).
3 Procédez de l’une des manières suivantes :
•• Choisissez Édition > Insérer (ou appuyez sur la touche W).
Remarque : Si vous utilisez le raccourci clavier et que le skimmer est présent dans la timeline,
le montage est réalisé au niveau de ce dernier.
•• Dans la barre d’outils, cliquez sur le bouton Insérer.
Le plan apparaît dans la timeline et tous les plans situés après le point d’insertion sont déplacés
vers l’avant. Si le skimmer est absent, les plans sont insérés au niveau de la tête de lecture. Si
vous effectuez un montage par insertion au milieu d’un plan existant dans la timeline, celui-ci est
coupé au niveau du point d’insertion et la seconde moitié est repoussée à la fin du plan inséré,
avec le reste du métrage situé après le point d’insertion.
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Insertion d’un plan vide ou de repère d’emplacement dans la timeline
Il se peut que vous ayez besoin de réserver un espace dans la timeline pour un plan que vous n’avez pas encore. Final Cut Pro offre deux solutions à ce problème : des images de repère d’emplacement ou un plan vierge et sans son appelé plan vide dont vous pouvez définir librement la durée.
1 Placez la tête de lecture sur le point où vous voulez insérer le plan vide ou de repère d’emplacement dans le scénario principal ou un scénario sélectionné (ou effectuez une sélection de plage).
2 Effectuez l’une des opérations suivantes :
••
Pour insérer un plan de repère d’emplacement : choisissez Édition > Insérer le repère d’emplacement (ou appuyez sur Commande + Option + W).
Final Cut Pro insère des images de repère d’emplacement grises que vous pouvez personnaliser. Pour en savoir plus, consultez Utilisation d’un repère d’emplacement à la page 247. Vous pouvez définir librement la durée des plans de repère d’emplacement.
Plan de repère d’emplacement
••
Pour insérer un plan vide : choisissez Édition > Insérer un espace (ou appuyez sur Option + W).
Final Cut Pro insère un plan vierge (contenant de la vidéo vierge et du silence) dont vous pouvez définir librement la durée. (L’industrie audiovisuelle emploie le terme d’amorce pour le désigner.)
Plan vide
Remarque : La couleur du plan vide se détermine par celle de l’arrière-plan actif dans Final Cut Pro. Pour définir celle-ci, choisissez une option Arrière-plan du lecteur dans la fenêtre Lecture des préférences de Final Cut Pro. Si vous voulez une autre couleur, envisagez d’utiliser un générateur de couleur unie.
Le plan apparaît dans la timeline et tous les plans situés après le point d’insertion sont déplacés vers l’avant (la droite).
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Insertion de plans par glissement depuis le navigateur d’événements, un navigateur multimédia
ou le Finder
Vous pouvez insérer des plans entre ceux présents dans la timeline en les faisant glisser depuis le
navigateur d’événements, un autre navigateur multimédia de Final Cut Pro ou le Finder.
mm Faites glisser le plan à insérer sur un point de montage (entre deux plans) dans la timeline.
Le plan apparaît dans la timeline et tous les plans situés après le point d’insertion sont déplacés
vers l’avant (la droite).
Connexion de plans pour ajouter des prises, des titres et des effets de son
synchronisés
Vous pouvez associer des plans entre eux dans la timeline. Les plans connectés restent reliés et
synchronisés jusqu’à ce que vous les déplaciez ou les supprimiez manuellement.
A B C
D
A B C
D
Après montage
Avant montage
Voici quelques utilisations possibles des plans connectés :
•• Plans de coupe : ajout d’un plan de coupe en le connectant à un plan vidéo dans la timeline.
•• Titres superposés : ajout d’un titre ou d’un tiers inférieur à un plan vidéo ou à une plage.
•• Effets sonores et musique de fond : synchronisation de clips audio avec des plans du scénario
principal. Les plans restent synchronisés même si vous déplacez les plans du scénario principal.
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Lorsque vous utilisez la commande de menu, le raccourci clavier ou le bouton de barre d’outils Connecter, les plans vidéo (bleus) sont connectés au-dessus du scénario principal, et les clips audio (verts) sont connectés en dessous :
Plan connectéPlan connecté ne contenant que des données audioScénario principal
Remarque : Vous pouvez utiliser un montage à trois points pour réaliser un montage par connexion. Pour en savoir plus, consultez Présentation du montage à trois points à la page 284.
Connexion de plans dans la timeline
1 Si votre projet est vide, ajoutez des plans à la zone gris foncé du scénario principal dans la timeline pour créer votre séquence initiale.
Les plans du scénario principal constituent une base à laquelle vous pouvez connecter (associer) d’autres plans pour développer votre projet. Les montages par connexion sont légèrement différents des autres types de montage en ce sens qu’ils n’ajoutent jamais de plans au scénario principal. Si vous réalisez un montage par connexion dans une timeline vide, Final Cut Pro ajoute d’abord un plan vide au scénario principal et lui associe le nouveau plan connecté.
2 Sélectionnez un ou plusieurs plans ou une plage dans le navigateur d’événements.
3 Effectuez l’une des opérations suivantes pour indiquer l’endroit où vous voulez connecter le plan source sélectionné :
••
Placez la tête de lecture sur l’image du plan dans le scénario principal.
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•• Sélectionnez une plage dans le scénario principal.
4 Pour connecter les plans sélectionnés aux plans du scénario principal, effectuez l’une des opérations
suivantes :
•• Choisissez Édition > Connecter au scénario principal (ou appuyez sur la touche Q).
Remarque : Si vous utilisez le raccourci clavier et que le skimmer est présent dans la timeline,
le plan est connecté au niveau de ce dernier.
•• Dans la barre d’outils, cliquez sur le bouton Connecter.
•• Faites glisser les plans vers la zone grise au-dessus ou en dessous du scénario principal.
La première image de la sélection source est connectée au plan du scénario principal au niveau
de la tête de lecture ou du skimmer. Si vous avez fait glisser la sélection source vers la timeline,
sa première image est connectée au scénario principal à l’endroit où vous avez relâché le bouton
de la souris.
Point de connexion
Plan connecté
Scénario principal
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Lorsque vous réorganisez, déplacez, propagez ou supprimez des plans dans le scénario principal, les plans qui y sont connectés sont déplacés (ou supprimés) avec eux.
Lorsque vous connectez des plans en les faisant glisser, vous avez la possibilité de placer les plans vidéo en dessous du scénario principal et les clips audio au-dessus.
Plan connecté ne contenant que des données audioPlan audio/vidéo connectéTitre
Remarque : Dans Final Cut Pro, si vous connectez des plans, les plans vidéo situés au-dessus masquent ceux se trouvant en dessous. Cela ne s’applique toutefois pas aux plans présentant certains réglages de transparence, d’incrustation ou de compositing. Pour en savoir plus, consultez Présentation du compositing à la page 367. Les clips audio n’affectent jamais la sortie vidéo, même s’ils sont placés au-dessus de plans vidéo dans la timeline.
Ajustement du point de connexion d’un plan connecté
Par défaut, les plans et les scénarios connectés sont connectés au scénario principal au niveau de leur première image, mais vous pouvez déplacer ce « point de connexion ». Cela s’avère utile si vous voulez connecter une image ou un échantillon audio précis du plan ou du scénario connecté à une image ou un échantillon audio précis du scénario principal.
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mm
Maintenez les touches Commande et Option enfoncées et cliquez sur le plan connecté (ou sur la bordure grise du scénario) à l’endroit où vous voulez placer le point de connexion.
Le point de connexion est positionné à l’endroit où vous avez cliqué.
Point de connexion par défautNouvelle position du point de connexion
Déplacement, trim ou suppression de plans dans le scénario principal sans affecter les plans connectés
Si vous devez déplacer ou effectuer un trim sur des plans dans le scénario principal mais voulez conserver l’emplacement des plans connectés, vous pouvez maintenir la touche de l’accent grave (`) lors du montage pour préserver la synchronisation et la position des plans connectés.
mm
Pour déplacer un plan sans affecter pour autant les plans connectés : tout en maintenant enfoncée la touche de l’accent grave (`), faites glisser le plan dans la timeline (soit par le biais de l’outil Sélection, soit à l’aide de l’outil Position).
Maintenez la touche de l’accent grave (`) enfoncée, puis faites glisser le plan.
Le plan connecté conserve son emplacement.
Chapitre 8 Montage de votre projet 115
mm Pour effectue un trim sur un plan sans affecter pour autant les plans connectés : tout en maintenant
enfoncée la touche de l’accent grave (`), effectuez un trim sur le plan en faisant appel à une
méthode quelconque, notamment les montages Ripple, les montages Roll, les montages par coulissement
et les montages par glissement.
mm Pour supprimer un plan sans affecter pour autant les plans connectés : tout en maintenant enfoncée
la touche de l’accent grave (`), sélectionnez le plan et appuyez sur Supprimer (ou appuyez sur
Commande + Option + Supprimer).
Pour en savoir plus sur la suppression de plans ou de plages possédant des plans connectés,
consultez Suppression de plans du projet à la page 122.
mm Pour passer à un autre plan dans une audition sans affecter pour autant les plans connectés : tout
en maintenant enfoncée la touche de l’accent grave (`), sélectionnez la meilleure image dans la
fenêtre Audition.
Pour en savoir plus, consultez Utilisation d’auditions pour essayer des plans dans votre projet à la
page 295.
Dans tous ces cas, le ou les plans connectés conservent exactement la même position ainsi que
leur synchronisation.
Si vous supprimez des plans ou des plages en relation avec des plans connectés et des scénarios
sans maintenir la touche de l’accent grave (`) enfoncée, des règles particulières s’appliquent alors.
Pour en savoir plus, consultez Suppression de plans du projet à la page 122.
Écrasement de certaines parties de votre projet
Dans un montage par écrasement, un ou plusieurs plans source écrasent les plans présents dans
le scénario principal ou un scénario sélectionné, en commençant au point de départ d’une sélection
de plage ou au niveau du skimmer ou de la tête de lecture. Puisqu’aucun élément de plan
ne subit de montage Ripple en avant, la durée de votre projet reste inchangée.
A B C
A D B C
D
Après montage
Avant montage
L’écrasement diffère du remplacement de données. L’écrasement ne fonctionne qu’avec des
sélections de plage, et non avec des plans complets, et n’est pas limité aux limites des plans.
Utilisez un montage par écrasement lorsque vous voulez monter une durée de métrage précise
et non des plans précis.
Remarque : Vous pouvez utiliser un montage à trois points pour réaliser un montage par écrasement.
Pour en savoir plus, consultez Présentation du montage à trois points à la page 284.
Écrasement de plans de la timeline par des plans du navigateur d’événements
1 Sélectionnez un ou plusieurs plans dans le navigateur d’événements.
Si la sélection comporte plusieurs plans source, ceux-ci apparaîtront dans la timeline dans l’ordre
dans lequel ils ont été sélectionnés.
2 Pour définir le point de départ du plan d’écrasement dans la timeline, effectuez l’une des opérations
suivantes dans le scénario principal ou un scénario sélectionné :
•• Positionnez la tête de lecture.
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•• Sélectionnez une plage comprenant un ou plusieurs plans dans la timeline.
Remarque : La commande d’écrasement ignore les sélections de plan complet dans la timeline.
Si vous ne sélectionnez pas de plage dans la timeline, Final Cut Pro place le point de départ du
plan d’écrasement au niveau de la tête de lecture ou du skimmer.
3 Choisissez Édition > Écraser (ou appuyez sur la touche D).
Le plan source apparaît dans le scénario principal et écrase tous les plans existants sur toute
sa durée.
Remarque : Si vous utilisez le raccourci clavier et que le skimmer est présent dans la timeline, le
montage est réalisé au niveau de ce dernier.
Pour réaliser le montage par écrasement en amont de la tête de lecture, de sorte que le point
d’arrivée du plan d’écrasement (et non son point de départ) soit aligné sur la position cible,
appuyez sur Maj + D.
Remplacement d’un plan par un autre dans votre projet
Vous pouvez remplacer des plans de votre projet par des plans figurant dans le navigateur d’événements,
d’autres navigateurs multimédias de Final Cut Pro ou le Finder. Contrairement aux montages
par écrasement, le remplacement ne fonctionne que sur des plans complets de la timeline
et peut modifier la durée du projet.
A B C
A D C
D
Après montage
Avant montage
Les options de remplacement incluent l’utilisation du début ou de la fin du plan source, ainsi
que la création automatique d’auditions ou l’ajout automatique à des auditions.
Remplacement par glissement d’un plan de la timeline par un ou plusieurs plans
1 Procédez de l’une des manières suivantes pour effectuer une sélection source :
•• Sélectionnez un plan ou une plage dans le navigateur d’événements.
•• Sélectionnez un élément de média dans l’un des navigateurs multimédias de Final Cut Pro ou
le Finder.
2 Faites glisser la sélection source sur le plan de la timeline que vous voulez remplacer.
Le plan cible est mis en évidence par un contour blanc dans la timeline.
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3 Relâchez le bouton de la souris et choisissez une option dans le menu contextuel :
••
Remplacer : Le plan cible est remplacé par la sélection source. La durée est déterminée par celle de la sélection source. Si les durées de la sélection source et du plan cible sont différentes, les plans suivants sont décalés.
••
Remplacer depuis le début : le plan cible est remplacé par la sélection source, en commençant au début de celle-ci. La durée est déterminée par celle du plan de la timeline.
••
Remplacer depuis la fin : le plan cible est remplacé par la sélection source, en commençant à la fin de celle-ci. La durée est déterminée par celle du plan de la timeline.
••
Remplacer et ajouter à l’audition : le plan cible est remplacé par une audition dans laquelle la sélection source est le meilleur élément et le plan cible un élément alternatif. La durée est déterminée par la sélection source. Si les durées de la sélection source et du plan cible sont différentes, les plans suivants sont décalés.
••
Ajouter à l’audition : le plan cible est remplacé par une audition dans laquelle le plan cible est le meilleur élément et la sélection source un élément alternatif.
••
Annuler : le montage par remplacement est annulé.
La sélection source apparaît dans la timeline, à la place du plan d’origine.
Le plan source sélectionné apparaît dans la timeline.
Remarque : Pour les options « Remplacer depuis le début » et « Remplacer depuis la fin », si la sélection source est une sélection de plage ayant une durée inférieure à celle du plan cible et qu’il y a suffisamment de données supplémentaires, Final Cut Pro augmente la durée de la sélection source pour qu’elle corresponde à celle du plan cible. La durée du scénario obtenu ne change pas.
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Remplacement d’un plan de la timeline à l’aide de raccourcis clavier
1 Dans le navigateur d’événements, sélectionnez le plan ou la plage source.
2 Dans la timeline, sélectionnez le plan à remplacer.
Remarque : Il doit s’agir d’un plan complet, et non d’une plage. Pour en savoir plus, consultez À propos des sélections et des pellicules de film à la page 97.
3 Procédez de l’une des manières suivantes :
••
Pour réaliser un montage par remplacement standard : appuyez sur Maj + R.
Le plan cible est remplacé par la sélection source. La durée est déterminée par celle de la sélection source. Si les durées de la sélection source et du plan cible sont différentes, les plans suivants sont décalés.
••
Pour réaliser un montage Remplacer depuis le début : appuyez sur Option + R.
Le plan cible est remplacé par le plan source, en commençant au début de celui-ci. La durée est déterminée par celle du plan de la timeline.
Remarque : Pour l’option « Remplacer depuis le début », si la sélection source est une sélection de plage ayant une durée inférieure à celle du plan cible et qu’il y a suffisamment de données supplémentaires, Final Cut Pro augmente la durée de la sélection source pour qu’elle corresponde à celle du plan cible. La durée du scénario obtenu ne change pas.
La sélection source apparaît dans la timeline, à la place du plan d’origine.
Ajout et montage d’images fixes
Dans Final Cut Pro, vous pouvez ajouter et monter de nombreux formats d’image fixe dans vos projets, notamment des photos et des fichiers graphiques.
Ajout d’une image fixe à la timeline
Vous pouvez ajouter des images fixes à votre projet depuis le navigateur d’événements ou le navigateur de photos.
mm
Pour ajouter une image fixe depuis le navigateur d’événements : importez l’image fixe dans un événement, puis sélectionnez intégralement ou partiellement le plan d’image fixe et faites-le glisser du navigateur d’événements vers la timeline.
Remarque : Lorsqu’une image fixe est importée, elle fonctionne comme tout autre plan dans Final Cut Pro. Vous pouvez utiliser toutes les techniques décrites dans le présent chapitre pour ajouter des plans d’image fixe à la timeline.
mm
Pour ajouter une image fixe depuis le navigateur de photos : ouvrez le navigateur de photos, sélectionnez une image fixe, puis faites-la glisser directement vers la timeline.
La durée initiale par défaut des sélections de plage dans les images fixes est de 4 secondes, mais vous pouvez la modifier dans la fenêtre Montage des préférences de Final Cut Pro.
La durée d’un plan d’image fixe n’est pas limitée. Pour modifier la durée d’un plan d’image fixe dans la timeline, utilisez l’une des techniques de trim décrites dans le présent chapitre. Pour modifier la durée de plusieurs plans d’image fixe en même temps, sélectionnez ces derniers et choisissez Modifier > Modifier la durée (ou appuyez sur Contrôle + D).
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Ajout de fichiers graphiques multicouche à la timeline
Il vous est possible d’ajouter des fichiers graphiques multicouches, tels que les fichiers Adobe
Photoshop (PSD), créés dans une autre application de retouche d’image à la timeline.
1 Importez le fichier graphique multicouche dans un événement.
Important : si le fichier graphique multicouche présente un arrière-plan transparent, assurezvous
que le format de rendu de votre projet est défini sur Apple ProRes 4444 afin de préserver
la transparence au moment du rendu. Consultez Modification du nom et des propriétés d’un
projet à la page 89.
2 Dans le navigateur d’événements, maintenez la touche Contrôle enfoncée et cliquez sur l’image
multicouche, puis choisissez « Ouvrir dans la timeline » dans le menu contextuel.
Chaque couche s’affiche sur la timeline sous forme de plan connecté qu’il vous est possible
de monter comme vous le feriez pour tout autre plan. Par exemple, vous pouvez animer des
couches en leur appliquant un fondu entrant ou sortant.
Image de graphiques en couches dans le visualiseur
Plan représentant des couches individuelles
La durée par défaut d’un fichier graphique multicouche est d’une minute. Pour modifier la durée
d’une des couches dans la timeline, utilisez l’une des techniques de trim décrites dans le présent
chapitre. Pour modifier la durée de toutes les couches, sélectionnez ces derniers et choisissez
Modifier > Modifier la durée (ou appuyez sur Contrôle + D).
Pour en savoir plus sur la création de fichiers graphiques multicouches pour Final Cut Pro, consultez
la page http://support.apple.com/kb/HT5152?viewlocale=fr_FR.
Modification d’une image fixe avec une application d’édition d’image externe
Vous pouvez modifier une image fixe à l’aide d’une application d’édition d’image externe ; les
modifications apparaissent automatiquement dans le plan dans Final Cut Pro.
1 Pour ajouter un plan d’image fixe à la timeline, procédez comme indiqué ci-dessus.
2 Pour retrouver le fichier de média source du plan dans le Finder, appuyez sur
Commande + Maj + R.
3 Ouvrez le fichier multimédia source dans l’application d’édition d’image externe.
4 Modifiez l’image dans l’application d’édition d’image et enregistrez les modifications.
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5 Retournez dans Final Cut Pro.
Les modifications apparaissent automatiquement dans le plan d’image fixe dans Final Cut Pro.
Vous pouvez également créer des images figées à partir de vos plans vidéo. Pour en savoir plus, consultez Création d’images figées à la page 120.
Création d’images figées
Vous pouvez créer en toute simplicité des plans d’arrêt sur image à partir de n’importe quel plan vidéo. Les plans d’arrêt sur image contiennent une image particulière permettant d’interrompre temporairement l’action à l’écran.
Vous pouvez créer des plans d’arrêt sur image à partir de plans dans la timeline ou le navigateur d’événements. Si vous créez un plan d’arrêt sur image à partir du navigateur d’événements, il est alors attaché au scénario principal au niveau de la tête de lecture sous forme de plan connecté.
Vous pouvez créer des images figées à la volée pendant la lecture ou en accédant à une image donnée dans un plan.
Remarque : Un plan d’arrêt sur image conserve tous les attributs appliqués au plan source, par exemple les réglages et les effets.
Création d’un plan d’arrêt sur image
1 Dans la timeline ou le navigateur d’événements, procédez de l’une des façons suivantes :
••
Placez le skimmer ou la tête de lecture sur l’image à figer.
••
Lancez la lecture du plan.
2 Choisissez Édition > Ajouter un arrêt sur image (ou appuyez simultanément sur les touches Option + F).
Le mode d’ajout de l’arrêt sur image au projet dépend de l’emplacement où l’image a été créée : depuis la timeline ou du navigateur d’événements.
••
Si vous avez créé l’image figée à partir d’un plan dans la timeline : un nouveau plan d’arrêt sur image est inséré dans la timeline à l’emplacement du skimmer ou de la tête de lecture.
••
Si vous avez créé l’image figée à partir d’un plan dans le navigateur d’événements : un nouveau plan d’arrêt sur image est joint sous forme de plan connecté dans la timeline à l’emplacement de la tête de lecture.
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Modification de la durée par défaut des plans d’arrêt sur image
Les plans d’arrêt sur image possèdent la même durée par défaut que les plans d’images fixes, à savoir 4 secondes. Vous pouvez modifier la durée par défaut dans les préférences de Final Cut Pro.
1 Choisissez Final Cut Pro > Préférences (ou appuyez sur Commande + virgule), puis cliquez sur le bouton Montage en haut de la fenêtre.
2 Réglez la case de valeur Images fixes.
Si vous ne voulez pas créer de plan à part pour les images figées, vous pouvez créer un segment de suspension à l’aide du menu local Resynchronisation. Pour en savoir plus, consultez Création d’un segment de suspension à la page 305.
Ajout de plans en mode vidéo uniquement ou audio uniquement
Par défaut, lorsque vous ajoutez un plan d’un événement à la timeline, tous les composants vidéo et audio de ce plan sont inclus dans le montage. Toutefois, vous pouvez également n’ajouter que la partie vidéo ou la partie audio des plans d’événement à la timeline, même s’ils contiennent de la vidéo et de l’audio.
Réalisation de montages Vidéo seulement ou Audio seulement
1 Pour définir le mode de montage, effectuez l’une des opérations suivantes :
••
Pour n’ajouter que la vidéo de votre sélection à la timeline : choisissez Vidéo seulement dans le menu local Édition de la barre d’outils (ou appuyez sur Maj + 2).
••
Pour n’ajouter que l’audio de votre sélection à la timeline : choisissez Audio seulement dans le menu local Édition de la barre d’outils (ou appuyez sur Maj + 3).
Les boutons de montage de la barre d’outils changent d’aspect pour indiquer le mode sélectionné :
Mode Vidéo uniquement
Mode Audio uniquement
2 Ajoutez des plans à la timeline comme vous le faites habituellement.
Le plan Vidéo seulement ou Audio seulement apparaît dans la timeline.
Pour revenir au mode par défaut (vidéo et audio), dans le menu local Édition de la barre d’outils (ou appuyez sur Maj + 1), choisissez Tout.
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Suppression de plans du projet
Lorsque vous supprimez des plans d’un projet dans la timeline, les données source figurant dans les événements, les navigateurs multimédias de Final Cut Pro et le Finder ne sont pas affectées.
Suppression de plans ou de plages de la timeline
1 Sélectionnez dans la timeline les plans ou la plage à supprimer.
2 Choisissez Édition > Supprimer (ou appuyez sur la touche Supprimer).
Les plans ou parties de plans sélectionnés sont supprimés de la timeline, et les plans situés à droite de la sélection (le cas échéant) sont décalés pour combler le vide résultant.
Pour annuler immédiatement la suppression, choisissez Édition > Annuler (ou appuyez sur Commande + Z).
Remarque : En général, si vous sélectionnez un plan complet de la timeline (par exemple, avec la touche C) ou une plage se composant d’un plan complet (par exemple, avec la touche X) et que vous supprimez cette sélection, les éventuels plans connectés ou scénarios sont également supprimés. Cependant, il est possible de supprimer un plan sans affecter pour autant ses plans connectés en maintenant enfoncée la touche de l’accent grave (`) tout en appuyant sur la touche Supprimer. Pour en savoir plus, consultez « Déplacement, trim ou suppression de plans dans le scénario principal sans affecter les plans connectés » dans Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés à la page 110. En outre, si vous supprimez une plage partielle d’un plan, qui inclut un plan ou un scénario connecté, les éléments de ce type ne sont alors pas supprimés mais décalés au plan le plus proche dans le scénario principal.
Suppression de plans ou de plages sans affecter la durée totale et la synchronisation du projet
Si vous souhaitez supprimer des plans de la timeline tout en préservant la durée totale et la synchronisation du projet, vous pouvez remplacer ces plans par des plans vides. Cette méthode évite les montages Ripple.
1 Sélectionnez les plans ou la plage à supprimer.
2 Choisissez Édition > Remplacer par un blanc (ou appuyez sur Maj + Supprimer).
Final Cut Pro remplace la sélection par un plan vide dans la timeline.
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Remarque : Cette méthode préserve les plans connectés. Lorsque vous remplacez un plan par un
plan vide, les éventuels plans connectés sont associés à ce dernier.
Isolement, désactivation et activation de plans
Il peut parfois être utile de lire une séquence avec et sans certains plans à des fins de comparaison.
Dans Final Cut Pro, vous pouvez rapidement lire l’audio d’un plan excluant ainsi l’audio des
autres plans. Cette fonctionnalité, appelée solo, désactive l’audio de tous les plans non sélectionnés
dans la timeline. Vous pouvez également désactiver (et non supprimer) des plans sélectionnés,
ce qui a pour effet de les rendre invisibles et inaudibles lors de la lecture. Les plans désactivés
n’apparaissent dans aucune sortie. Vous pouvez les réactiver tout aussi facilement.
Isolement d’éléments sélectionnés
Si vous voulez vous concentrer sur un sous-ensemble de plans dans la timeline, vous pouvez
sélectionner ces derniers et les isoler des autres.
1 Dans la timeline, sélectionnez les plans à isoler.
2 Procédez de l’une des manières suivantes :
•• choisissez Plan > Solo (ou appuyez sur les touches Option + S).
•• Cliquez sur le bouton Solo dans le coin supérieur droit de la timeline.
Lorsque l’isolement est activé, le bouton Solo est jaune et les plans non sélectionnés sont affichés
en noir et blanc, ce qui permet d’identifier facilement les plans isolés, qui sont entourés
en jaune.
3 Pour désactiver l’isolement, cliquez à nouveau sur le bouton Solo.
Désactivation et réactivation d’un ou de plusieurs plans
1 Sélectionnez un ou plusieurs plans dans la timeline.
2 Choisissez Plan > Désactiver (ou appuyez sur la touche V).
Les plans désactivés sont estompés dans la timeline et sont invisibles et inaudibles pendant
la lecture.
Plan désactivé Plan activé
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3 Pour réactiver les clips désactivés, sélectionnez-les dans la timeline et choisissez Plan > Désactiver (ou appuyez sur la touche V).
Recherche d’un plan source d’un plan de la timeline
Vous pouvez rechercher rapidement le plan d’événement source d’un plan que vous utilisez dans la timeline de votre projet. Cela s’avère particulièrement utile si vous voulez dupliquer un plan de votre projet ou ajouter le même plan à un autre projet.
Recherche et affichage du plan d’événement source d’un plan de la timeline
1 Dans la timeline, sélectionnez le plan dont vous voulez localiser le plan d’événement source.
2 Procédez de l’une des manières suivantes :
••
Choisissez Plan > Afficher dans le navigateur d’événements (ou appuyez sur Maj + F).
••
Cliquez sur le plan tout en maintenant la touche Contrôle enfoncée, puis choisissez « Afficher dans le navigateur d’événements » dans le menu contextuel.
Une bordure de sélection apparaît autour du plan source dans le navigateur d’événements et la position de la tête de lecture dans le plan source correspond à celle de la tête de lecture dans le plan de la timeline.
Disposition des plans dans la timeline
Dans Final Cut Pro, vous pouvez organiser et réorganiser les plans de votre projet comme vous le souhaitez. Si vous ajoutez ou déplacez un plan dans la timeline en le faisant glisser, Final Cut Pro déplace les autres plans pour lui faire de la place. Vous pouvez également déplacer les plans numériquement en saisissant une valeur de timecode, les déplacer légèrement à l’aide de raccourcis clavier, les écraser à l’aide de l’outil Position et les déplacer verticalement depuis et vers le scénario principal.
Déplacement de plans par glissement horizontal
mm
Dans la timeline, sélectionnez un ou plusieurs plans et faites-les glisser vers un nouvel emplacement du projet.
Pendant que vous faites glisser les plans, un contour de la sélection apparaît au nouvel emplacement de la timeline. Lorsque vous relâchez le bouton de la souris, le ou les plans repositionnés apparaissent au nouvel emplacement. Final Cut Pro décale les plans (et les éventuels plans connectés) dans la timeline pour faire de la place aux plans repositionnés et pour combler le vide laissé par ces derniers. Vous pouvez également faire glisser les plans verticalement vers et depuis le scénario principal.
Remarque : Cette méthode de déplacement horizontal des plans est l’équivalent fonctionnel du montage par déplacement disponible dans Final Cut Pro 7, en plus simple.
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Déplacement de plans à l’aide d’une valeur de timecode
Vous pouvez déplacer des plans sélectionnés dans la timeline en saisissant la durée dont vous souhaitez les décaler.
1 Sélectionnez un ou plusieurs plans dans la timeline.
2 Effectuez l’une des opérations suivantes, ou les deux :
••
Pour déplacer les plans vers l’avant : appuyez sur la touche Plus (+), puis entrez une durée de timecode pour le déplacement.
••
Pour déplacer les plans vers l’arrière : appuyez sur la touche Tiret (-), puis entrez une durée de timecode pour le déplacement.
Remarque : Pour en savoir plus et obtenir des conseils pour la saisie des valeurs de timecode, consultez la section Navigation à l’aide du timecode à la page 151.
Le champ de saisie du timecode (avec des nombres bleus) apparaît dans le panneau de contrôle de la barre d’outils pendant que vous tapez.
Champ de saisie du timecode dans le Dashboard
3 Appuyez sur la touche Entrée.
Les plans sont déplacés vers l’avant ou l’arrière de la durée saisie et écrasent les plans présents au nouvel emplacement, le cas échéant. Si les plans sélectionnés se trouvent dans un scénario, un plan vide comble les parties vacantes de ce dernier.
Le plan se déplace vers l’avant ou l’arrière de la durée saisie.Un plan vide comble la partie vacante du scénario.
Déplacement léger de plans à l’aide de raccourcis clavier
La fonctionnalité de déplacement léger dans Final Cut Pro vous permet de déplacer très légèrement les éléments sélectionnés, par exemple de quelques images ou sous-images (pour les plans Audio seulement connectés).
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1 Sélectionnez un ou plusieurs plans dans la timeline.
2 Pour déplacer légèrement les plans, effectuez l’une des opérations suivantes :
••
Pour déplacer la sélection d’une image vers la gauche : appuyez sur la touche Virgule (,).
••
Pour déplacer la sélection de 10 images vers la gauche : appuyez sur Maj + Virgule (,).
••
Pour déplacer la sélection d’une image vers la droite : appuyez sur la touche Point (.).
••
Pour déplacer la sélection de 10 images vers la droite : appuyez sur Maj + point (.).
3 Si vous souhaitez déplacer légèrement des clips audio connectés d’une ou de plusieurs sous-images, effectuez l’une des opérations suivantes :
••
Pour déplacer la sélection d’une sous-image vers la gauche : appuyez sur Option + Virgule (,).
••
Pour déplacer la sélection de 10 sous-images vers la gauche : appuyez sur Maj + Option + Virgule (,).
••
Pour déplacer la sélection d’une sous-image vers la droite : appuyez sur Option + point (.).
••
Pour déplacer la sélection de 10 sous-images vers la droite : appuyez sur Maj + Option + point (.).
Pour en savoir plus sur les sous-images, consultez la section Affichage des formes d’onde audio au niveau de l’échantillon audio à la page 169.
Les plans déplacés écrasent les plans présents au nouvel emplacement, le cas échéant. Un plan vide comble les parties vacantes de la timeline.
Écrasement de plans à l’aide de l’outil Position
Vous pouvez déplacer des plans en les faisant glisser dans la timeline pour écraser d’autres plans. Cela vous permet de positionner précisément des plans sans provoquer le déplacement d’autres plans pour faire de la place.
1 Choisissez l’outil Position dans le menu local Outils de la barre d’outils (ou appuyez sur la touche P).
Le pointeur prend la forme de l’outil Position .
Conseil : Vous pouvez activer temporairement l’outil Position en maintenant la touche P enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé.
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2 Sélectionnez le plan à déplacer.
3 Faites glisser le plan vers un nouvel emplacement de la timeline.
Le plan déplacé écrase les plans présents au nouvel emplacement, le cas échéant. Un plan vide comble la partie vacante de la timeline.
Remarque : Si vous préférez déplacer les plans vers la gauche ou la droite dans la timeline sans laisser de blanc, vous pouvez réaliser un montage par coulissement.
Pour revenir à l’outil Sélectionner (outil par défaut), choisissez-le dans le menu local Outils de la barre d’outils (ou appuyez sur la touche A).
Glissement de plans depuis et vers le scénario principal
Vous pouvez faire glisser des plans depuis et vers le scénario principal. Cette technique fait appel aux montages Ripple, qui ont une incidence sur la durée totale de votre projet. Lorsque vous déplacez un plan hors du scénario principal, il devient soit un plan connecté individuel, soit un élément d’un scénario connecté.
1 Si l’outil Sélectionner n’est pas actif, choisissez-le dans le menu local Outils de la barre d’outils (ou appuyez sur la touche A).
2 Sélectionnez un ou plusieurs plans (plans du scénario principal ou plans connectés).
3 Effectuez l’une des opérations suivantes :
••
Pour déplacer les plans hors du scénario principal : faites glisser les plans du scénario principal vers leur nouvel emplacement de plans connectés (au-dessus ou en dessous du scénario principal).
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Les plans suivants dans le scénario principal sont décalés vers la gauche pour combler le vide laissé par les plans que vous avez déplacés.
Faites glisser le plan sur sa nouvelle position en tant que plan connecté.Les plans suivants sont raccordés à gauche pour combler le vide.
••
Pour déplacer les plans vers le scénario principal : faites glisser les plans de leur emplacement de plans connectés vers un point de montage (entre deux plans) du scénario principal.
Ce faisant, vous réalisez en fait un montage par insertion : les anciens plans connectés sont insérés dans le scénario principal et les plans suivants sont décalés vers la droite pour leur faire de la place.
Remarque : Vous pouvez faire glisser des plans depuis et vers le scénario principal à condition qu’aucun plan ne soit connecté à ces derniers. Si un plan est connecté, vous devez d’abord le déplacer ou le supprimer, ou vous devez utiliser la commande « Prélever du scénario principal » ou « Remplacer par le scénario principal ».
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Déplacement de plans depuis et vers le scénario principal sans montage Ripple du projet
Vous pouvez déplacer des plans depuis et vers le scénario principal sans affecter la durée totale de votre projet.
1 Sélectionnez les plans à déplacer.
2 Effectuez l’une des opérations suivantes :
••
Pour déplacer les plans sélectionnés du scénario principal vers des plans connectés au même emplacement de la timeline : choisissez Édition > Prélever du scénario principal (ou appuyez sur Commande + Option + flèche vers le haut).
Nouveau plan connecté à la même position dans la timelineUn plan vide comble la partie vacante du scénario principal.
Des plans vides comblent les parties vacantes du scénario principal, si nécessaire.
••
Pour déplacer les plans connectés sélectionnés vers le scénario principal : choisissez Édition > Remplacer par le scénario principal (ou appuyez sur Commande + Option + Flèche vers le bas).
Selon le niveau de chevauchement sur le plan connecté, la commande « Remplacer par le scénario principal » crée un montage scindé ou écrase les plans vidéo présents au nouvel emplacement et convertit la partie audio du plan écrasé en plan connecté. La commande « Remplacer par le scénario principal » n’est pas disponible pour les plans Audio seulement.
Remarque : La commande « Remplacer par le scénario principal » ne fonctionne qu’avec des plans connectés individuels. Pour l’utiliser sur un plan figurant dans un scénario connecté, déplacez d’abord ce plan hors du scénario.
Vous pouvez obtenir les mêmes résultats en faisant glisser les plans à l’aide de l’outil Position.
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Coupe et trim des plans
Présentation du trim
Après avoir grossièrement assemblé vos plans dans l’ordre chronologique dans la timeline, vous pouvez commencer à ajuster le point de montage entre chaque paire de plans contigus. Toute opération de rallongement ou de raccourcissement d’un plan dans un projet représente une opération de trim sur le plan en question. Ceci étant dit, le trim constitue généralement un ajustement précis (qui s’applique aussi bien à une image qu’à plusieurs secondes du plan). Si vous modifiez la durée d’un plan en manipulant des durées plus longues, il s’agit toujours d’opérations de trim, bien que cela ne s’inscrive pas encore dans la phase d’affinement du montage.
Dans Final Cut Pro, vous pouvez utiliser de nombreuses techniques pour appliquer un trim aux plans et aux points de montage dans la timeline, notamment les montages Ripple, Roll, par coulissement et par glissement.
Indépendamment de la façon dont vous réalisez le trim ou autres montages dans Final Cut Pro, le média sous-jacent n’est jamais modifié. Les parties des plans effacées ou ayant fait l’objet d’un trim ne sont supprimées que du projet, et non des plans source présents dans votre bibliothèque d’événements ni des fichiers multimédias source stockés sur votre disque dur.
Conseil : Un « double » affichage apparaît dans le visualiseur lorsque vous appliquez un trim à des points de montage dans la timeline. Pour en savoir plus, consultez Affichage détaillé des commentaires sur le trimming à la page 145.
Coupe de plans à l’aide de l’outil Lame de rasoir
Après avoir ajouté des plans à la timeline, vous pouvez facilement les couper pour ajuster leur durée ou supprimer les parties dont vous ne voulez pas.
Le montage le plus élémentaire est la coupe droite. À l’origine, il s’agit d’une opération de montage de film consistant à couper une pellicule à l’aide d’un rasoir et à coller un nouveau « plan ».
Lorsque vous coupez un plan dans votre projet, il est divisé en deux. Vous pouvez couper un ou plusieurs plans à la fois.
Coupe d’un plan dans la timeline
1 Choisissez l’outil Lame de rasoir dans le menu local Outils de la barre d’outils (ou appuyez sur la touche B).
Le pointeur prend la forme de l’outil Lame de rasoir .
Conseil : Vous pouvez activer temporairement l’outil Lame de rasoir en maintenant la touche B enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé.
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2 Placez le skimmer sur l’image du plan où vous souhaitez effectuer la coupe, puis cliquez.
Outil Lame de rasoir
Conseil : Vous pouvez également couper des plans pendant la lecture de votre projet. Pour couper des plans à la volée, appuyez sur les touches Commande + B à tout moment pendant la lecture de votre projet.
Un point de montage apparaît à l’endroit où vous avez cliqué et le plan est divisé en deux.
Nouveau point de montage
Coupe de tous les plans à la fois
La commande « Lame de rasoir sur tout » vous permet de couper simultanément tous les plans du scénario principal et les plans connectés situés au niveau du skimmer ou de la tête de lecture.
1 Dans la timeline, placez le skimmer sur l’image où vous souhaitez effectuer la coupe.
2 Choisissez Édition > Lame de rasoir sur tout (ou appuyez sur les touches Commande + Maj + B).
Tous les plans au niveau du skimmer sont alors coupés.
Coupe de plusieurs plans sélectionnés à la fois
Vous pouvez utiliser la commande Lame de rasoir pour couper simultanément des plans sélectionnés du scénario principal et des plans connectés.
1 Dans la timeline, sélectionnez les plans à couper.
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2 Placez le skimmer sur l’image où vous souhaitez effectuer la coupe.
3 Choisissez Édition > Lame de rasoir (ou appuyez sur Commande + B).
Les plans sélectionnés sont coupés au niveau du skimmer.
Remarque : Si aucun élément n’est sélectionné, cette commande ne s’applique qu’au plan du scénario principal.
Extension ou raccourcissement d’un plan
Vous pouvez appliquer un trim à un plan de votre projet en ajustant le point de départ ou d’arrivée de ce plan.
Le type de trim par défaut dans Final Cut Pro, le trim Ripple, règle le point de départ ou le point d’arrivée d’un plan sans laisser de vide dans la timeline. La modification de la durée du plan est propagée vers l’extérieur, avançant ou reculant tous les plans suivants dans la timeline.
ABCABCAvant montageAprès montage
De même, si vous supprimez un plan de la timeline, les plans suivants s’adaptent en amont pour fermer le vide. Les montages Ripple affectent le plan auquel le trim est appliqué, la position de tous les plans suivants sur la timeline et la durée totale du projet.
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Un « double » affichage apparaît dans le visualiseur lorsque vous appliquez un trim à des points de montage dans la timeline. Cet affichage présente en détail les parties situées de part et d’autre du point de montage. Pour en savoir plus, consultez Affichage détaillé des commentaires sur le trimming à la page 145.
Glissement de points de montage à l’aide de l’outil Sélectionner
1 Dans la timeline, placez le pointeur sur le point de départ ou d’arrivée du plan auquel vous voulez appliquer un trim.
La forme du pointeur passe d’une icône de flèche à une icône de trim. L’apparence de l’icône de trim change pour indiquer si le trim va modifier le point d’arrivée du plan de gauche ou le point de départ du plan de droite.
Trim du point de sortie du plan de gauche.Trim du point d’entrée du plan de droite.
2 Faites glisser le point de départ ou d’arrivée dans la direction dans laquelle vous voulez appliquer le trim au plan.
Le plan est raccourci ou allongé à mesure que vous faites glisser le point. Le contenu des champs de timecode numérique indique la durée du plan et la quantité de temps correspondant au déplacement du point de montage.
Les plans situés à droite du point de montage, le cas échéant, sont décalés en conséquence.
Une fois que vous avez atteint la longueur maximale du plan dans l’une ou l’autre direction, le bord du plan devient rouge.
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Modification de la durée d’un plan à l’aide d’une valeur de timecode
Vous pouvez modifier la durée totale d’un ou de plusieurs plans sélectionnés en saisissant une valeur de timecode.
1 Sélectionnez un ou plusieurs plans dans la timeline.
2 Procédez de l’une des manières suivantes :
••
Choisissez Modifier > Modifier la durée (ou appuyez sur Contrôle + D).
••
Double-cliquez au centre du panneau de contrôle de la barre d’outils.
Le champ de saisie du timecode apparaît dans le panneau de contrôle.
3 Saisissez une nouvelle durée pour le plan sélectionné.
Final Cut Pro déplace le point d’arrivée du plan en fonction de la durée saisie et décale en conséquence les plans suivants dans la timeline.
Pour en savoir plus sur la saisie de valeurs de timecode, consultez la section Navigation à l’aide du timecode à la page 151.
Remarque : Si vous saisissez une durée supérieure aux données disponibles dans le plan, Final Cut Pro prolonge ce dernier jusqu’à sa durée maximale.
Trim d’une sélection
1 Dans la timeline, sélectionnez la partie d’un plan que vous voulez conserver.
Plan d’origineSélection de plage
Pour en savoir plus sur les sélections de plage, consultez Sélection d’une plage à la page 100.
2 Choisissez Édition > Ajuster à la sélection.
Final Cut Pro applique un trim aux points de départ et d’arrivée du plan pour l’ajuster à la plage sélectionnée.
Plan après Trim
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Les parties dont vous ne voulez pas sont supprimées du plan et du projet, et les plans suivants dans le projet sont décalés en conséquence.
Déplacement léger de points de montage à l’aide de raccourcis clavier
Vous pouvez ajuster avec précision le point de départ ou d’arrivée d’un plan à l’aide de raccourcis clavier. Vous pouvez déplacer le point de montage d’une ou de plusieurs images vidéo, et vous pouvez également déplacer les points de montage de clips audio connectés (c’est-à-dire ne figurant pas dans le scénario principal) d’une ou de plusieurs sous-images.
1 Dans la timeline, sélectionnez le point de départ ou d’arrivée du plan auquel vous voulez appliquer un trim.
2 Pour déplacer le point de montage, effectuez l’une des opérations suivantes :
••
Pour déplacer le point de montage d’une image vers la gauche : appuyez sur la touche Virgule (,).
••
Pour déplacer le point de montage de 10 images vers la gauche : appuyez sur Maj + Virgule (,).
••
Pour déplacer le point de montage d’une image vers la droite : appuyez sur la touche Point (.).
••
Pour déplacer le point de montage de 10 images vers la droite : appuyez sur Maj + point (.).
3 Si vous souhaitez déplacer le point de montage de clips audio connectés d’une ou de plusieurs sous-images, effectuez l’une des opérations suivantes :
••
Pour déplacer le point de montage d’une sous-image vers la gauche : appuyez sur Option + Virgule (,).
••
Pour déplacer le point de montage de 10 sous-images vers la gauche : appuyez sur Maj + Option + Virgule (,).
••
Pour déplacer le point de montage d’une sous-image vers la droite : appuyez sur
Option + point (.).
••
Pour déplacer le point de montage de 10 sous-images vers la droite : appuyez sur Maj + Option + point (.).
Pour en savoir plus sur les sous-images, consultez la section Affichage des formes d’onde audio au niveau de l’échantillon audio à la page 169.
Le plan est ajusté et la timeline est actualisée en conséquence.
Déplacement de points de montage vers la tête de lecture
Vous pouvez ajuster des points de montage sélectionnés dans la timeline en procédant à un montage Ripple ou Roll à l’aide de raccourcis clavier.
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1 Dans la timeline, sélectionnez le point de montage à ajuster.
Point de sortie sélectionné
Remarque : Pour un montage Roll, sélectionnez les deux côtés du point de montage à l’aide de l’outil Trim.
2 Placez la tête de lecture ou le skimmer à l’endroit de la timeline vers lequel vous voulez déplacer le point de montage.
Skimmer
3 Choisissez Édition > Étendre le montage (ou appuyez sur Maj + X).
Le point de montage est déplacé (en avant ou en arrière) vers la tête de lecture ou le skimmer.
Le point de sortie du plan est positionné à l’emplacement du skimmer et les plans suivants sont
Dans l’exemple ci-dessus, si vous avez sélectionné le point d’arrivée du plan, les plans suivants dans la timeline sont décalés en conséquence. Si vous avez sélectionné les deux côtés du point de montage à l’aide de l’outil Trim, le plan de droite est raccourci (par le biais d’un montage Roll) et aucun plan n’est décalé.
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Trim de points de montage à l’aide de valeurs de timecode
Vous pouvez appliquer des trims aux plans à l’aide de valeurs de timecode.
1 Si l’outil Sélectionner n’est pas actif, choisissez-le dans le menu local Outils de la barre d’outils (ou appuyez sur la touche A).
2 Dans la timeline, sélectionnez le point de départ ou d’arrivée du plan auquel vous voulez appliquer un trim.
3 Pour appliquer un trim au point de montage, effectuez l’une des opérations suivantes :
••
Pour déplacer le point de montage vers l’avant : appuyez sur la touche Plus (+), entrez une durée de timecode pour le trim, puis appuyez sur Entrée.
••
Pour déplacer le point de montage vers l’arrière : appuyez sur la touche Signe moins (-), entrez une durée de timecode pour le trim, puis appuyez sur Entrée.
Le champ de saisie du timecode (avec des nombres bleus et le signe plus ou moins) apparaît dans le panneau de contrôle de la barre d’outils pendant que vous tapez.
Champ de saisie du timecode
Le plan est raccourci ou étendu de la durée saisie et tous les plans suivants dans la timeline sont décalés en conséquence.
Remarque : Cette fonctionnalité ne permet pas d’étendre un plan au-delà de sa durée maximale.
Pour en savoir plus et obtenir des conseils pour la saisie des valeurs de timecode, consultez la section Navigation à l’aide du timecode à la page 151.
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Coupe du début ou de la fin d’un plan au niveau de la tête de lecture
Il se peut que certains de vos plans vidéo présentent au début ou à la fin des sections que vous ne voulez pas inclure dans votre projet. Vous pouvez facilement couper ces plages à l’aide d’une seule commande, même pendant la lecture du projet. Aucune sélection n’est requise. Ce type de montage est parfois appelé éboutage.
1 Dans la timeline, placez la tête de lecture ou le skimmer sur l’image au niveau de laquelle vous voulez ébouter le plan.
SkimmerPlan d’origine
2 Procédez de l’une des manières suivantes :
••
Pour couper le début du plan : choisissez Édition > Trim sur le début, ou appuyez sur Option + crochet gauche ([).
••
Pour couper la fin du plan : choisissez Édition > Trim sur la fin, ou appuyez sur Option + crochet droit (]).
Le plan est ébouté au niveau de la tête de lecture (ou du skimmer) et la timeline est actualisée en conséquence.
Nouveau point de sortie du plan après TrimPlan après Trim
Dans le cas des plans ou des scénarios connectés, Final Cut Pro applique le trim au plan sélectionné. Si aucun plan n’est sélectionné, Final Cut Pro applique le trim au plan de dessus.
Réalisation de montages Roll à l’aide de l’outil Trim
Un montage Roll consiste à ajuster simultanément les points de départ et d’arrivée de deux plans adjacents. Si vous aimez la façon dont sont disposés deux plans dans la timeline mais que vous souhaitez repositionner le point de coupe, vous pouvez utiliser l’outil Trim pour déplacer le point de montage entre les deux plans. Cela n’entraîne pas le déplacement des plans dans la timeline. Seul le point de montage entre les deux plans change de place. Aucun autre plan du projet n’est affecté.
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Lorsque vous procédez à un montage Roll, la durée totale du projet reste la même, mais celle des deux plans change. L’un s’allonge alors que l’autre rétrécit en compensation.
ABCABCAvant montageAprès montage
Dans l’exemple ci-dessus, le plan B raccourcit tandis que le plan C s’allonge. En revanche, la durée combinée des deux plans reste la même.
Un « double » affichage apparaît dans le visualiseur lorsque vous appliquez un trim à des points de montage dans la timeline. Cet affichage présente en détail les parties situées de part et d’autre du point de montage. Pour en savoir plus, consultez Affichage détaillé des commentaires sur le trimming à la page 145.
Roll d’un point de montage
1 Choisissez l’outil Trim dans le menu local Outils de la barre d’outils (ou appuyez sur la touche T).
Le pointeur prend la forme de l’outil Trim .
Conseil : Vous pouvez activer temporairement l’outil Trim en maintenant la touche T enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé.
2 Dans la timeline, cliquez au centre du point de montage que vous voulez déplacer de sorte que ses deux côtés soient sélectionnés.
3 Procédez de l’une des manières suivantes :
••
Faites glisser le point de montage vers la gauche ou vers la droite.
••
Appuyez sur la touche Plus (+) ou Moins (–), saisissez la durée de timecode à ajouter ou à soustraire du montage actuel, puis appuyez sur Entrée.
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Le champ de saisie du timecode (avec des nombres bleus) apparaît dans le panneau de contrôle de la barre d’outils pendant que vous tapez.
Pour en savoir plus sur la saisie de valeurs de timecode, consultez la section Navigation à l’aide du timecode à la page 151.
••
Placez la tête de lecture ou le skimmer à l’endroit de la timeline vers lequel vous voulez déplacer le point de montage, puis choisissez Édition > Étendre le montage (ou appuyez sur Maj + X).
Le point de montage est déplacé vers le nouvel emplacement. La durée globale des deux plans reste la même.
Si vous ne parvenez pas à déplacer davantage le point de montage et qu’un côté de celui-ci apparaît en rouge, cela signifie que vous avez atteint la fin des données de l’un des deux plans.
Réalisation de montages par coulissage à l’aide de l’outil Trim
Un montage par coulissement ne modifie pas la position ou la durée d’un plan dans la timeline, mais la partie des données de ce plan qui apparaît dans la timeline. Un montage par coulissement vous permet de modifier simultanément les points de départ et d’arrivée d’un plan.
Lorsque vous disposez des plans dans la timeline de manière à ce que leurs points de montage coïncident avec les temps musicaux ou d’autres points de synchronisation fixes d’un film, ils doivent rester en position pour préserver cet alignement. Cela limite considérablement les possibilités d’ajustement d’un plan dans la mesure où vous ne pouvez pas modifier sa durée ni le déplacer dans la timeline. Vous pouvez uniquement déplacer simultanément ses points de départ et d’arrivée en conservant sa durée et sa position.
La partie du plan visible dans le projet change, mais pas la position du plan dans la timeline. Les plans voisins ne sont pas affectés et la durée globale du projet reste la même.
00:00:30:0000:00:10:00ABCAvant montage00:00:37:0000:00:17:00Après montageABC
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Dans l’exemple ci-dessus, le montage par coulissement modifie les points de départ et d’arrivée du plan B, mais pas sa durée ni sa position dans la timeline. Lors de la lecture du projet, une autre partie des données du plan B est affichée.
Remarque : Pour qu’un plan puisse être coulissé, il doit présenter des poignées de données à chacune de ses extrémités ; en d’autres termes, des données supplémentaires doivent être disponibles au début et à la fin du plan. Si vous avez du mal à faire coulisser un plan, vérifiez que des poignées de données sont disponibles à chacune de ses extrémités. Vous pouvez double-cliquer sur n’importe quel point de montage pour afficher ou ajuster ses poignées de données dans l’éditeur de précision.
Si aucune poignée de données n’est disponible, utilisez plutôt l’outil Position . Pour en savoir plus sur l’outil Position, consultez la section Disposition des plans dans la timeline à la page 124.
Pour un affichage plus précis lors des montages de plans contigus, vous pouvez activer l’option « Afficher les commentaires détaillés sur le trimming » dans les préférences de Final Cut Pro. Pour un montage par coulissement, ce « double » affichage dans le visualiseur présente les points de départ et d’arrivée du plan que vous faites coulisser. Pour en savoir plus, consultez Affichage détaillé des commentaires sur le trimming à la page 145.
Coulissement d’un plan dans la timeline
1 Choisissez l’outil Trim dans le menu local Outils de la barre d’outils (ou appuyez sur la touche T).
Le pointeur prend la forme de l’outil Trim .
Conseil : Vous pouvez activer temporairement l’outil Trim en maintenant la touche T enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé.
2 Faites glisser un plan vers la gauche ou la droite.
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Pendant que vous faites glisser le plan, un champ de timecode indique la durée dont vous déplacez les points de départ et d’arrivée. Les sélections de bordure jaunes sur les points de départ et d’arrivée indiquent un montage par coulissement.
Nouvelle position de l’imageLes sélections jaunes aux bordures des points d’entrée et de sortie indiquent un montage par coulissement.Position d’origine de l’image
Lorsque vous relâchez le bouton de la souris, le plan coulissé apparaît dans la timeline avec de nouveaux points de départ et d’arrivée.
Vous pouvez également faire coulisser le plan sélectionné à l’aide de raccourcis clavier en effectuant l’une des opérations suivantes :
••
Déplacer légèrement les points de départ et d’arrivée (d’une ou de 10 images) vers la gauche ou la droite.
••
Saisir la durée dont vous souhaitez faire coulisser le plan vers la gauche ou la droite.
Remarque : Si le point de départ départ ou d’arrivée devient rouge pendant que vous faites glisser le plan, cela signifie que vous avez atteint la fin des données disponibles pour ce côté du plan.
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Réalisation de montages par glissement à l’aide de l’outil Trim
Un montage par glissement vous permet de repositionner un plan dans la timeline entre deux autres plans sans créer de vide. Le contenu et la durée du plan ne changent pas, seule sa position dans la timeline est modifiée. Lorsque vous faites glisser un plan, les plans adjacents sont allongés et raccourcis pour s’adapter à la nouvelle position du plan. La durée globale de ces trois plans ainsi que la durée totale du projet ne sont pas modifiées.
ABCABCAvant montageAprès montage
Remarque : Pour pouvoir faire glisser un plan entre deux autres, les plans précédent et suivant doivent présenter des poignées de données (données supplémentaires disponibles au-delà du point de montage). Vous pouvez double-cliquer sur n’importe quel point de montage pour afficher ou ajuster ses poignées de données dans l’éditeur de précision.
Si aucune poignée de données n’est disponible, utilisez plutôt l’outil Position . Pour en savoir plus sur l’outil Position, consultez la section Disposition des plans dans la timeline à la page 124.
Pour un affichage plus précis lors des montages de plans contigus, vous pouvez activer l’option « Afficher les commentaires détaillés sur le trimming » dans les préférences de Final Cut Pro. Pour un montage par glissement, ce « double » affichage dans le visualiseur présente les deux points de montage que vous ajustez : le point d’arrivée du plan précédent et le point de départ du plan suivant. Pour en savoir plus, consultez Affichage détaillé des commentaires sur le trimming à la page 145.
Glissement d’un plan dans la timeline
1 Choisissez l’outil Trim dans le menu local Outils de la barre d’outils (ou appuyez sur la touche T).
Le pointeur prend la forme de l’outil Trim .
Conseil : Vous pouvez activer temporairement l’outil Trim en maintenant la touche T enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé.
2 Faites glisser un plan vers la gauche ou la droite en maintenant la touche Option enfoncée.
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Les sélections jaunes sur les plans voisins indiquent un montage par glissement.
Position d’origine dans la timelineLes sélections jaunes sur les plans voisins indiquent un montage par glissement.
Pendant que vous faites glisser le plan, un champ de timecode indique la durée dont vous le déplacez dans la timeline.
La durée de ce plan reste la même. Ce plan est plus court.Ce plan est plus long.Nouvelle position dans la timeline
Lorsque vous relâchez le bouton de la souris, le plan glissé apparaît à son nouvel emplacement dans la timeline. Un trim est appliqué aux plans adjacents pour les adapter à la nouvelle position du plan.
Vous pouvez également faire glisser le plan sélectionné à l’aide de raccourcis clavier en effectuant l’une des opérations suivantes :
••
Le déplacer légèrement (d’une ou de 10 images) vers la gauche ou la droite.
••
Saisir la durée dont vous souhaitez faire glisser le plan vers la gauche ou la droite.
Pour en savoir plus, consultez Disposition des plans dans la timeline à la page 124.
Remarque : Si l’un des points de montage devient rouge pendant que vous faites glisser le plan, cela signifie que vous avez atteint la fin des données disponibles pour ce côté du plan.
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Affichage détaillé des commentaires sur le trimming
Pour un affichage plus précis lors des montages de plans contigus ou connectés, vous pouvez activer l’option « Afficher les commentaires détaillés sur le trimming » dans les préférences de Final Cut Pro. Par exemple, pour un montage Ripple simple, ce « double » affichage dans le visualiseur présente le point d’arrivée du plan de gauche et le point de départ du plan de droite.
Cet affichage est disponible pour les montages Ripple, Roll, par coulissement et par glissement, ainsi que pour les opérations de trim dans l’éditeur de précision.
Activation de l’affichage de trim détaillé
1 Sélectionnez Final Cut Pro > Préférences (ou appuyez sur les touches Commande + virgule).
2 Cliquez sur Montage.
3 Dans la section Timeline, cochez la case « Afficher les commentaires détaillés sur le trimming ».
Le « double » affichage apparaît dans le visualiseur chaque fois que vous utilisez un type de montage pris en charge ou que vous effectuez un trim dans l’éditeur de précision.
Conseil : Vous pouvez utiliser la touche Option pour modifier à la volée l’affichage de trim détaillé. Si l’affichage de trim détaillé est activé, appuyez sur la touche Option pour le désactiver. Si l’affichage de trim détaillé est désactivé, appuyez sur la touche Option pour basculer entre l’affichage du point d’arrivée du plan de gauche et l’affichage du point de départ du plan de droite.
Affichage et navigation
Zoom et défilement dans la timeline
Pouvoir afficher et atteindre n’importe quel point de votre projet est essentiel pour un montage et une narration efficaces. La présentation de la timeline peut être modifiée de diverses manières. Connaître les raccourcis clavier peut vous faire gagner du temps.
Adaptation de l’intégralité du contenu de la timeline à la fenêtre
Qu’il n’y ait qu’un seul plan affiché suite à un zoom avant ou que tous les plans de votre projet apparaissent à gauche de la timeline suite à un zoom arrière, vous pouvez ajuster rapidement la présentation de sorte que tous les plans tiennent dans la partie visible de la timeline et qu’aucun défilement ne soit nécessaire.
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mm Choisissez Présentation > Zoom pour adapter à la fenêtre (ou appuyez sur Maj + Z).
Avant la sélection de Zoom pour adapter à la fenêtre
Après la sélection de Zoom pour adapter à la fenêtre
Zoom avant et arrière sur la timeline à l’aide du curseur Zoom
mm Pour effectuer un zoom avant sur la timeline : faites glisser le curseur Zoom vers la droite ou
appuyez sur Commande + signe plus (+).
mm Pour effectuer un zoom arrière sur la timeline : faites glisser le curseur Zoom vers la gauche ou
appuyez sur Commande + signe moins (–).
Zoom avant et arrière sur la timeline à l’aide de l’outil Zoom
1 Choisissez l’outil Zoom dans le menu local Outils de la barre d’outils (ou appuyez sur la
touche Z).
Le pointeur prend la forme de l’outil Zoom .
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Conseil : Vous pouvez activer temporairement l’outil Zoom en maintenant la touche Z enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé.
2 Procédez de l’une des manières suivantes :
••
Pour effectuer un zoom avant sur la timeline : cliquez sur la section de la timeline sur laquelle vous voulez effectuer un zoom avant. (Vous pouvez également faire glisser le pointeur sur une zone de la timeline pour limiter le zoom avant à cette zone.)
Cliquez plusieurs fois pour poursuivre le zoom avant.
••
Pour effectuer un zoom arrière sur la timeline : tout en maintenant la touche Option enfoncée, cliquez sur la section de la timeline sur laquelle vous voulez effectuer un zoom arrière.
Cliquez plusieurs fois tout en maintenant la touche Option enfoncée pour poursuivre le zoom arrière.
Défilement d’une timeline sur laquelle vous avez effectué un zoom avant
1 Effectuez un zoom avant sur la timeline jusqu’à ce que vous ne voyiez plus qu’une partie du projet.
2 Procédez de l’une des manières suivantes :
••
Faites glisser horizontalement le curseur situé au bas de la timeline.
••
Faites glisser verticalement le curseur situé sur le côté droit de la timeline.
••
Choisissez l’outil Main dans le menu local Outils de la barre d’outils (ou appuyez sur la touche H), puis faites glisser la souris dans la timeline.
Conseil : Vous pouvez activer temporairement l’outil Main en maintenant la touche H enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé.
Ajustement des réglages de la timeline
Dans Final Cut Pro, les options d’affichage de la timeline peuvent être modifiées très facilement. Par exemple, vous pouvez afficher les plans avec ou sans les pellicules vidéo ou les formes d’onde audio. Vous pouvez également modifier la hauteur des plans ou la taille des pellicules ou des formes d’onde audio en fonction des vignettes vidéo qui apparaissent dans la pellicule de chaque plan dans la timeline. Vous pouvez aussi n’afficher que les étiquettes des plans.
Le magnétisme simplifie et accélère certaines opérations, notamment l’alignement d’un plan vidéo avec un clip audio ou le positionnement de la tête de lecture sur un marqueur précis. Lorsque le magnétisme est activé, les éléments que vous déplacez dans la timeline semblent se caler sur certains points de celle-ci. Cette fonction peut vous aider à aligner rapidement les montages sur d’autres éléments du projet.
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Le magnétisme affecte les fonctions de nombreux outils de montage dans Final Cut Pro, notamment
les outils de sélection, Trim, Position, Sélection de plage et Lame de rasoir. Plusieurs éléments
déclenchent le magnétisme dans la timeline :
•• les limites des plans (points de départ et d’arrivée),
•• la tête de lecture et le skimmer,
•• Marqueurs
•• les images clés,
•• les sélections de plage.
Modification de l’apparence et de la hauteur du plan de la timeline
1 Cliquez sur le bouton Apparence du plan situé dans le coin inférieur droit de la timeline.
La fenêtre Apparence du plan s'affiche.
2 Procédez de l’une des manières suivantes :
•• Pour afficher uniquement les plans avec des grandes formes d'onde audio : cliquez sur le bouton
Apparence du plan le plus à gauche (ou appuyez sur Option + Contrôle + 1).
•• Pour afficher les plans avec des grandes formes d'onde audio et des petites pellicules : cliquez
sur le deuxième bouton Apparence du plan depuis la gauche (ou appuyez sur Option +
Contrôle + 2).
•• Pour afficher les plans avec des grandes formes d'onde audio et des pellicules vidéo de même taille :
cliquez sur le troisième bouton Apparence du plan depuis la gauche (ou appuyez sur Option +
Contrôle + 3).
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•• Pour afficher les plans avec de petites formes d'onde audio et de grandes pellicules : cliquez sur le
troisième bouton Apparence du plan depuis la droite (ou appuyez sur Option + Contrôle + 4).
•• Pour afficher uniquement les plans avec des grandes pellicules : cliquez sur le deuxième bouton
Apparence du plan depuis la droite (ou appuyez sur Option + Contrôle + 5).
•• Pour afficher uniquement les étiquettes de plan : cliquez sur le bouton Apparence du plan le plus
à droite (ou appuyez sur Option + Contrôle + 6).
Conseil : Pour augmenter la taille des formes d'onde audio pour la timeline, appuyez sur
Option + Contrôle + Flèche vers le haut. Pour réduire la taille des formes d'onde audio pour la
timeline, appuyez sur Option + Contrôle + Flèche vers le bas.
3 Pour ajuster la hauteur des plans dans la timeline, faites glisser le curseur Hauteur du plan vers la
gauche pour diminuer la hauteur des plans, ou vers la droite pour l’augmenter.
4 cochez ou décochez la case Afficher les connections pour activer ou désactiver les plans connectés
et les scénarios.
5 Pour ajuster l'affichage de l'étiquette du plan, choisissez une option dans le menu local Afficher :
•• Pour afficher les plans en fonction du nom : choisir Nom des plans.
•• Pour afficher les plans en fonction du rôle : choisir Rôles des plans.
•• Pour afficher les plans multicam en fonction des angles vidéo et audio actifs : choisir Nom des
plans ou Angles.
Activation ou désactivation du magnétisme
Tout en étant extrêmement utile, le magnétisme peut parfois constituer un obstacle si vous
tentez de déplacer un plan de quelques images uniquement au sein d’une série de marqueurs et
de limites de plans et si vous ne souhaitez pas créer de magnétisme en aucun de ces points. Mais
sachez que vous pouvez activer et désactiver facilement le magnétisme à tout moment, même
lorsque vous êtes en train de glisser un plan.
Procédez de l’une des manières suivantes :
mm Choisissez Présentation > Magnétisme (ou appuyez sur la touche N).
Une coche indique que le magnétisme est activé. Vous pouvez appuyer sur la touche N pour
activer ou désactiver le magnétisme pendant que vous faites glisser un plan.
mm Cliquez sur le bouton Magnétisme dans le coin supérieur droit de la timeline.
Lorsque le magnétisme est activé, le bouton Magnétisme apparaît en bleu.
Conseil : Vous pouvez activer ou désactiver temporairement le magnétisme en maintenant la
touche N enfoncée. Lorsque vous relâchez celle-ci, le magnétisme revient à l’état précédent.
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Navigation au sein de votre projet
La possibilité d’atteindre instantanément n’importe quel point de la timeline est l’un des principaux avantages d’un environnement de montage non linéaire. Final Cut Pro offre différents moyens permettant de naviguer rapidement et facilement dans votre projet.
Vous pouvez également utiliser une présentation textuelle de la timeline pour naviguer et effectuer des recherches dans votre projet. Pour en savoir plus, consultez Utilisation de l’index de la timeline pour afficher votre projet, y naviguer et effectuer des recherches à la page 152.
Vous pouvez utiliser les touches J, K et L pour lire un projet à différentes vitesses ou dans différentes directions. Pour en savoir plus, consultez Lecture du média à la page 79.
Navigation par survol, clic ou glissement
mm
Pour survoler la timeline jusqu’à une image de votre projet : déplacez le skimmer vers la gauche et la droite sur les plans de la timeline pour les visionner rapidement dans le visualiseur.
mm
Pour déplacer la tête de lecture jusqu’à une image de votre projet : déplacez la tête de lecture en cliquant sur la règle en haut de la timeline ou en y faisant glisser le pointeur, ou en cliquant sur l’arrière-plan de la timeline.
Conseil : Pour éviter que la tête de lecture ne bouge quand vous sélectionnez un plan dans la timeline, appuyez sur Option lorsque vous cliquez.
Navigation image par image
Pour trouver plus facilement des images précises d’un plan, vous pouvez parcourir la pellicule image par image au lieu de la survoler.
1 Dans la timeline ou le navigateur d’événements, placez votre pointeur sur une pellicule et cliquez.
2 Effectuez l’une des opérations suivantes :
••
Pour reculer par incréments d’une image : Choisissez Marquer > Précédent > Image (ou appuyez sur la touche Flèche gauche).
••
Pour avancer par incréments d’une image : choisissez Marquer > Suivant > Image (ou appuyez sur la touche Flèche droite).
Navigation sous-image par sous-image
Vous pouvez naviguer dans les plans sous-image par sous-image. Une sous-image possède une durée égale à 1/80 de celle d’une image vidéo et constitue par conséquent une unité de référence plus précise pour la visualisation ou la modification des formes d’onde audio agrandies au niveau de l’échantillon.
Remarque : vous ne pouvez pas modifier la vidéo au niveau des sous-images.
1 Dans la timeline ou le navigateur d’événements, placez votre pointeur sur un plan et cliquez.
2 Effectuez l’une des opérations suivantes :
••
Pour reculer par incréments d’une sous-image : appuyez sur Commande + Flèche gauche.
••
Pour avancer par incréments d’une sous-image : appuyez sur Commande + Flèche droite.
Remarque : vous pouvez modifier l’affichage du temps dans le panneau de contrôle pour qu’il utilise les sous-images. Pour en savoir plus, consultez Modification des préférences à la page 437.
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Navigation par saut
Utilisez les techniques suivantes pour déplacer rapidement la tête de lecture d’un point à un autre dans la timeline.
mm
Pour atteindre le point de montage suivant : choisissez Marquer > Suivant > Montage (ou appuyez sur la touche fléchée vers le bas), ou cliquez sur le bouton Montage suivant situé sous le visualiseur.
mm
Pour atteindre le point de montage précédent : choisissez Marquer > Précédent > Montage (ou appuyez sur la touche Flèche vers le haut), ou cliquez sur le bouton Montage précédent situé sous le visualiseur.
mm
Pour atteindre le début du projet : choisissez Marquer > Aller à > Début (ou appuyez sur la touche Début).
mm
Pour atteindre la fin du projet : choisissez Marquer > Aller à > Fin (ou appuyez sur la touche Fin).
mm
Pour atteindre le marqueur suivant : choisissez Marquer > Suivant > Marqueur, ou appuyez sur Contrôle + Apostrophe (’).
mm
Pour atteindre le marqueur précédent : choisissez Marquer > Précédent > Marqueur, ou appuyez sur Contrôle + Point-virgule (;).
Pour en savoir plus sur les marqueurs, consultez la section Présentation des marqueurs à la page 156.
Navigation à l’aide du timecode
Le timecode est un signal enregistré avec la vidéo et identifiant chaque image de manière unique. Lorsque vous lisez un plan dans le navigateur d’événements, son signal de timecode apparaît dans le panneau de contrôle, au centre de la barre d’outils de Final Cut Pro, au format suivant :
TimecodeHeuresMinutesSecondesImages
Le timecode prend en charge de nombreuses fonctions de Final Cut Pro, notamment la lecture dans la timeline, la synchronisation des éléments vidéo et audio, ainsi que l’ajout, le déplacement et le trim de plans. En outre, le timecode vous permet de naviguer au sein des projets dans la timeline et de connaître la durée des plans, des sélections de plage et des projets.
Navigation par saisie d’une valeur de timecode
Pour déplacer la tête de lecture vers un nouvel emplacement de la timeline, effectuez l’une des opérations suivantes :
mm
Pour déplacer la tête de lecture vers un emplacement précis de la timeline : cliquez une fois au centre du panneau de contrôle (ou appuyez sur Contrôle + P), saisissez la nouvelle valeur de timecode, puis appuyez sur Entrée.
Par exemple, pour placer la tête de lecture au point 01:40:31:03, appuyez sur Contrôle + P, saisissez « 1403103 », puis appuyez sur Entrée.
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mm
Pour déplacer la tête de lecture d’une durée de timecode : assurez-vous qu’aucun plan n’est sélectionné, appuyez sur la touche Plus (+) ou Moins (–), saisissez le nombre d’images, de secondes ou de minutes dont vous voulez déplacer la tête de lecture, puis appuyez sur Entrée.
Par exemple, si vous tapez « +1612 » et que vous appuyez sur Entrée, la tête de lecture avance de 16 secondes et 12 images.
Les nouvelles valeurs de timecode apparaissent dans le panneau de contrôle à mesure que vous tapez. Lorsque vous appuyez sur Entrée, la tête de lecture se déplace vers le nouvel emplacement de la timeline.
Voici quelques conseils pour la saisie des valeurs de timecode :
••
Il n’est pas nécessaire de saisir les caractères de séparation (deux-points). Final Cut Pro les ajoute automatiquement après chaque paire de chiffres. Par exemple, si vous saisissez « 01221419 », Final Cut Pro l’interprète comme 01:22:14:19 (1 heure, 22 minutes, 14 secondes et 19 images).
••
Si les champs de gauche ne contiennent que des zéros, il n’est pas nécessaire de les saisir. Par exemple, si vous saisissez « 1419 », Final Cut Pro l’interprète comme 00:00:14:19. De même, si vous saisissez « 253407 », Final Cut Pro l’interprète comme 00:25:34:07.
••
Si les champs de droite ne contiennent que des zéros, vous pouvez utiliser des points à la place. Par exemple, pour atteindre le timecode 00:00:03:00, saisissez « 3. » (le chiffre 3 suivi d’un point). Pour accéder au timecode 03:00:00:00, tapez « 3... » (le chiffre 3 suivi de trois points). Au lieu d’un point, vous pouvez également utiliser une virgule, un signe plus, un signe moins, un deux-points, un point-virgule ou une esperluette.
Remarque : Vous pouvez modifier l’affichage du temps dans le panneau de contrôle pour ne présenter que le timecode, le timecode et les sous-images, uniquement les images ou uniquement les secondes. Pour en savoir plus, consultez Modification des préférences à la page 437.
Utilisation de l’index de la timeline pour afficher votre projet, y naviguer et effectuer des recherches
L’index de la timeline fournit une présentation textuelle des plans et des balises (divers types de marqueurs et de mots-clés) utilisés dans la timeline de votre projet. Vous pouvez facilement filtrer l’index de la timeline pour n’afficher que les éléments voulus.
Les plans sont répertoriés dans l’ordre dans lequel ils apparaissent dans la timeline.
Vous pouvez également utiliser l’index de la timeline pour naviguer dans celle-ci. La tête de lecture de l’index de la timeline apparaît dans la liste des éléments. Lorsque vous lisez un projet, elle se déplace vers le bas de la liste. Lorsque vous sélectionnez un élément dans l’index de la timeline, la tête de lecture se place automatiquement au début de cet élément.
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Afficher ou masquer l’index de la timeline
mm Cliquez sur le bouton « Index de la timeline » situé dans le coin inférieur gauche de la fenêtre
principale de Final Cut Pro (ou appuyez sur Commande + Maj + 2).
L’index de la timeline apparaît dans le coin inférieur gauche de la fenêtre de Final Cut Pro.
La tête de lecture de l’index de
la timeline se déplace en même
temps que celle de la timeline.
Tête de lecture de
la timeline
Affichage d’une liste d’éléments dans l’index de la timeline
1 Si l’index de la timeline n’est pas encore ouvert, cliquez sur le bouton « Index de la timeline »
situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro (ou appuyez sur
Commande + Maj + 2).
2 Procédez de l’une des façons suivantes :
•• Pour afficher la liste des plans utilisés dans la timeline, dans l’ordre chronologique : cliquez sur le
bouton Plans en haut.
Procédez de l’une des façons suivantes :
•• Modifiez le nom des plans.
•• Affichez une liste de plans en fonction du timecode dans la colonne Position.
•• Affichez, réattribuez et modifiez des rôles dans la colonne Rôles.
Chapitre 8 Montage de votre projet 154
••
Affichez et ajoutez des notes dans la colonne Notes.
••
Affichez les angles actifs des plans multicam dans la colonne Angle actif.
Vous pouvez spécifier les colonnes à afficher en cliquant sur l’en-tête d’une colonne tout en maintenant la touche Contrôle enfoncée et en choisissant une option dans le menu contextuel.
Vous pouvez indiquer les éléments à afficher en cliquant sur le bouton Tout, Vidéo, Audio ou Titres au bas de l’index de la timeline.
••
Pour afficher la liste de toutes les balises affectées aux plans de la timeline, dans l’ordre chronologique : cliquez sur le bouton Balises en haut.
Tâche non terminéeMot-cléTâche terminéeMarqueur de chapitreMarqueur standard
Par défaut, toutes les balises sont affichées. Vous pouvez indiquer les éléments à afficher en cliquant sur un bouton au bas de l’index de la timeline. Vous pouvez afficher les marqueurs, les mots-clés, les mots-clés d’analyse, les tâches non terminées, les tâches terminées et les marqueurs de chapitre.
Remarque : Les tâches sont des types de marqueurs.
Chapitre 8 Montage de votre projet 155
•• Pour afficher une liste de plans organisée en fonction du rôle dans la timeline : cliquez sur le
bouton Rôles en haut.
Sélectionnez un nom de rôle dans la liste pour mettre en surbrillance dans la timeline tous
les plans auxquels ce rôle a été attribué. Sélectionnez ou désélectionnez les cases en regard
des rôles que vous voulez activer ou désactiver dans la timeline. Lorsqu’une case est désélectionnée,
il n’est plus possible de voir ou d’entendre les plans auxquels ce rôle a été attribué
lorsque vous les lisez dans votre projet. Pour en savoir plus, consultez Affichage des plans en
fonction du rôle dans la timeline à la page 316.
Modification d’un marqueur Tâche
Dans l’index de la timeline, vous pouvez changer rapidement l’état d’un marqueur Tâche pour
indiquer qu’une tâche est terminée ou non.
1 Si l’index de la timeline n’est pas encore ouvert, cliquez sur le bouton « Index de la timeline »
situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro (ou appuyez sur
Commande + Maj + 2).
2 Cliquez sur la case d’un marqueur Tâche.
•• Si le marqueur était rouge (tâche non terminée), il devient vert (tâche terminée).
•• Si le marqueur était vert (tâche terminée), il devient rouge (tâche non terminée).
Recherche d’éléments dans l’index de la timeline
1 Si l’index de la timeline n’est pas encore ouvert, cliquez sur le bouton « Index de la timeline »
situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro (ou appuyez sur
Commande + Maj + 2).
2 Cliquez sur Plans pour rechercher des plans ou sur Balises pour rechercher des balises.
3 Saisissez un terme dans le champ de recherche situé en haut de l’index de la timeline.
Vous pouvez rechercher des plans, des mots-clés et des marqueurs (y compris des tâches).
Conseil : La timeline étant activée, choisissez Édition > Rechercher (ou appuyez sur
Commande + F). L’index de la timeline s’ouvre et vous pouvez saisir le terme recherché dans le
champ de recherche, qui est actif.
Chapitre 8 Montage de votre projet 156
Utilisation de marqueurs
Présentation des marqueurs
Les marqueurs sont des points de référence que vous pouvez placer dans les plans pour localiser, identifier, annoter et accéder à des images spécifiques. Lors du montage, les marqueurs sont particulièrement utiles pour synchroniser deux plans ou plus à un emplacement précis. Par exemple, vous pouvez utiliser un marqueur pour identifier une image où une porte claque, puis caler par magnétisme un effet sonore sur ce marqueur. Les marqueurs permettent d’ajouter des remarques de montage ou d’autres informations descriptives à un emplacement précis d’un plan. Lorsque vous ajoutez des marqueurs de chapitre à des points particuliers de votre projet, les spectateurs peuvent alors utiliser les marqueurs pour accéder directement à ces points dans le film après qu’il ait été exporté ou gravé sur DVD ou disque Blu-ray. Vous pouvez aussi faire appel à des marqueurs pour la gestion des tâches.
Ils se classifient en marqueurs standard (bleus), en marqueurs de chapitre (orange), en tâches à réaliser (rouges) ou en tâches accomplies (vertes).
Marqueur standardMarqueur de chapitreTâcheTâche terminée
Les marqueurs s’utilisent de la même façon dans le navigateur d’événements et dans la timeline.
Ajout et suppression de marqueurs
Vous pouvez ajouter et supprimer facilement des marqueurs. Si vous ajoutez des marqueurs à des plans dans le navigateur d’événements, ils apparaissent aussi bien dans la présentation en pellicule que dans la présentation en liste. Lorsque vous ajoutez des plans assortis de marqueurs à la timeline, les marqueurs sont visibles aussi bien dans la timeline que dans l’index de la timeline.
Ajout d’un marqueur à un plan dans le navigateur d’événements ou la timeline
1 Pour indiquer l’endroit où vous souhaitez ajouter un marqueur, effectuez l’une des opérations suivantes :
••
Effectuez un survol jusqu’à l’emplacement voulu.
••
Lisez le plan, puis, lorsque la tête de lecture atteint l’emplacement où vous voulez ajouter le marqueur, appuyez sur la barre d’espace pour arrêter la lecture.
Chapitre 8 Montage de votre projet 157
Pour en savoir plus sur le positionnement du skimmer et de la tête de lecture, consultez la section Navigation au sein de votre projet à la page 150.
2 Procédez de l’une des manières suivantes :
••
Pour ajouter un marqueur : choisissez Marquer > Marqueurs > Ajouter un marqueur (ou appuyez sur la touche M).
Conseil : Pour ajouter des marqueurs à la volée, appuyez simplement sur la touche M pendant la lecture d’un plan.
••
Pour ajouter un marqueur et afficher ses informations : choisissez Marquer > Marqueurs > Ajouter et modifier (ou appuyez sur Option + M).
Lorsque vous ajoutez un marqueur de cette façon, ses informations sont automatiquement affichées.
Le marqueur apparaît au-dessus du plan dans le navigateur d’événements ou la timeline.
Remarque : Les marqueurs ajoutés aux plans dans le navigateur d’événements apparaissent dans la présentation en liste et en pellicule.
Suppression d’un marqueur
Procédez de l’une des manières suivantes :
mm
Naviguez jusqu’au marqueur, puis choisissez Marquer > Marqueurs > Supprimer le marqueur (ou appuyez sur Contrôle + M).
mm
Sélectionnez un ou plusieurs plans, puis choisissez Marquer > Marqueurs > Supprimer dans la sélection.
mm
Double-cliquez sur un marqueur pour ouvrir la fenêtre Marqueur, puis cliquez sur le bouton Supprimer.
mm
Appuyez sur la touche Contrôle tout en cliquant sur le marqueur que vous souhaitez supprimer, puis choisissez Supprimer le marqueur dans le menu contextuel.
Chapitre 8 Montage de votre projet 158
Modification, déplacement et accès à des marqueurs
Vous pouvez afficher et modifier les informations des marqueurs, et déplacer des marqueurs au sein d’un même plan ou d’un plan à un autre.
Modification d’informations de marqueurs et changement de types de marqueurs
Par défaut, les nouveaux marqueurs sont des marqueurs standard bleus reprenant du texte comme repère d’emplacement. Vous pouvez modifier ce texte à tout moment et avez la possibilité de changer le type du marqueur parmi les types de marqueurs proposés, entre autres les marqueurs de chapitre, les tâches à réaliser et les tâches terminées.
1 Pour afficher les informations d’un marqueur, effectuez l’une des opérations suivantes :
••
Sélectionnez le marqueur, puis choisissez Marquer > Marqueurs > Modifier le marqueur (ou appuyez sur Maj + M).
••
Cliquez sur le marqueur tout en maintenant la touche Contrôle enfoncée, puis choisissez Modifier le marqueur dans le menu contextuel.
••
Double-cliquez sur le marqueur.
Les informations du marqueur apparaissent au-dessus de lui.
Bouton de marqueur de chapitreBouton de tâche à réaliserBouton de marqueur standard
2 Pour modifier le marqueur, effectuez l’une des opérations suivantes :
••
Pour modifier le texte descriptif du marqueur : saisissez le nouveau texte dans le champ. (Le texte est automatiquement sélectionné à l’affichage des informations sur le marqueur : il n’est donc pas nécessaire de le sélectionner.)
••
Pour convertir le marqueur en marqueur de chapitre : cliquez sur le bouton Marqueur de chapitre.
Le marqueur devient orange pour refléter sa conversion en marqueur de chapitre. Pour en savoir plus, consultez Gestion des marqueurs de chapitre et de leur vignette à la page 160.
••
Pour convertir le marqueur en tâche : cliquez sur le bouton Tâche.
Le marqueur devient rouge.
••
Pour indiquer qu’une tâche est terminée : cochez la case Terminée.
Chapitre 8 Montage de votre projet 159
Le marqueur devient vert.
Cochez la case Terminée.Bouton de tâche à réaliser
••
Pour convertir le marqueur en marqueur standard : cliquez sur le bouton Marqueur standard.
Le marqueur devient bleu.
3 Cliquez sur Terminé.
Déplacement ou copie d’un marqueur
Vous pouvez déplacer ou copier des marqueurs à l’aide des commandes Mac Couper, Copier et Coller habituelles.
1 Cliquez sur le marqueur à déplacer ou à copier tout en maintenant la touche Contrôle enfoncée, puis choisissez une option dans le menu contextuel.
••
Pour déplacer le marqueur : choisissez Couper le marqueur.
••
Pour copier le marqueur : choisissez Copier le marqueur.
2 Placez le skimmer ou la tête de lecture à l’endroit où vous voulez coller le marqueur.
3 Choisissez Édition > Coller (ou appuyez sur Commande + V).
Le marqueur apparaît au nouvel emplacement.
Déplacement d’un marqueur d’une image à la fois
1 Sélectionnez un marqueur.
2 Procédez de l’une des manières suivantes :
••
Pour déplacer le marqueur d’une image vers la droite : choisissez Marquer > Marqueurs > Pousser vers la droite, ou appuyez sur Contrôle + point (.).
••
Pour déplacer le marqueur d’une image vers la gauche : choisissez Marquer > Marqueurs > Pousser vers la gauche, ou appuyez sur Contrôle + virgule (,).
Passage d’un marqueur à l’autre
Vous pouvez passer rapidement d’un marqueur à un autre dans la timeline ou le navigateur d’événements.
mm
Pour atteindre le marqueur suivant : choisissez Marquer > Suivant > Marqueur, ou appuyez sur Contrôle + Apostrophe (’).
mm
Pour atteindre le marqueur précédent : choisissez Marquer > Précédent > Marqueur, ou appuyez sur Contrôle + point-virgule (;).
Chapitre 8 Montage de votre projet 160
Gestion des marqueurs de chapitre et de leur vignette
Les marqueurs de chapitre représentent une fonctionnalité standard des DVD, des disques Blu-ray et des podcasts. Il vous est possible d’ajouter des marqueurs de chapitre à votre projet afin que, lorsque vous partagez votre film terminé, les spectateurs puissent utiliser les marqueurs pour accéder directement à ces points dans le film. Les applications et les dispositifs qui reconnaissent les marqueurs de chapitre Final Cut Pro lors de la reproduction incluent iTunes, iPod, iPhone, iPad, Apple TV, QuickTime Player, Lecteur DVD Player et la plupart des lecteurs DVD et Blu-ray standard.
Les marqueurs de chapitre simplifient le passage à une section voulue. Ils permettent également à Compressor, une application de transcodage professionnelle d’Apple, et à d’autres applications de création de DVD et de disques Blu-ray de créer une liste ou un menu navigable des chapitres, tel qu’un index des chapitres. Cependant, même dans des projets simples dépourvus de menus (tels que les podcasts), les marqueurs de chapitre offrent aux spectateurs et aux auditeurs la possibilité de passer rapidement des sections d’un programme par le biais des boutons Précédent et Suivant à travers leur application ou leur dispositif de lecture.
Une vignette de marqueur de chapitre constitue une image fixe qui représente un chapitre particulier. Final Cut Pro vous permet de sélectionner une image vidéo particulière tirée d’un plan ou d’un scénario que vous marquez comme vignette de marqueur de chapitre. Dans les applications ou appareils de reproduction pris en charge, les vignettes de marqueurs de chapitre représentent les chapitres correspondants.
Création d’un marqueur de chapitre
1 Ajoutez un marqueur à un plan dans la timeline à l’endroit où vous voulez que le chapitre commence.
Par défaut, Final Cut Pro crée un marqueur standard bleu.
2 Pour adapter le marqueur en marqueur de chapitre, double-cliquez dessus puis, lorsque les informations du marqueur s’affichent, cliquez sur le bouton Marqueur de chapitre.
Bouton de marqueur de chapitreBouton de tâche à réaliserBouton de marqueur standard
Le marqueur se convertit en marqueur de chapitre orange.
Définition d'une image de vignette du marqueur de chapitre
Après avoir défini un marqueur de chapitre, vous pouvez choisir une image vidéo appropriée pour représenter le chapitre donné.
1 Cliquez une fois sur le marqueur de chapitre dans la timeline pour le sélectionner.
Chapitre 8 Montage de votre projet 161
Le marqueur s’agrandit légèrement pour indiquer qu’il est sélectionné, et le repère d’une vignette de marqueur de chapitre apparaît à droite du marqueur de chapitre choisi. Par défaut, la vignette du marqueur de chapitre apparaît 11 images après le marqueur en question.
Marqueur de chapitreÉpingle de vignette de marqueur de chapitre
2 Pour définir l’image vidéo représentant la vignette du marqueur de chapitre, faites glisser horizontalement l’épingle dans la timeline.
Pendant le glissement, le visualiseur affiche l’image vidéo correspondante.
Faites glisser horizontalement l’épingle dans la timeline.
Remarque : La vignette de marqueur de chapitre constitue une image composite de l’emplacement en question dans la timeline et inclut les titres et toute autre image superposée.
Si le marqueur de chapitre se trouve dans le scénario principal, vous pouvez faire glisser le repère de sa vignette complètement au début ou à la fin du scénario principal. Si le marqueur de chapitre se trouve dans un scénario connecté, vous pouvez faire glisser le repère de sa vignette complètement au début ou à la fin du scénario connecté.
Pour en savoir plus sur le partage de votre film une fois terminé, consultez Présentation du partage de projets à la page 394.
Correction des problèmes de tremblement excessif et d’obturateur roulant
Vous pouvez lisser les tremblements d’un plan en corrigeant les problèmes de stabilisation ou d’obturateur roulant, ou les deux.
La fonctionnalité de stabilisation de Final Cut Pro réduit le mouvement de caméra dans votre vidéo de sorte que la lecture des parties tremblantes soit plus fluide. Vous pouvez à tout moment désactiver la stabilisation pour un plan afin qu’il soit lu tel qu’il a été enregistré.
Chapitre 8 Montage de votre projet 162
La plupart des caméscopes et des appareils photo intègrent des capteurs d’image CMOS qui
exposent progressivement l’image enregistrée, au lieu de le faire en une seule fois. Par conséquent,
si la caméra bouge beaucoup pendant l’enregistrement ou si le mouvement enregistré
est rapide, une déformation peut se produire. L’image apparaît alors tremblante ou inclinée.
Final Cut Pro dispose d’une fonctionnalité d’obturateur roulant permettant de réduire cette
déformation du mouvement.
Correction d’un plan présentant un tremblement excessif ou une déformation provoquée par
un obturateur roulant
1 Si le plan ne figure pas encore dans votre projet, ajoutez-le à la timeline et sélectionnez-le.
Remarque : Ces opérations s’appliquent aux sélections de plan complet, et non aux sélections de
plage. Pour obtenir plus rapidement des résultats optimaux, isolez la section posant problème en
coupant le plan à l’aide de l’outil Lame de rasoir dans la timeline. N’appliquez ensuite la correction
qu’à la séquence vidéo à corriger.
2 Pour ouvrir l’inspecteur vidéo, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous),
puis cliquez sur le bouton Vidéo en haut de la fenêtre qui apparaît.
3 Dans l’inspecteur vidéo, effectuez l’une des opérations suivantes :
•• Pour réduire le tremblement : cochez la case Stabilisation.
•• Pour réduire la déformation provoquée par un obturateur roulant : cochez la case
Obturateur roulant.
Lorsque vous activez l’option Stabilisation ou Obturateur roulant, sa case devient bleue.
4 Pour visualiser la correction, lancez la lecture du plan dans la timeline.
Pour désactiver la stabilisation ou les corrections d’obturateur roulant pour un plan, décochez la
case Stabilisation ou Obturateur roulant.
Vous pouvez affiner les corrections en ajustant les réglages de stabilisation ou le réglage « Niveau
d’obturateur roulant ».
Ajustement des réglages de stabilisation
Vous pouvez régler l’amplitude de la correction que la fonctionnalité de stabilisation applique.
La fonctionnalité de stabilisation présente deux phases indépendantes :
•• Si vous appliquez la fonctionnalité de stabilisation à un plan, Final Cut Pro analyse alors les
pixels dans les images successives pour déterminer la direction du mouvement de la caméra.
•• Au cours du rendu ou de la lecture, Final Cut Pro utilise les données d’analyse du mouvement
pour appliquer un effet de transformation à chaque image, qui compense le mouvement de
la caméra.
Chapitre 8 Montage de votre projet 163
Utilisez l’un des trois curseurs indépendants de paramétrage de la stabilisation accessibles dans l’inspecteur vidéo pour contrôler la stabilité de votre prise de vue. Lorsque vous appliquez la stabilisation à un plan, ces trois paramètres sont alors définis selon une valeur moyenne de 2,5 par défaut. Chaque paramètre peut être défini sur une valeur comprise entre 0,0 et 5,0. La valeur égale à 0,0 désactive le paramètre, alors que la valeur 5,0 applique la transformation la plus forte. Plus vous attribuez une valeur élevée à chaque paramètre, plus le mouvement de la caméra est compensé par rapport à cet axe.
xTranslationyxRotationyxÉchelleyz
1 Sélectionnez un plan dans la timeline et ouvrez l’inspecteur vidéo.
2 Procédez de l’une des façons suivantes :
••
Pour régler le mouvement vertical ou latéral d’une prise de vue (axes X et Y) : faites glisser le curseur Lissage de la conversion.
••
Pour ajuster la rotation autour du point central de l’image : faites glisser le curseur Lissage de la rotation.
••
Pour adapter le mouvement de la caméra ou de l’objectif vers l’arrière ou vers l’avant (axe Z) : faites glisser le curseur Lissage de l’échelle.
Par exemple, si vous souhaitez éliminer le tremblement horizontal, vertical et rotatif, vous devez régler les paramètres « Lissage de la conversion » et « Lissage de la rotation » sur une valeur supérieure à 0. Il est conseillé de procéder à des tests pour savoir quelles sont les valeurs qui stabilisent le mieux votre prise.
Remarque : Lorsqu’un plan présente d’un mouvement trop prononcé (panoramique excessif, par exemple), la stabilisation du plan risque de produire des barres noires sur les bords de la vidéo.
Pour éviter les barres noires, vous pouvez :
••
réduire les valeurs des paramètres « Lissage de la conversion », « Lissage de la rotation » et « Lissage de l’échelle » ;
••
couper ou effectuer un trim du plan dans la timeline pour supprimer les sections présentant le plus de tremblement. (Vous pouvez retrouver les sections présentant des tremblements excessifs dans la fenêtre Mots-clés de l’index de la timeline. Cliquez dans ce cas sur les différents mots-clés Tremblement excessif pour sélectionner les plages correspondantes dans la timeline.)
••
Rognez les bords de la vidéo stabilisée pour supprimer les barres noires.
9
164
Présentation de l’audio
Final Cut Pro possède de nombreuses fonctionnalités conçues pour faciliter le traitement et le montage audio. Par exemple, vous pouvez utiliser Final Cut Pro pour analyser et améliorer automatiquement l’audio afin de résoudre des problèmes tels que le bruit ou des bourdonnements, d’ajouter des effets à vos plans, de synchroniser automatiquement les plans vidéo et les clips audio ou de faire correspondre l’audio entre deux plans.
Vous pouvez apporter les modifications suivantes aux clips ou aux composants audio au sein d’un plan :
••
Monter plusieurs canaux audio : vous pouvez développer la partie audio de plans pour révéler et monter des composants audio jusqu’au niveau des canaux. Cela vous permet d’appliquer différents effets à divers composants ou canaux et de rationaliser le processus de réalisation d’estampes de son ou autres réglages rapides. Consultez Vue d’ensemble du montage audio à la page 175.
••
Réglage du volume : ajustez rapidement le volume d’un plan directement dans la timeline ou dans l’inspecteur audio. Consultez Ajustement du volume à la page 179.
••
Balance audio : tirez profit des préréglages intégrés de balance pour le son stéréo et Surround. Consultez Balance audio à la page 184.
••
Ajout d’effets audio : ajoutez aux plans des effets Audio Unit, Logic ou personnalisés inclus dans Final Cut Pro, tels que de la réverbération. Consultez Ajout d’effets audio à la page 194.
••
Ajout d’images clés pour automatiser le volume et les effets : faites évoluer le volume ou les réglages des effets au cours de la lecture d’un plan. Consultez Ajustement des effets audio à l’aide d’images clés à la page 200.
Remarque : Les fondus ne peuvent être créés que dans des plans. Pour appliquer des fondus entrants ou sortants aux plans à l’aide des poignées de fondu simples d’emploi, consultez Application d’un fondu entrant ou sortant à l’audio à la page 181
Dans Final Cut Pro, les outils utilisés pour le montage audio sont les mêmes que ceux du montage vidéo. Les fonctionnalités de montage indiquées ci-dessous sont présentées dans d’autres sections de l’Aide Final Cut Pro.
••
Changement de mode de montage : réglez le mode de montage d’un plan pour vous concentrer sur la vidéo uniquement ou sur l’audio uniquement. Consultez Ajout de plans en mode vidéo uniquement ou audio uniquement à la page 121.
••
Ajout de marqueurs aux plans : ajoutez des marqueurs pour baliser des points de références spécifiques dans un clip audio. Pour en savoir plus, consultez Présentation des marqueurs à la page 156.
••
Application d’un trim à l’audio : réalisez des montages précis sur la forme d’onde audio, par exemple pour supprimer un son indésirable de l’enregistrement. Consultez Présentation du trim à la page 130.
Montage audio
Chapitre 9 Montage audio 165
••
Ajout de fondus enchaînés audio : créez une transition fluide reliant deux formes d’onde audio. Consultez Ajout de transitions au projet à la page 215.
••
Utilisation de plans composés : les plans composés vous permettent de combiner n’importe quels plans vidéo ou clips audio en un seul plan ou clip composé. Du point de vue audio, les clips composés offrent la possibilité d’appliquer le même effet audio ou les mêmes améliorations à un groupe de clips, de façon analogue à l’application d’un effet ou d’un ajustement à l’ensemble d’un mixage. Consultez Présentation des plans composés à la page 266.
••
Exportation de l’audio : vous pouvez exporter le projet sous forme de fichier audio mono, stéréo ou Surround. Vous pouvez également exporter des données en fonction de leur rôle. Consultez Présentation du partage de projets à la page 394.
Notions élémentaires sur le montage audio
À propos des formes d’onde audio
Les formes d’ondes audio constituent des représentations visuelles des sons. Elles s’affichent dans les clips audio des manières suivantes :
••
dans la partie inférieure d’un plan vidéo, colorées en bleu ;
••
sous forme de plans détachés ou de clips audio uniquement, colorés en vert.
Clip audio seulementSection audio d’un plan vidéo
Leur amplitude et leur longueur varient selon le volume et la durée du son qu’elles représentent. Un son court et marqué, tel qu’un son de percussion, est représenté par une forme d’onde en pic, alors qu’un bruit de foule étouffé présente une forme d’onde plus basse et prolongée. Ces propriétés permettent de trouver plus facilement des points de montage spécifiques au moment d’appliquer un trim à des plans ou d’ajouter des images clés à des effets.
Dans Final Cut Pro, les formes d’onde varient en fonction du niveau de volume d’un plan ou clip ou des effets qui lui sont appliqués. Elles sont plus grandes lorsque le volume est élevé et plus petites lorsque ce dernier est faible.
Le montage de clips audio dans la timeline se fait tout d’abord en écoutant un plan lu ou survolé, puis en apportant des modifications au clip en utilisant la forme d’onde comme référence.
À propos des canaux audio et des composants audio
Les fichiers audio peuvent contenir un seul ou plusieurs canaux audio. Les canaux correspondent d’ordinaire aux entrées micro lors de l’enregistrement ou aux haut-parleurs pour la sortie multicanal. Par exemple, un fichier audio stéréo contient généralement les canaux gauche et droit correspondant ce qui est audible pendant la lecture dans les haut-parleurs de gauche et de droite.
Chapitre 9 Montage audio 166
Final Cut Pro regroupe automatiquement les canaux en composants audio en fonction de la configuration des canaux pour le plan. Vous pouvez développer la partie audio de plans pour afficher et monter des composants audio jusqu’au niveau des différents canaux. Vous pouvez ensuite affiner le volume et la balance séparément ou appliquer et animer avec des images clés différents effets audio pour chaque composant. Pour en savoir plus, consultez Vue d’ensemble du montage audio à la page 175.
Le nombre de composants audio que vous pouvez voir correspond au nombre de canaux que vous avez configuré dans votre plan source.
Remarque : De nombreux formats courants de fichier audio numérique, tels que l’AAC et le MP3, utilisent des fichiers de stéréo entrelacée, lesquels ne contiennent pas de canaux gauche et droit distincts. Un clip stéréo présentant des canaux gauche et droit entrelacés apparaît sous forme de composant audio simple dans l’inspecteur audio et dans la timeline. Si vous changez la configuration des canaux du clip de Stéréo à Mono dual, les canaux apparaissent alors comme deux composants audio distincts.
Composants audio
Pour en savoir plus sur la configuration des canaux audio, consultez Configuration des canaux audio à la page 176.
Différentes manières d’afficher des clips audio
Lorsque vous travaillez avec des formes d’onde audio dans la timeline, vous pouvez réaliser des zooms avant ou arrière ou modifier l’apparence du plan pour agrandir ou réduire la forme d’onde.
Final Cut Pro comprend aussi plusieurs manières d’afficher et de travailler avec l’audio et la vidéo à l’intérieur des plans. Vous pouvez :
••
développer un plan de sorte à afficher et monter des composants audio jusqu’au niveau des différents canaux ;
••
développer un plan pour afficher séparément l’audio et vidéo ;
••
détacher l’audio d’un plan vidéo pour travailler sur l’audio et la vidéo séparément ;
••
changer l’apparence de l’arrière-plan d’un plan pour afficher la forme d’onde de référence, ce qui facilite la visualisation de formes d’ondes audio lorsque le volume est réduit.
Affichage de composants audio développés
Vous pouvez développer la partie audio de plans dans Final Cut Pro pour afficher et modifier des composants audio.
Vous pouvez afficher les composants audio dans leur forme développée pour les plans synchronisés, les plans multicam et les plans composés.
Chapitre 9 Montage audio 167
Procédez de l’une des manières suivantes :
mm
Sélectionnez le plan dans la timeline, puis choisissez Plan > Développer les composants audio (ou appuyez sur Option + Contrôle + S).
mm
Tout en maintenant la touche Option enfoncée, double-cliquez sur la partie audio du plan dans la timeline.
Vue du plan normalComposants audio
Réduction des composants audio
Procédez de l’une des manières suivantes :
mm
Sélectionnez soit le plan ou l’un de ses composants audio dans la timeline, puis choisissez Plan > Réduire les composants audio (ou appuyez sur Option + Contrôle + S).
mm
Tout en maintenant la touche Option enfoncée, double-cliquez sur l’un des composants audio dans la timeline.
Affichage étendu de l’audio et de la vidéo
Vous pouvez afficher séparément l’audio et la vidéo d’un même plan dans la timeline en développant les plans qui contiennent de l’audio et de la vidéo. Cela peut s’avérer utile si vous devez zoomer sur des sections audio et réaliser des montages.
Remarque : Si vous créez un montage scindé de manière à ce que des sections audio se chevauchent, vous ne verrez clairement les formes d’onde se superposant que si vous choisissez d’afficher l’audio étendu pour les plans scindés.
mm
Pour développer un seul plan : double-cliquez sur la forme d’onde audio du plan.
mm
Pour développer un ou plusieurs plans sélectionnés dans la timeline : choisissez Plan > Développer l’audio/la vidéo (ou appuyez sur Contrôle + S).
Chapitre 9 Montage audio 168
mm
Pour développer tous les plans dans la timeline : choisissez Présentation > Développer les plans audio/vidéo, puis indiquez si vous souhaitez développer l’audio/la vidéo pour tous les plans ou uniquement pour les plans qui se chevauchent.
Vue du plan normalPlan avec audio étendu
En affichant l’audio étendu, les sections audio et vidéo du plan restent liées. Pour créer un plan audio connecté à part, détachez l’audio. Vous pouvez aussi utiliser l’éditeur de précision pour afficher une vue détachée des sections audio et vidéo du plan.
Condensation de l’affichage de l’audio et de la vidéo
Vous pouvez réduire la présentation développée de l’audio/la vidéo pour un seul plan, plusieurs plans ou tous les plans de la timeline.
mm
Pour réduire un seul plan : double-cliquez sur la forme d’onde audio du plan.
mm
Pour réduire un ou plusieurs plans sélectionnés dans la timeline : choisissez Plan > Condenser l’audio/la vidéo (ou appuyez sur Contrôle + S).
mm
Pour réduire tous les plans dans la timeline : choisissez Présentation > Condenser tous les plans.
Détachement de l’audio de la vidéo
Par défaut, Final Cut Pro importe l’audio et la vidéo provenant de la même source sous forme d’un seul plan. Il est facile de détacher l’audio d’un plan vidéo afin de pouvoir réaliser le montage du clip audio séparément dans la timeline.
mm
Sélectionnez le plan dans la timeline, puis choisissez Plan > Détacher l’audio.
Chapitre 9 Montage audio 169
Un nouveau clip audio s’affiche comme clip connecté sous le plan vidéo.
Audio dissocié
Pour rattacher un clip audio au plan vidéo original, vous devez créer un plan composé.
Affichage ou masquage des formes d’onde de référence
Une forme d’onde de référence affiche la résolution maximale de la forme d’onde audio active. En faisant appel à un facteur d’annulation sur la tonalité, les formes d’onde de référence permettent de distinguer plus clairement les détails du son.
1 Choisissez Final Cut Pro > Préférences, puis cliquez sur Montage.
2 Cochez la case « Afficher les formes d’onde de référence ».
Forme d’onde de référence
Lorsque la forme d’onde active change de forme (par exemple, se réduit lorsque le volume d’un plan est faible), sa forme d’onde de référence reste visible pour faciliter le montage.
Conseil : Vous pouvez placer tout plan contenant de l’audio au-dessus ou en dessous du scénario principal dans la timeline. Si votre plan contient de la vidéo et qu’il est placé sous le scénario principal, il se peut que la vidéo soit masquée par celle dans le scénario principal, mais l’audio est lu. Si vous placez le plan au-dessus du scénario principal, l’audio est reproduit et la vidéo est lue (au lieu de celle du scénario principal).
Affichage des formes d’onde audio au niveau de l’échantillon audio
Pour réaliser un montage plus précis, vous pouvez effectuer des zooms dans les clips audio au niveau des échantillons audio. Les échantillons audio présentent la forme d’onde audio à une fraction de seconde (par exemple, 1/48 000 pour l’audio enregistré à une fréquence d’échantillonnage de 48 kHz). Le montage avec une précision à l’échantillon près n’est disponible que pour les clips audio connectés (c’est-à-dire les clips audio ne faisant pas partie du scénario principal) ou les plans composés ne contenant que de l’audio.
Chapitre 9 Montage audio 170
Conseil : Lorsque vous travaillez sur de la vidéo, vous pouvez vous baser sur les sous-images (1/80 de la durée d’une image vidéo) dans l’affichage du timecode du panneau de contrôle. Dans la fenêtre Montage des préférences de Final Cut Pro, choisissez l’option de sous-image dans le menu local Affichage du temps.
Zoom sur les échantillons audio
1 Choisissez Présentation > Zoom sur les échantillons (ou appuyez sur Option + Z).
2 Sélectionnez le plan dans la timeline.
3 Réalisez un zoom avant jusqu’à ce que le plan affiche la forme d’onde à l’intérieur des bordures d’une image vidéo.
Bords d’image
Vous pouvez continuer le zoom avant pour afficher plus en détail la forme d’onde.
Bords d’image
4 Procédez aux montages du plan ou des ajustements aux effets audio à l’aide d’images clés.
Pour désactiver le zoom sur les échantillons, choisissez Présentation > Zoom sur les échantillons (ou appuyez sur Option + Z).
Navigation sous-image par sous-image
1 Dans la timeline ou le navigateur d’événements, placez votre pointeur sur un plan et cliquez.
2 Effectuez l’une des opérations suivantes :
••
Pour reculer par incréments d’une sous-image : appuyez sur Commande + Flèche gauche.
••
Pour avancer par incréments d’une sous-image : appuyez sur Commande + Flèche droite.
Affichage et correction des niveaux audio
Les VU-mètres audio vous permettent d’afficher et d’effectuer le suivi des niveaux audio des plans et clips dans Final Cut Pro. Ils vous avertissent si un plan particulier ou une section d’un plan atteint le niveau des crêtes, ce qui peut entraîner une distorsion audible.
Le nombre de VU-mètres affichés varie en fonction du nombre de canaux configurés pour le plan en cours de lecture. Par exemple, lorsque vous lisez un plan surround dans le navigateur d'événements, six VU-mètres surround sont affichés. Par contre, si vous faites glisser le même plan dans un projet stéréo dans la timeline, Final Cut Pro modifie l'audio pour passer de surround à stéréo et seulement deux VU-mètres sont affichés. Pour en savoir plus, consultez Configuration des canaux audio à la page 176.
Chapitre 9 Montage audio 171
Lorsque le volume d’un clip audio s’approche des niveaux de crête au cours de la lecture, la couleur
du niveau passe de vert à jaune.
Lorsqu’un clip audio dépasse ces niveaux de crête, la couleur du niveau passe de jaune à rouge
et les témoins lumineux de crête deviennent rouges pour le ou les canaux audio concernés. Les
indicateurs de crête se réinitialisent lorsque vous arrêtez et reprenez la lecture.
Réglez le volume de façon à éviter que le volume d’un clip dépasse les niveaux de crête. Bien
que le niveau adéquat pour un clip varie en fonction du mixage général désiré, il est important
de vous assurer que le niveau combiné de tous les clips ne dépasse pas 0 dB.
Final Cut Pro comprend deux VU-mètres, un petit dans le panneau de contrôle de la barre d’outils
et un plus grand dans la fenêtre des VU-mètres.
Afficher ou masquer les VU-mètres audio
Pour afficher les VU-mètres, procédez de l’une des façons suivantes :
mm Choisissez Fenêtre > Afficher les VU-mètres.
mm Cliquez sur l’icône VU-mètre dans le panneau de contrôle de la barre d’outils.
Vous pouvez faire glisser les bords des VU-mètres pour afficher une présentation développée
contenant des informations supplémentaires.
Niveau
Canaux Surround
Indicateurs de crête
Pour masquer les VU-mètres, choisissez Fenêtre > Masquer les VU-mètres audio, ou cliquez sur
l’icône VU-mètre dans le panneau de contrôle de la barre d’outils.
Réinitialisation et correction les niveaux de crête
mm Sélectionnez le plan dans la timeline, réajustez le niveau, puis relancez la lecture du plan pour
vous assurer que les crêtes ont disparu.
Dans la timeline et le navigateur d’événements, la ou les sections de forme d’onde d’un plan
deviennent jaunes lorsqu’un niveau se rapproche des niveaux de crête ou rouges lorsqu’un
niveau dépasse 0 dB.
Chapitre 9 Montage audio 172
Isolement et désactivation des clips audio
La fonctionnalité Solo permet de désactiver temporairement la lecture audio de tous les plans dans la timeline, excepté ceux que vous avez sélectionnés. Cela est particulièrement utile lors du montage audio si vous disposez de plusieurs clips audio dans la timeline (dialogue et musique de fond, par exemple) et que vous ne souhaitez écouter et modifier que certains clips.
Vous pouvez également désactiver le son des clips en les désactivant ces derniers. Les plans désactivés sont invisibles, silencieux et n’apparaissent dans aucune sortie.
Solo des plans dans la timeline
1 Sélectionnez un ou plusieurs plans dans la timeline.
2 Procédez de l’une des manières suivantes :
••
choisissez Plan > Solo (ou appuyez sur les touches Option + S).
••
Cliquez sur le bouton Solo dans la timeline.
Bouton Solo
Le plan placé en solo s’affiche en surbrillance alors que les autres apparaissent estompés.
Plan lu en solo
Pour désactiver le solo, cliquez sur le bouton Solo ou choisissez Plan > Solo (ou appuyez sur Option + S) à nouveau.
Désactivation de plans
1 Sélectionnez un ou plusieurs plans dans la timeline.
Remarque : Si les plans sélectionnés contiennent de l'audio et de la vidéo et que vous souhaitez désactiver le son de l'audio uniquement, choisissez Plan > Détacher l'audio et sélectionner uniquement la portion de l'audio détachée.
2 Choisissez Plan > Désactiver (ou appuyez sur la touche V).
Les clips désactivés sont muets et apparaissent estompés dans la timeline.
3 Pour réactiver les clips désactivés, sélectionnez-les dans la timeline et choisissez Plan > Désactiver (ou appuyez sur la touche V).
Vous pouvez mettre en solo des plans vidéo dans Final Cut Pro. Pour en savoir plus, consultez Isolement, désactivation et activation de plans à la page 123.
Chapitre 9 Montage audio 173
Ajout de l’audio
Ajout de la musique et du son
Vous pouvez ajouter à votre projet de la musique et des fichiers son directement depuis votre
bibliothèque iTunes ou d’autres sources.
Final Cut Pro inclut également un certain nombre de bruitages et d’autres effets sonores que
vous pouvez utiliser comme clips audio connectés.
Si un plan contient de l’audio et de la vidéo, vous avez la possibilité de régler le mode de montage
sur audio uniquement pour n’insérer que la partie audio du plan.
Ajout de musique et de son à un projet dans la timeline
1 Cliquez sur le bouton Musique et son dans la barre d’outils.
2 Dans le navigateur de musique et son, choisissez un dossier source dans le menu local situé en
haut. Par exemple, choisissez iTunes pour parcourir votre collection iTunes.
Conseil : Si le dossier que vous recherchez n’est pas visible, vous pouvez l’ajouter à la liste
de sources en le faisant glisser depuis le Finder ou le bureau jusque dans le navigateur de
musique et son.
3 Dans la liste de sons qui s’affiche, recherchez le son ou la musique que vous désirez :
•• Pour rechercher un élément : saisissez votre texte dans le champ de recherche. Pour filtrer votre
recherche, cliquez sur le bouton Filtre et choisissez le filtre souhaité.
•• Pour obtenir un aperçu d’un élément : double-cliquez sur l’élément ou sélectionnez-le et cliquez
sur le bouton Lecture .
•• Pour sélectionner plusieurs éléments : cliquez sur chaque élément tout en maintenant la touche
Commande enfoncée.
4 Faites glisser le ou les fichiers de son vers la timeline.
Remarque : Pour de meilleures performances en lecture et à l’importation, Final Cut Pro transcode
automatiquement tous les fichiers audio MP3 en fichiers audio WAV et conserve les fichiers
MP3 originaux pour une utilisation ultérieure. Pour en savoir plus sur l’emplacement des fichiers
de données originaux et des fichiers de données transcodés, consultez la section Emplacement
de vos fichiers de média et de projet à la page 407.
Enregistrement de l’audio
Vous pouvez réaliser des enregistrements audio directement dans Final Cut Pro à partir de
sources d’entrée telles que des micros intégrés et externes. Les fichiers audio enregistrés s’affichent
dans le navigateur d’événements et sous forme de plans connectés dans la timeline.
Cette fonctionnalité est particulièrement utile pour l’enregistrement de narration en voix off.
Enregistrement de l’audio en direct
1 Placez la tête de lecture à l’endroit où vous souhaitez commencer l’enregistrement dans
la timeline.
Chapitre 9 Montage audio 174
2 Choisissez Fenêtre > Enregistrer l’audio.
Cliquez sur le bouton Enregistrement pour lancer ou interrompre l’enregistrement.
3 Si nécessaire, ajustez les paramètres d’entrée en procédant de l’une des manières suivantes :
••
Pour modifier l’emplacement auquel l’enregistrement est sauvegardé : choisissez un dossier d’événement dans le menu local Destination.
••
Pour modifier le dispositif d’entrée ou le nombre de canaux d’entrée (mono ou stéréo) : choisissez une option dans le menu local Appareil d’entrée.
••
Pour ajuster le niveau d’entrée du micro : faites glisser le curseur Gain vers la droite pour augmenter le niveau d’entrée ou vers la gauche pour le diminuer, en utilisant les VU-mètres pour contrôler et corriger les niveaux audio.
4 Si nécessaire, ajustez les paramètres de sortie en procédant de l’une des manières suivantes :
••
Pour écouter la sortie lors de l’enregistrement : cochez la case Contrôle.
Remarque : Si les sources d’entrée et de sortie sont proches l’une de l’autre (comme dans le cas de micro et de haut-parleurs intégrés), un effet Larsen risque de se produire.
••
Pour modifier le dispositif de sortie ou le nombre de canaux de sortie (mono ou stéréo) : Choisissez une option dans le menu local Contrôle.
••
Pour ajuster le niveau de sortie : faites glisser le curseur Gain vers la droite pour augmenter le niveau de sortie ou vers la gauche pour le diminuer.
5 Pour démarrer l’enregistrement, cliquez sur le bouton Enregistrer.
6 Pour arrêter l’enregistrement, cliquez à nouveau sur le bouton Enregistrer (ou appuyez sur la barre d’espace).
Vos enregistrements audio sont alors connectés au scénario principal au niveau de la tête de lecture.
Chapitre 9 Montage audio 175
Modification de clips audio ou de composants audio
Vue d’ensemble du montage audio
Pour monter de l’audio dans Final Cut Pro, suivez l’une des deux façons détaillées ci-dessous.
Montage audio au niveau des plans
Vous pouvez procéder à des réglages et à des montages sur des plans entiers. À ce niveau, les réglages et les effets audio s’appliquent à l’intégralité du plan, y compris à tous les canaux audio inclus dans le plan. Final Cut Pro conserve tous les réglages que vous appliquez aux différents canaux audio. En d’autres termes, si vous réduisez le volume pour un seul canal mais que vous l’augmentez pour le plan entier, le volume du canal en question est également augmenté mais en respectant la proportion du volume des autres canaux du plan.
Si votre média source ne contient qu’un ou deux canaux audio ou si vous montez un plan ne contenant que de l’audio (clip audio), vous n’aurez probablement besoin que de procéder aux réglages et aux montages à ce niveau.
Montage audio multicanal avancé
Final Cut Pro regroupe automatiquement les canaux en composants audio en fonction de la configuration des canaux pour le plan. Vous pouvez développer la partie audio de plans pour afficher et monter des composants audio jusqu’au niveau des différents canaux. Cela vous permet d’appliquer différents effets à divers composants et de rationaliser le processus d’application d’estampes de son rapides à une seule entrée micro ou autres réglages plus fins.
Important : De nombreux formats de fichier audio numérique, tels que l’AAC et le MP3, utilisent des fichiers de stéréo entrelacée, lesquels ne contiennent pas de canaux gauche et droit distincts. Ces fichiers apparaissent sous forme d’un seul composant audio à moins que vous ne modifiiez la configuration des canaux du clip.
Gardez à l’esprit les points suivants lors du montage de composants audio dans Final Cut Pro :
••
Vous pouvez visualiser et modifier la configuration des canaux audio de vos plans dans l’inspecteur audio. Vous pouvez changer le nom des composants audio, en ajouter ou supprimer, mais aussi configurer les canaux aux formats mono, stéréo et Surround. Consultez Configuration des canaux audio à la page 176.
••
À l’aide de l’outil Sélection de plage (outil d’édition par défaut), il vous est possible de sélectionner les plages dans un composant audio pour cibler l’audio à modifier.
••
Vous pouvez monter des composants audio pour les plans synchronisés, les plans multicam et les plans composés.
••
Pour modifier des composants audio, vous pouvez procéder de la même façon que pour les plans entiers. Vous pouvez :
••
survoler des composants précis lorsque les survols de plan et audio sont activés. Consultez Survol du média à la page 81.
••
ajuster le volume d’un composant. Consultez Ajustement du volume à la page 179.
••
désactiver l’audio d’un composant en désactivant ce dernier partiellement ou dans son intégralité. Il s’agit de la méthode la plus rapide pour supprimer des sons indésirables d’un composant. Consultez Isolement, désactivation et activation de plans à la page 123.
••
effectuer la balance du son pour différents composants. Consultez Balance audio à la page 184.
Chapitre 9 Montage audio 176
••
Attribuer un rôle, tel que Dialogue, Musique ou Effets, à un composant dans l’inspecteur d’informations (ou via le menu Modifier lorsque le plan contenant le composant audio se trouve dans la timeline). Consultez Utilisation de rôles pour organiser des plans et exporter des fichiers audio à la page 193.
••
ajouter ou régler les effets audio de composants précis. Consultez Ajout d’effets audio à la page 194 ou Ajustement des effets audio à la page 196.
••
régler les effets audio de composants précis à l’aide d’images clés. Consultez Ajustement des effets audio à l’aide d’images clés à la page 200.
Pour voir des exemples de flux de travail de montage audio multicanal, consultez Exemples de montage audio multicanal à la page 187.
Configuration des canaux audio
Final Cut Pro assigne une configuration de canaux par défaut aux clips audio lorsque ceux-ci sont importés ou ajoutés à un projet. Il vous est possible de modifier la configuration des canaux, par exemple, si vous souhaitez convertir un clip de dialogue stéréo en deux canaux mono.
Final Cut Pro regroupe automatiquement les canaux en composants audio en fonction de la configuration des canaux pour le plan. Pour en savoir plus, consultez À propos des canaux audio et des composants audio à la page 165.
En plus de modifier la configuration des canaux, vous pouvez aussi afficher et écouter les composants audio, en ajouter ou en supprimer et les renommer.
Modification de la configuration des canaux
Le nombre d’options que vous pouvez configurer dépend du nombre de canaux présents dans votre plan source ou votre plan composé. Vous pouvez configurer les canaux dans plusieurs formats, notamment :
••
Mono : un seul canal. Dans une configuration de son Surround, vous pouvez affecter un canal mono à n’importe quel canal Surround.
••
Stéréo : canaux gauche et droit.
••
Surround 5.1 : canaux gauche, central, droit, Surround gauche, Surround droit et effets basse fréquence (caisson de basse).
••
Surround 7.1 : canaux gauche, central, droit, Surround gauche, Surround droit, arrière gauche, arrière droit et effets basse fréquence (caisson de basse).
Si vous configurez plus de six canaux Surround, Final Cut Pro ajuste automatiquement le mixage des canaux pour obtenir une configuration Surround 5.1 pendant la lecture.
Important : La modification de la configuration des canaux réinitialise tous les réglages et les montages effectués sur les composants audio (notamment les effets appliqués, les plages désactivées, les réglages d’images clés et les noms personnalisés).
1 Sélectionnez le plan dans la timeline.
2 Dans la section Configuration des canaux de l’inspecteur audio, sélectionnez une option dans le menu local Canaux.
Chapitre 9 Montage audio 177
Les canaux apparaissent dans l’inspecteur audio sous forme de composants audio, chacun avec sa propre forme d’onde.
Si vous avez un plan incluant des canaux Surround et comptez attribuer un canal mono à un canal Surround particulier, sélectionnez la forme d’onde du canal mono, puis choisissez un canal Surround dans le menu local Canaux.
Remarque : Pour modifier la configuration des canaux d’un plan composé, désélectionnez tout d’abord l’option « Utiliser la présentation Plan de l’événement » dans le menu local Canaux, puis choisissez une autre configuration.
Pour réinitialiser une configuration, cliquez sur le bouton Réinitialiser .
Affichage et écoute d’un composant audio
1 Sélectionnez le plan dans la timeline.
2 Dans la section Configuration des canaux de l’inspecteur audio, cliquez sur le triangle d’affichage en regard du nom du plan pour révéler ses composants audio, puis effectuez le survol ou lancez la lecture de l’un d’entre eux à l’aide de la barre d’espace ou des touches J, K et L.
Faites défiler pour prévisualiser.
Ajout ou suppression d’un composant audio
Vous pouvez ajouter ou supprimer des composants audio d’un plan. Par exemple, il peut s’avérer judicieux de supprimer les composants inutilisés d’un plan ou d’ajouter des composants tirés d’angles inactifs à l’angle actif dans un plan multicam.
Par défaut, tous les composants audio actifs dans un plan apparaissent sélectionnés dans l’inspecteur audio. Ils sont repris dans le même ordre lorsque le plan est développé pour afficher les composants audio dans la timeline. Pour en savoir plus sur l’affichage de composants audio, consultez Différentes manières d’afficher des clips audio à la page 166.
Chapitre 9 Montage audio 178
Lorsque vous supprimez un composant audio, celui-ci est estompé dans l’inspecteur audio mais est supprimé de l’agencement des composants du plan dans la timeline.
1 Sélectionnez le plan dans la timeline.
2 Dans la section Configuration des canaux de l’inspecteur audio, cliquez sur le triangle d’affichage en regard du nom du plan pour révéler ses composants audio.
3 Procédez de l’une des manières suivantes :
••
Pour supprimer un composant : décochez la case en regard de la forme d’onde d’un composant.
••
Pour ajouter un composant : cochez la case en regard de la forme d’onde d’un composant.
Sélectionnez pour ajouter ou supprimer un composant audio.
Réattribution du nom d’un composant
Procédez de l’une des manières suivantes :
mm
Dans la section Configuration des canaux de l’inspecteur audio : cliquez sur le triangle d’affichage en regard du nom du plan pour révéler ses composants audio, double-cliquez sur le nom de celui à renommer, puis saisissez un nouveau nom.
Attribuez un nouveau nom au composant audio dans le champ.
mm
Dans un plan repris dans la timeline, avec ses composants audio développés : cliquez sur le composant audio tout en maintenant la touche Contrôle enfoncée, puis choisissez Renommer le composant dans le menu contextuel et saisissez un nouveau nom.
Pour en savoir plus sur l’affichage de composants audio, consultez Différentes manières d’afficher des clips audio à la page 166.
Important : Si vous modifiez par la suite la configuration des canaux, tous les noms personnalisés des composants audio sont alors réinitialisés et reprennent leur nom de d’origine.
Chapitre 9 Montage audio 179
Vous pouvez aussi choisir une configuration de canaux lorsque vous exportez des rôles sous forme de stems audio pour le mixage ou la postproduction. Pour en savoir plus, consultez Utilisation de rôles pour organiser des plans et exporter des fichiers audio à la page 193. Si la configuration de canaux choisie pour des fichiers exportés est différente de celle des fichiers source, les canaux sont exportés de la manière suivante :
••
Source stéréo exportée en Surround : les canaux de gauche et de droite sont exportés dans les canaux de gauche et de droite du fichier Surround.
••
Source Surround exportée en stéréo : la source Surround est exportée en tant que mix stéréo (canaux gauche et droite).
••
Source stéréo ou Surround exportée en mono : la source stéréo ou Surround est exportée en tant que mix mono (un seul canal).
Ajustement du volume
Vous pouvez ajuster les niveaux de volume des clips audio depuis le navigateur d’événements, la timeline, l’inspecteur audio ou le menu Modifier. Les réglages de volume que vous réalisez dans l’inspecteur audio ou le menu Modifier s’appliquent à toute la sélection. Pour effectuer des ajustements plus précis, vous pouvez créer des images clés dans le clip, puis ajuster les points entre les images clés. Consultez Ajustement des effets audio à l’aide d’images clés à la page 200.
Vous pouvez utiliser les VU-mètres pour vous assurer que le volume ne dépasse pas les crêtes, ce qui pourrait entraîner une distorsion notable du son.
Ajustement du volume dans la timeline
mm
Faites glisser verticalement la commande du volume (la ligne horizontale qui traverse la forme d’onde audio).
Ce faisant, le niveau de décibels s’affiche et la forme d’onde change en fonction de vos ajustements.
Contrôle du volume
Si vous ajustez le volume entre deux images clés, les variations de la ligne de volume s’adaptent, traduisant les changements de volume entre les images clés.
Ajustement du volume à l’aide du menu Modifier ou du clavier
1 Sélectionnez un ou plusieurs clips audio ou plans vidéo contenant de l’audio dans la timeline.
2 Choisissez Modifier > Volume, puis sélectionnez Vers le haut ou Vers le bas, ou appuyez sur Contrôle + signe égal (=) ou sur Contrôle + Tiret (-).
Le volume est augmenté ou réduit de 1 dB. Si plusieurs clips ou plans sont sélectionnés, le volume est ajusté pour chacun d’eux.
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Ajustement du volume dans l’inspecteur audio
1 Sélectionnez un ou plusieurs clips audio ou plans vidéo contenant de l’audio dans le navigateur d’événements ou la timeline.
2 Dans l’inspecteur audio, procédez de l’une des façons suivantes :
••
Saisissez une valeur dans le champ Volume.
Si plusieurs clips ou plans sont sélectionnés, le volume de chacun d’eux est réglé sur la valeur saisie.
••
Faites glisser le curseur Volume vers la droite pour augmenter le volume ou vers la gauche pour le diminuer.
Si plusieurs clips ou plans sont sélectionnés, le volume de chacun d’eux est augmenté ou réduit par rapport à sa valeur d’origine.
Curseur de volume
Ajustement automatique du volume sur une zone sélectionnée
Pour ajuster le volume d’un plan de la timeline, vous pouvez utiliser l’outil Sélection de plage pour ajouter automatiquement des images clés sur une zone sélectionnée.
1 Sélectionnez le plan dans la timeline.
2 Choisissez Sélection de plage dans le menu local Outils de la barre d’outils (ou appuyez sur la touche R).
Le pointeur prend la forme de l’outil Sélection de plage .
3 Faites glisser le pointeur sur la zone où vous voulez ajuster le volume.
4 Ajustez le volume de la plage en déplaçant verticalement la commande horizontale.
Les images clés sont automatiquement créées le long des points d’ajustement dans la plage.
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Réinitialisation de tous les réglages du volume
1 Sélectionnez un clip audio ou un plan vidéo contenant de l’audio dans le navigateur d’événements ou la timeline.
2 Cliquez sur le bouton Réinitialiser dans la section Volume et balance de l’inspecteur audio.
Application d’un fondu entrant ou sortant à l’audio
Il existe plusieurs moyens de créer des fondus entrants ou sortants dans la partie audio des plans dans Final Cut Pro :
••
Fondus enchaînés automatiques durant les transitions : lorsque vous ajoutez une transition à un plan vidéo contenant de l’audio, Final Cut Pro applique automatiquement une transition en fondu enchaîné à la partie audio. Si l’audio est dissocié ou développé par rapport à la vidéo, la piste audio n’est alors pas affectée par la transition vidéo. Consultez Ajout de transitions au projet à la page 215.
••
Fondus enchaînés : lors du trim de la forme d’onde audio dans des plans, il est possible d’appliquer un fondu enchaîné au point de montage. Consultez Présentation du trim à la page 130.
••
Poignées de fondu : Vous pouvez créer rapidement des fondus entrants et sortants pour la portion audio des clips dans la timeline en utilisant les poignées de fondu qui s’affichent lorsque vous placez le pointeur sur le coin supérieur gauche ou droit d’une forme d’onde audio.
Poignée de fonduPoignée de fondu
Vous pouvez aussi modifier la forme du fondu en sélectionnant l’une des options prédéfinies. La modification de la forme du fondu change le son du fondu.
Remarque : les fondus créés au moyen de poignées de fondu sont prioritaires par rapport aux fondus enchaînés créés par des transitions.
Création d’un fondu à l’aide des poignées de fondu
mm
Faites glisser la poignée de fondu sur le point du plan où vous souhaitez que le fondu commence ou se termine.
Les poignées de fondu placées au début d’un plan créent un fondu entrant, tandis que celles placées à la fin d’un plan génèrent un fondu sortant.
Fondu entrantFondu sortant
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Les fondus complètent les ajustements de volume déjà effectués sur un clip audio. Par exemple, si vous avez auparavant baissé le volume au début d’un clip, le fondu entrant augmente le volume du silence (–∞ dB) jusqu’au niveau déjà spécifié.
Création manuelle d’un fondu enchaîné à l’aide des poignées de fondu
1 Sélectionnez les deux plans adjacents sur la timeline, puis choisissez Plan > Développer l’audio/la vidéo (ou appuyez sur Contrôle + S).
Les plans apparaissent alors sous leur forme développée.
2 Faites glisser le point d’arrivée du premier plan vers la droite et le point de départ du deuxième plan vers la gauche de sorte que les parties audio des plans se chevauchent.
Remarque : veillez à bien ajuster la superposition audio à la durée voulue.
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3 Faites glisser les poignées de fondu sur les points où vous souhaitez que le fondu commence et se termine.
Fondu enchaînéPoignée de fondu
Pour modifier la forme du fondu de chaque plan, suivez les instructions reprises immédiatement ci-dessous.
Changement de la forme d’un fondu à l’aide de poignées de fondu
mm
Cliquez sur une poignée de fondu en maintenant la touche Contrôle enfoncée, puis choisissez une option de fondu dans le menu contextuel :
••
Linéaire : maintient une vitesse de changement constante sur toute la durée du fondu.
••
Courbe S : atténuation en entrée et en sortie du fondu avec point intermédiaire à 0 dB.
••
+3 dB : commence rapidement, puis ralentit progressivement vers la fin. Il s’agit du réglage le plus utile pour les fondus rapides.
••
–3 dB : commence lentement, puis accélère vers la fin. Il s’agit du réglage par défaut, le plus adapté pour conserver un volume naturel lors de l’application d’un fondu croisé entre deux clips adjacents.
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Changement de la forme de fondu d’un fondu enchaîné de transition
1 Sélectionnez une transition dans la timeline, puis procédez de l’une des manières suivantes :
•• Choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4).
•• Dans la barre d’outils, cliquez sur le bouton Inspecteur.
2 Dans la section Fondu audio de l’inspecteur de transition, choisissez une option de fondu dans
les menus locaux Type de fondu entrant et Type de fondu sortant :
•• Linéaire : maintient une vitesse de changement constante sur toute la durée du fondu.
•• Courbe S : atténuation en entrée et en sortie du fondu avec point intermédiaire à 0 dB.
•• +3 dB : commence rapidement, puis ralentit progressivement vers la fin. Il s’agit du réglage le
plus utile pour les fondus rapides.
•• –3 dB : commence lentement, puis accélère vers la fin. Il s’agit du réglage par défaut, le plus
adapté pour conserver un volume naturel lors de l’application d’un fondu croisé entre deux
clips adjacents.
Balance audio
La balance audio vous permet de distribuer le son à travers le spectre stéréo ou Surround pour
l’équilibrer ou générer un effet particulier. Par exemple, vous pouvez placer plus de son dans le
canal droit d’un clip stéréo ou moins de son dans le canal central d’un clip Surround.
Final Cut Pro intègre un décodeur de son Surround permettant de choisir parmi plusieurs modes
de préréglage de la balance stéréo et Surround que vous pouvez appliquer aux clips dans l’inspecteur
audio. Les préréglages de balance vous permettent de recréer dynamiquement des
champs sonores Surround à partir d’un contenu source stéréo.
Lorsque vous modifiez le mode de balance dans l’inspecteur audio, le réglage est appliqué à
l’ensemble de la sélection. Pour réaliser des ajustements plus précis, vous pouvez ajouter des
images clés à l’aide de l’éditeur d’animation audio ou de l’inspecteur audio, puis effectuer les
ajustements nécessaires dans l’inspecteur audio.
Balance audio pour la stéréo
1 Sélectionnez le clip audio.
2 Dans l’inspecteur audio, choisissez Stéréo gauche/droite dans le menu local Mode de balance.
3 Déplacez le son vers la gauche ou la droite en effectuant l’une des opérations suivantes :
•• Saisissez une valeur dans le champ Quantité de balance.
•• Déplacez horizontalement le curseur Quantité de balance.
Balance audio pour le son Surround
1 Sélectionnez le clip audio.
2 Dans le menu local Mode de balance de l’inspecteur audio, choisissez l’une des options présentées
ci-dessous :
•• Créer de l’espace : distribue le signal à travers le spectre Surround, en concentrant le signal au
centre et dans les canaux frontaux gauche et droit. Ce réglage est utile pour réaliser un mixage
Surround général à partir de n’importe quelle source stéréo. La plage de réglage du curseur
Quantité de balance s’étend de 0 (aucun effet) à 100 (champ Surround intégral).
Chapitre 9 Montage audio 185
••
Dialogue : concentre le signal dans le canal central du spectre Surround de sorte que le son direct se trouve au centre et que le son ambiant soit réparti entre les autres canaux. Ce réglage est idéal pour les voix off et les clips contenant des dialogues. La plage de réglage du curseur Quantité de balance s’étend de 0 (aucun effet) à 100 (tout le son concentré dans le canal central).
••
Musique : répartit un signal stéréo mélangé sur tout le spectre Surround. Ce réglage est idéal pour convertir de la musique stéréo en un mixage Surround. La plage de réglage du curseur Quantité de balance s’étend de 0 (aucun effet) à 100 (champ Surround intégral).
••
Ambiance : balayage du spectre Surround en concentrant le signal sur les canaux Surround et en réduisant le signal vers les canaux frontaux et centraux. Ce réglage est utile pour les effets tels que les bruits de foule ou les environnements extérieurs. La plage de réglage du curseur Quantité de balance s’étend de 0 (aucun effet) à 100 (champ Surround intégral).
••
Cercle : balayage du son en cercle autour du spectre Surround comme une abeille tournant autour de la tête de l’auditeur. Le curseur Quantité de balance permet d’ajuster la direction par rapport à l’auditeur en degrés (-180 à 180).
••
Rotation : balayage autour du spectre Surround comme si l’auditeur tournait en rond. Le curseur Quantité de balance permet d’ajuster la rotation de l’auditeur en degrés (-180 à 180).
••
Retour vers l’avant : balayage de l’arrière vers l’avant à travers le spectre Surround. La plage de réglage du curseur Quantité de balance s’étend de -100 (arrière) à 100 (avant).
••
Surround gauche vers avant droit : Balayage du Surround gauche vers l’avant droit à travers le spectre Surround. La plage de réglage du curseur Quantité de balance s’étend de -100 (Surround gauche) à 100 (avant droit).
••
Surround droit vers avant gauche : Balayage du Surround droit vers l’avant gauche à travers le spectre Surround. La plage de réglage du curseur Quantité de balance s’étend de -100 (Surround droit) à 100 (avant gauche).
3 Pour ajuster la quantité de balance, effectuez l’une des opérations suivantes :
••
Saisissez une valeur dans le champ Quantité de balance.
••
Déplacez horizontalement le curseur Quantité de balance.
Les réglages Quantité de balance varient en fonction du mode de balance choisi.
Ajustement du son Surround à l’aide du panner Surround
Dans l’inspecteur audio, vous pouvez utiliser le panner Surround pour modifier le champ sonore Surround ou effectuer des ajustements avancés à l’aide des curseurs.
À l’aide du panner Surround, vous pouvez modifier les niveaux de balance en déplaçant une commande représentant l’origine apparente du son dans une configuration réelle de haut-parleurs Surround.
1 Choisissez un préréglage Surround parmi ceux proposés dans le menu local Mode de balance.
2 Pour ouvrir le panner Surround, cliquez sur le triangle d’affichage en regard de l’élément dans la section Volume et balance de l’inspecteur audio.
Cliquez ici pour afficher le Panner Surround.
Chapitre 9 Montage audio 186
3 Effectuez l’une des opérations suivantes :
••
Pour effectuer des ajustements dans le panner Surround : faites glisser la commande dans le champ Surround pour déplacer la balance vers certains canaux Surround ou l’éloigner de ceux-ci (gauche, central, droit, Surround gauche ou Surround droit, représentés par des icônes de haut-parleur). Cliquez sur une icône de haut-parleur pour l’activer ou la désactiver.
Faites glisser pour déplacer la source sonore.
Pour ramener la commande à sa position centrale, double-cliquez dessus.
••
Pour effectuer des ajustements avancés : cliquez sur le triangle d’affichage Avancé situé sous le panner Surround, puis faites glisser horizontalement les curseurs des paramètres suivants :
••
Original/Décodé : règle la balance entre les signaux originaux et les signaux décodés. Le curseur peut être ajusté de –100 (signal original uniquement) à 100 (centre décodé et signaux Surround uniquement). À 0, le signal est équilibré de façon égale entre les signaux originaux et les signaux décodés.
••
Ambient/Direct : règle la balance entre les signaux Surround décodés et les signaux centraux. Le curseur peut être ajusté de -100 (signal Surround uniquement) à 100 (signal central uniquement). À 0, le signal est équilibré de façon égale entre les signaux centraux et les signaux Surround.
••
Largeur Surround : spécifie quelle valeur de séparation (exprimée en dB) existe entre les signaux Surround décodés. À 0 dB, il existe une séparation complète entre les signaux centraux et les signaux Surround, mais chaque signal Surround est mono. Pour accroître l’effet stéréo dans les canaux Surround gauche et droit, vous pouvez augmenter la valeur du paramètre. Cela aura également pour effet de dévier une partie du signal du canal central vers les canaux Surround.
••
Balance LFE : ajuste les signaux des effets de fréquence faible (subwoofer) de -1 (aucun signal envoyé vers le canal LFE) à 1 (tous les signaux envoyés vers le canal LFE). Lorsque le curseur est centré sur 0, le signal est distribué de façon égale entre les cinq canaux et le canal LFE.
••
Rotation : fait tourner tous les signaux Surround vers la gauche ou la droite de façon circulaire. Lorsque le curseur est placé à l’extrémité gauche ou droite (respectivement -180 degrés ou 180 degrés), le signal Surround tourne vers le canal central et le signal central tourne vers les canaux Surround. À 0 degré (curseur placé au centre), aucune rotation n’est effectuée.
••
Répartition stéréo : règle la quantité d’effet stéréo des canaux gauche et droit vers les haut-parleurs Surround et central.
Chapitre 9 Montage audio 187
••
Atténuer/Condenser : ajuste la façon dont l’effet de balance est mis en oeuvre. À 0, les signaux source sont atténués (ce qui signifie que les signaux du canal original deviennent plus forts et plus doux mais ne sont pas réellement déviés vers d’autres canaux). À 100, les signaux source sont condensés (ce qui signifie que les signaux des canaux originaux ne sont pas modifiés en volume, mais plutôt qu’ils sont déplacés vers d’autres canaux dans la direction de la balance).
••
Balance au centre : règle la balance entre les signaux centraux et les signaux Surround. Le curseur peut être réglé de -100 (tous les signaux centraux envoyés vers les canaux Surround) à 100 (tous les signaux Surround envoyés vers le canal central). À 0, le signal est équilibré de façon égale entre les canaux centraux et les canaux Surround.
Lorsque vous ajustez les paramètres avancés, le mode de balance indique qu’il a été modifié.
Réinitialisation des réglages de la balance
mm
Pour réinitialiser un mode de balance modifié : choisissez un autre préréglage dans le menu local Mode de balance. Le curseur Quantité de balance n’est pas affecté.
mm
Pour ne réinitialiser que les ajustements du panner Surround : cliquez sur le bouton Réinitialiser dans la section Panner Surround de l’inspecteur audio.
mm
Pour réinitialiser tous les réglages : cliquez sur le bouton Réinitialiser en haut de la section Volume et balance de l’inspecteur audio.
Vous pouvez contrôler les niveaux des canaux stéréo et son Surround à l’aide des Vu-mètres audio.
Exemples de montage audio multicanal
Les exemples ci-dessous traitent de flux de production pour le montage audio multicanal dans Final Cut Pro.
Exemple : Suppression de bruit indésirable d’un composant audio donné
Remarque : Pour effectuer le survol d’un composant audio particulier, assurez-vous que les survols de plan et audio sont tous deux activés. Pour en savoir plus, consultez Survol du média à la page 81.
1 Sélectionnez un plan dans la timeline, puis choisissez Plan > Développer les composants audio (ou appuyez sur Option + Contrôle + S).
Composants audio
2 Survolez ou lancez la lecture du composant audio pour rechercher l’emplacement spécifique où le bruit se produit.
Chapitre 9 Montage audio 188
3 Faites glisser le pointeur dans le composant pour sélectionner la plage où le bruit se produit.
4 Procédez de l’une des manières suivantes :
••
Pour désactiver la partie du composant où le bruit se produit : appuyez sur la touche V (ou appuyez sur la touche Supprimer).
La désactivation d’une plage sélectionnée coupe tout son s’inscrivant dans la plage.
Remarque : Pour réactiver le son sur la plage, appuyez sur la touche V (ou appuyez sur Commande + Z).
••
Pour ajuster le volume dans la plage choisie : faites glisser verticalement la commande horizontale.
Chapitre 9 Montage audio 189
Les images clés sont automatiquement créées le long des points d’ajustement dans la plage.
5 Lancez la lecture du plan pour vérifier vos modifications à l’écoute.
6 Pour réduire les composants audio après avoir terminé vos réglages, choisissez Plan > Réduire les composants audio (ou appuyez sur Option + Contrôle + S).
Exemple : Trim audio dans un composant audio
1 Sélectionnez un plan dans la timeline, puis choisissez Plan > Développer les composants audio (ou appuyez sur Option + Contrôle + S).
Composants audio
2 Positionnez le pointeur sur le bord du composant audio sur lequel effectuer un trim.
Le pointeur prend la forme de l’outil Trim .
3 Faites glisser pour effectuer le trim sur la section.
La section à laquelle est appliqué un trim est désactivée (coupant ainsi tous les sons de la section en question) et apparaît estompée dans la timeline.
Pour annuler votre trim, appuyez sur Commande + Z.
Chapitre 9 Montage audio 190
4 Lancez la lecture du plan pour vérifier vos modifications à l’écoute.
5 Pour réduire les composants audio après avoir terminé vos réglages, choisissez Plan > Réduire les composants audio (ou appuyez sur Option + Contrôle + S).
Exemple : Application d’un montage Roll à tous les composants audio
1 Sélectionnez un plan dans la timeline, puis choisissez Plan > Développer les composants audio (ou appuyez sur Option + Contrôle + S).
Composants audio
2 Positionnez le pointeur sur le bord de la partie audio du plan auquel appliquer le montage.
Le pointeur prend la forme de l’outil Trim .
3 Maintenez la touche Maj enfoncée et faites glisser pour rembobiner le point de montage pour la partie audio du plan.
Le point de montage est déplacé sur le nouvel emplacement, coupant ainsi l’audio à la fin du plan. La partie vidéo du plan ne se voit pas affectée par cette modification.
Pour annuler votre montage, appuyez sur Commande + Z.
4 Lancez la lecture du plan pour vérifier vos modifications à l’écoute.
5 Pour réduire les composants audio après avoir terminé vos réglages, choisissez Plan > Réduire les composants audio (ou appuyez sur Option + Contrôle + S).
Exemple : ajout ou suppression des composants audio d’un plan multicam
Lorsque vous créez un plan multicam contenant plusieurs composants audio, vous pouvez faire appel au visualiseur d’angle ou à l’inspecteur audio pour ajouter à des angles actifs des composants audio tirés d’angles inactifs. Cela simplifie l’ajout d’audio de plusieurs plans source dans votre plan multicam tout en conservant l’angle vidéo actif. Il vous est également possible de supprimer des composants audio de l’angle actif afin d’éliminer de l’audio indésirable ou inutilisé.
Chapitre 9 Montage audio 191
Avant de commencer, vous pouvez procéder à des réglages de la configuration des canaux des
composants audio dans vos plans source repris dans le navigateur d’événements, à l’aide de l’inspecteur
audio. Pour en savoir plus, consultez Configuration des canaux audio à la page 176.
1 Faites glisser un plan multicam du navigateur d’événements sur la timeline.
2 Pour ouvrir le visualiseur d’angle, procédez de l’une des manières suivantes :
•• Choisissez Fenêtre > Affichage du visualiseur > Afficher les angles (ou appuyez sur
Commande + Maj + 7).
•• Choisissez « Afficher les angles » dans le menu local des options d’affichage du visualiseur
situé dans le coin supérieur droit du visualiseur.
L’angle actif apparaît encadré en jaune.
Angle actif dans le
visualiseur d’angle
3 Pour activer l’audio seulement dans le visualiseur d’angle, cliquez sur le bouton de droite de
changement de mode situé dans le coin supérieur gauche.
Cliquez pour
autoriser le passage
à l’audio uniquement.
4 Pour ouvrir l’inspecteur audio, procédez de l’une des manières suivantes :
•• Choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4), puis cliquez sur le
bouton Audio situé en haut de la fenêtre Inspecteur.
•• Cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le
bouton Audio situé en haut de la fenêtre Inspecteur.
L’audio correspondant à l’angle actif dans le visualiseur d’angle apparaît en surbrillance dans
la section Configuration des canaux de l’inspecteur audio.
Chapitre 9 Montage audio 192
5 Pour révéler les composants audio de l’angle actif, cliquez sur le triangle d’affichage en regard du nom du plan source de l’angle actif.
Cliquez pour afficher les composants audio pour l’angle actif.
6 Pour ajouter les composants audio d’angles inactifs, effectuez l’une des opérations suivantes :
••
Dans le visualiseur d’angle : maintenez les touches Commande et Option enfoncées et cliquez sur un ou des angles inactifs.
••
Dans l’inspecteur audio : cochez la case en regard de chaque composant audio à ajouter.
Dans cet exemple, l’angle dont vous avez ajouté l’audio est mis en surbrillance verte dans le visualiseur d’angle et les composants audio ajoutés sont indiqués dans l’inspecteur audio.
Composants audio ajoutés à l’angle actifComposants audio ajoutés à l’angle actif
Chapitre 9 Montage audio 193
Les composants audio ajoutés apparaissent également dans l’agencement des composants du plan multicam de la timeline. (Pour afficher les composants audio sous leur forme développée, choisissez Plan > Développer les composants audio, ou appuyez sur Option + Contrôle + S.)
Composants audio ajoutés à la timeline
7 Pour supprimer un composant audio de l’angle actif, effectuez l’une des opérations suivantes :
••
Dans le visualiseur d’angle : Maintenez les touches Commande et Option enfoncées et cliquez sur l’angle (en surbrillance verte) dont vous souhaitez supprimer l’audio.
••
Dans l’inspecteur audio : décochez la case en regard du composant audio à supprimer.
Une fois un composant supprimé, celui-ci est estompé dans l’inspecteur audio, et l’angle ne s’affiche plus en surbrillance verte dans le visualiseur d’angle. Le composant disparaît également de l’agencement des composants du plan multicam de la timeline.
Utilisation de rôles pour organiser des plans et exporter des fichiers audio
Final Cut Pro attribue un rôle audio (Dialogue, Musique ou Effets) à la partie audio des plans lors de l’importation.
Si la possibilité d’attribuer des rôles simplifie l’organisation des plans en fonction du type audio, son plus grand avantage réside toutefois dans la facilité avec laquelle vous pouvez exporter des fichiers séparés (appelés stems) depuis Final Cut Pro pour tous les plans d’effets, de musique et de dialogues. Ce processus est souvent utilisé lorsqu’il s’agit de livrer des fichiers correspondant à certaines spécifications de diffusion ou de remettre des stems en vue du mixage ou de la postproduction.
Vous pouvez utiliser des rôles pour les flux de production suivants :
••
Réaffectation de rôles : Vous pouvez visualiser et réaffecter les rôles d’un plan dans l’index de la timeline, le navigateur d’événements, l’inspecteur d’informations ou le menu Modifier. Vous avez également la possibilité d’afficher et de réattribuer un rôle pour un composant audio dans l’inspecteur d’informations (ou via le menu Modifier lorsque son plan de ce composant se trouve dans la timeline). Consultez Affichage et réattribution de rôles à la page 311. Vous pouvez aussi créer des rôles et des sous-rôles personnalisés pour organiser davantage vos plans.
••
Afficher et organiser des plans en fonction du rôle : l’index de la timeline vous permet d’organiser des plans en fonction du rôle, d’activer ou de désactiver des rôles et de mettre des plans en surbrillance ou de les minimiser en vue de leur affichage dans la timeline. Vous pouvez par exemple identifier facilement tous vos plans de dialogue et les lire isolément par rapport aux autres plans audio. Consultez Affichage des plans en fonction du rôle dans la timeline à la page 316.
Chapitre 9 Montage audio 194
•• Exporter des stems : Il est possible d’exporter des rôles sous forme de stems soit dans un fichier
QuickTime multipiste combiné, soit dans des fichiers audio ou vidéo séparés. Durant le processus
d’exportation, vous pouvez attribuer des sorties mono, stéréo ou Surround à vos canaux
audio. Consultez Présentation du partage de projets à la page 394.
Ajout et ajustement d’effets audio
Ajout d’effets audio
Outre les fonctionnalités d’amélioration audio intégrées de Final Cut Pro, vous pouvez tirer
profit des effets intégrés à OS X 64 bits et des effets Audio Units (AU) tiers pour vos tâches de
traitement audio.
Final Cut Pro comprend aussi une large gamme d’effets audio personnalisés et d’effets Logic professionnels
qui constituent des effets et des processeurs de traitement des signaux numériques
utilisés pour colorer les enregistrements et les sources audio en temps réel ou faire adopter à
leur tonalité une forme.
Parmi les options de traitement les plus courantes, on trouve la réduction du bruit, la correction
de la tonalité, les égalisateurs, les processeurs dynamiques et les réverbérations. Il existe également
des fonctionnalités avancées telles que les délais, les modulations, les distorsions, l’amélioration
des basses et les processeurs et utilitaires de modulation temporelle. Certains effets
personnalisés compris dans Final Cut Pro combinent plusieurs effets de manière à créer un environnement
sonore particulier, tel qu’une cathédrale.
Vous pouvez ajouter des effets à des plans ou clips précis ou à un plan composé. Après avoir
ajouté un effet, il est possible d’en ajuster les réglages à l’aide de l’inspecteur audio.
Ajout d’effets audio à un plan ou clip
1 Dans la barre d’outils, cliquez sur le bouton Effets.
2 Dans le navigateur d’effets, sélectionnez un effet audio en vous aidant de l’un des éléments
suivants :
•• Pour obtenir un aperçu une fois l’effet appliqué à l’audio tiré du plan ou clip sélectionné dans la
timeline : placez le pointeur sur les vignettes d’effets audio.
•• Pour effectuer un preview influant sur la commande principale de l’effet : maintenez la touche
Option enfoncée tout en plaçant le pointeur sur la vignette d’un effet audio.
•• Pour filtrer la liste des effets qui apparaissent à l’écran : saisissez le texte recherché dans le champ
de recherche du navigateur d’effets.
3 Procédez de l’une des manières suivantes :
•• Faites glisser l’effet sur un clip audio (ou un plan vidéo contenant de l’audio) dans la timeline.
•• Double-cliquez sur l’icône de l’effet pour l’appliquer au plan ou clip sélectionné.
L’effet s’affiche dans la section Effets de l’inspecteur audio et dans l’éditeur d’animation audio.
Vous pouvez à présent ajuster l’effet.
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Désactivation d’un effet de plan
Lorsque vous appliquez un effet audio à un plan, il vous est possible de désactiver cet effet (tout en conservant ses réglages) dans l’inspecteur audio ou l’éditeur d’animation audio.
1 Sélectionnez dans la timeline un plan incluant un effet.
2 Procédez de l’une des manières suivantes :
••
Dans la section Effets de l’inspecteur audio, sélectionnez l’effet et cliquez sur sa case bleue.
••
Dans l’éditeur d’animation audio, sélectionnez l’effet et cliquez sur sa case verte.
Suppression d’un effet de plan
Lorsque vous appliquez un effet audio à un plan, il vous est possible de supprimer cet effet dans l’inspecteur audio ou l’éditeur d’animation audio.
1 Sélectionnez dans la timeline un plan incluant un effet.
2 Procédez de l’une des manières suivantes :
••
Dans la section Effets de l’inspecteur audio, sélectionnez l’effet et appuyez sur la touche Supprimer.
••
Dans l’éditeur d’animation audio, sélectionnez l’effet et appuyez sur la touche Supprimer.
Modification de l’ordre des effets
Lorsque vous appliquez des effets audio à un plan, il vous est possible de modifier l’ordre dans lequel ils apparaissent dans l’inspecteur audio ou l’éditeur d’animation audio.
1 Dans la timeline, sélectionnez un plan auquel vous avez ajouté des effets.
2 Procédez de l’une des manières suivantes :
••
Dans la section Effets de l’inspecteur audio, faites glisser un effet vers le haut ou le bas.
••
Dans l’éditeur d’animation audio, faites glisser un effet vers le haut ou le bas.
Copie de tous les effets d’un plan vers un autre
Vous pouvez copier les effets et leurs réglages d’un plan ou clip à un autre. Cela peut être particulièrement utile si vous avez réalisé des ajustements aux effets d’un plan que vous souhaitez conserver et utiliser pour d’autres plans.
1 Sélectionnez un plan dans la timeline, puis choisissez Édition > Copier (ou appuyez sur Commande + C).
2 Sélectionnez le ou les plans auxquels vous souhaitez appliquer les effets, puis choisissez Édition > Coller les effets (ou appuyez sur Commande + Option + V).
Si plusieurs effets sont appliqués à un plan, l’ensemble de ceux-ci et leurs réglages sont appliqués.
Copie des attributs d’un plan sélectionné vers un autre
Il est possible de copier les attributs audio, tels que les réglages et les effets, d’un plan à l’autre. Par exemple, il vous est possible de copier les réglages de balance, ou tout autre effet ajouté à un plan, y compris des réglages d’image clé quelconques.
Cette fonctionnalité vous permet de sélectionner les attributs de plan à appliquer.
1 Sélectionnez un plan dans la timeline, puis choisissez Édition > Copier (ou appuyez sur Commande + C).
2 Sélectionnez le ou les plans auxquels vous souhaitez appliquer les attributs, puis choisissez Édition > Coller les attributs (ou appuyez sur Commande + Maj + V).
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3 Procédez de l’une des façons suivantes :
••
Pour appliquer tous les attributs audio du plan source : cochez la case Attributs audio.
••
Pour appliquer des attributs précis : cochez la case de chaque attribut à appliquer.
••
Si vous avez apporté des réglages d’images clés au plan source : choisissez « Conserver le contrôle du temps » ou « Adapter par étirement » dans le menu local Images clés. Si vous choisissez Adapter par étirement, Final Cut Pro adapte les images clés dans le temps pour respecter la durée du plan de destination.
4 Cliquez sur Coller.
Pour en savoir plus sur l’utilisation des effets Logic inclus dans Final Cut Pro, consultez la page de référence des effets Logic de Final Cut Pro X : http://help.apple.com/finalcutpro-logiceffects/mac.
Ajustement des effets audio
Vous pouvez ajuster les paramètres d’un effet à l’aide des commandes de l’inspecteur audio ou de la fenêtre de l’effet.
Si vous utilisez des effets Audio Units ou Logic, vous pouvez afficher une interface développée en ouvrant la fenêtre de l’effet.
Pour en savoir plus sur l’utilisation des effets Logic inclus dans Final Cut Pro, consultez la page de référence des effets Logic de Final Cut Pro X : http://help.apple.com/finalcutpro-logiceffects/mac.
Chapitre 9 Montage audio 197
Ajustement d’un effet audio
1 Sélectionnez dans la timeline un plan incluant un effet à adapter.
2 Localisez l’effet dans la section Effets de l’inspecteur audio.
Bouton d’accès aux commandes
3 Pour afficher les paramètres d’un effet, procédez de l’une des manières suivantes :
••
Cliquez sur le bouton Commandes (à droite du nom de l’effet) pour afficher une fenêtre plus grande contenant des commandes avancées.
••
Cliquez sur le triangle d’affichage en regard des paramètres pour afficher les commandes dans l’inspecteur audio.
Conseil : Vous pouvez ajuster les effets dans le temps à l’aide d’images clés dans l’inspecteur audio ou dans l’éditeur d’animation audio.
4 Sélectionnez les paramètres d’effets et ajustez leurs réglages selon vos besoins. Vous pouvez obtenir un aperçu de vos ajustements à l’aide du skimmer ou en reproduisant le clip dans la timeline.
Pour rétablir les valeurs par défaut des réglages des effets, cliquez sur le bouton Réinitialiser de l’effet.
Utilisation de préréglages d’effets
De nombreux effets Audio Units et Logic comportent des préréglages intégrés adaptés à certains réglages ou environnements spécifiques. C’est le cas par exemple des préréglages réverbération qui simulent l’ambiance acoustique d’une petite pièce ou d’une vaste cathédrale. Les préréglages facilitent la prévisualisation et l’application rapide d’effets.
1 Localisez l’effet dans la section Effets de l’inspecteur audio.
2 Sélectionnez un préréglage dans le menu local Préréglage.
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Vous pouvez obtenir un aperçu de vos préréglages en utilisant le skimmer ou en lisant le plan dans la timeline.
Pour rétablir les réglages par défaut de l’effet, choisissez Par défaut dans le menu local Préréglage.
Modification et enregistrement de préréglages personnalisés
Vous pouvez modifier des paramètres de préréglage en ajustant les commandes de l’effet. Pour conserver vos modifications, enregistrez-les en tant que préréglage personnalisé.
1 Localisez l’effet dans la section Effets de l’inspecteur audio.
2 Sélectionnez un préréglage dans le menu local Préréglage.
3 Pour afficher les paramètres d’un effet, procédez de l’une des manières suivantes :
••
Cliquez sur le bouton Commandes (à droite du nom de l’effet) pour afficher une fenêtre plus grande contenant des commandes avancées.
••
Cliquez sur le triangle d’affichage en regard des paramètres pour afficher les commandes dans l’inspecteur audio.
4 Sélectionnez les paramètres d’effets et ajustez leurs réglages selon vos besoins. Vous pouvez obtenir un aperçu de vos ajustements à l’aide du skimmer ou en reproduisant le clip dans la timeline.
Lorsque vous modifiez les paramètres d’un préréglage, le menu local Préréglage indique que le préréglage a été modifié.
Préréglages édités
Chapitre 9 Montage audio 199
5 Pour enregistrer un préréglage modifié, choisissez Enregistrer ce préréglage dans le menu local Préréglage, puis saisissez un nom pour le nouveau préréglage.
Les préréglages enregistrés apparaissent dans le menu local Préréglage.
Pour rétablir les réglages par défaut de l’effet, choisissez Par défaut dans le menu local Préréglage.
Suppression de préréglages personnalisés
1 Localisez l’effet dans la section Effets de l’inspecteur audio.
2 Dans le menu local Préréglage, choisissez l’option Afficher les préréglages utilisateur dans le Finder.
Chapitre 9 Montage audio 200
3 Sélectionnez le ou les préréglages à supprimer dans la fenêtre du Finder, puis faites-les glisser dans la corbeille.
Les préréglages personnalisés supprimés ne sont plus visibles dans le menu local Préréglage.
Ajustement des effets audio à l’aide d’images clés
Final Cut Pro vous permet d’utiliser des images clés pour créer de simples évolutions à l’audio dans le temps. Il est par exemple possible d’appliquer un fondu entrant ou sortant au volume ou à un effet au milieu du plan.
Il vous suffit de placer des images clés aux points spécifiques d’un plan ou clip pour modifier la valeur du paramètre d’une amélioration audio ou d’un effet appliqué à ces endroits. Par exemple, vous pouvez appliquer une image clé sur le volume ou sur un effet tel qu’une réverbération ou une distorsion.
Il est possible de définir des images clés pour ajuster le volume d’un plan directement dans la timeline ou dans l’inspecteur audio. Pour voir les images clés dans la timeline pour tous les autres effets, vous devez afficher l’éditeur d’animation audio.
Pour en savoir plus sur les images clés appliquées à des plans vidéo, consultez Ajustement d’effets vidéo à l’aide d’images clés à la page 256.
Ajout d’images clés à un plan
1 Procédez de l’une des manières suivantes :
••
Sélectionnez le plan dans la timeline, puis choisissez Plan > Afficher l’animation audio (ou appuyez sur Contrôle + A).
••
En maintenant la touche Contrôle enfoncée, cliquez sur le plan dans la timeline, puis choisissez « Afficher l’animation audio » dans le menu contextuel.
Si vous ajoutez des images clés uniquement pour réaliser des réglages de volume, passez à l’étape 4.
Dans l’éditeur d’animation audio, chaque effet possède une zone séparée pour l’ajout d’images clés.
Certains effets possèdent plusieurs paramètres et vous permettent d’ajouter des images clés indépendamment aux différents paramètres. Ils apparaissent dans l’éditeur d’animation audio avec un triangle en regard du nom de l’effet et dans l’inspecteur audio sous forme de commandes de paramètre supplémentaires.
2 Sélectionnez l’effet auquel vous souhaitez ajouter des images clés dans l’éditeur d’animation audio ou dans la section Effets de l’inspecteur audio.
Chapitre 9 Montage audio 201
3 Procédez de l’une des manières suivantes :
••
Pour développer les paramètres dans l’éditeur d’animation audio : cliquez sur le triangle pour choisir un paramètre précis dans le menu local, ou sélectionnez Tous pour voir toutes les images clés.
••
Pour développer les paramètres dans l’inspecteur audio : Cliquez sur le triangle d’affichage situé en regard de Paramètres pour l’effet en question.
4 Procédez de l’une des manières suivantes pour chaque paramètre d’effet :
••
Dans l’éditeur d’animation audio (ou le clip audio pour le volume uniquement) : tout en maintenant la touche Option enfoncée, cliquez sur un point de la commande horizontale de l’effet où vous souhaitez ajouter l’image clé (ou appuyez sur Option + K).
Les images clés destinées au réglage du volume s’affichent sous forme de losanges blancs.
Marquage d’image clé indiquant un changement du volume.
Pour les effets comportant plusieurs paramètres, les images clés du paramètre sélectionné s’affichent sous forme de losanges blancs, alors que celles des autres paramètres apparaissent en gris.
Les images clés s’affichent sous forme de losanges blancs pour tous les paramètres lorsque vous sélectionnez Tous dans le menu local Effet. Une paire de losanges indique que vous avez ajouté des images clés à plusieurs paramètres au point indiqué.
••
Dans l’inspecteur audio : placez la tête de lecture dans la timeline à l’endroit où vous souhaitez ajouter une image clé, puis cliquez sur le bouton Image clé (ou appuyez sur Option + K).
Bouton d’image clé
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Une fois l’image clé ajoutée, le bouton Image clé devient jaune, indiquant que la tête de lecture est positionnée sur une image clé.
Lorsque vous déplacez la tête de lecture dans la timeline, des flèches s’affichent à côté du bouton Image clé dans l’inspecteur audio pour indiquer de quel côté de la tête de lecture des images clés sont placées. Pour revenir à l’image clé précédente, cliquez sur la flèche gauche ou appuyez sur Option + Point-virgule (;). Pour passer à l’image clé suivante, cliquez sur la flèche droite ou appuyez sur Option + apostrophe (’).
Cliquez sur la flèche correspondante pour accéder à l’image clé précédente ou suivante.
5 Ajoutez des images clés si nécessaire.
Conseil : après avoir ajouté une image clé, il vous est possible d’en ajouter une autre automatiquement en déplaçant la tête de lecture sur la timeline, puis en ajustant la valeur de paramètre de l’effet (ou le curseur du volume lors de l’animation du volume à l’aide d’images clés) dans l’inspecteur audio.
Ajout automatique d’images clés sur une zone sélectionnée
Pour ajuster le volume d’un plan de la timeline, vous pouvez utiliser l’outil Sélection de plage pour ajouter automatiquement des images clés sur une zone sélectionnée.
Si un effet est assorti d’un triangle d’affichage dans l’éditeur d’animation audio, vous pouvez utiliser l’outil Sélectionner ou Sélection de plage pour ajouter des images clés sur une zone sélectionnée.
1 Procédez de l’une des manières suivantes :
••
Sélectionnez le plan dans la timeline, puis choisissez Plan > Afficher l’animation audio (ou appuyez sur Contrôle + A).
••
En maintenant la touche Contrôle enfoncée, cliquez sur le plan dans la timeline, puis choisissez « Afficher l’animation audio » dans le menu contextuel.
Si vous ajoutez des images clés uniquement pour réaliser des réglages de volume, passez à l’étape 3.
2 Sélectionnez un effet, puis cliquez sur le triangle d’affichage pour le développer dans l’éditeur d’animation audio.
Triangle d’affichage
Chapitre 9 Montage audio 203
3 Dans la timeline, effectuez l’une des opérations suivantes :
••
Si vous n’ajustez que le volume : Choisissez Sélection de plage dans le menu local Outils de la barre d’outils (ou appuyez sur la touche R).
Le pointeur prend la forme de l’outil Sélection de plage .
••
Si vous ajustez un effet dans l’éditeur d’animation audio : choisissez Sélectionner ou Sélection de plage dans le menu local Outils de la barre d’outils (ou appuyez sur la touche A pour Sélectionner ou sur la touche R pour Sélection de plage).
4 Faites glisser le pointeur sur la zone où vous voulez ajuster le volume ou l’effet.
Chapitre 9 Montage audio 204
5 Ajustez le volume ou l’effet sur la plage en déplaçant verticalement la commande horizontale.
Les images clés sont automatiquement créées le long des points d’ajustement dans la plage.
Ajustement des images clés dans l’éditeur d’animation audio
Vous pouvez déplacer horizontalement des images clés dans l’éditeur d’animation audio. Si un effet présente un triangle d’affichage, vous pouvez développer la présentation de l’effet et déplacer verticalement les images clés pour modifier la valeur du paramètre.
1 Sélectionnez une image clé.
2 Procédez de l’une des manières suivantes :
••
Pour repositionner l’image clé dans l’éditeur d’animation audio, faites-la glisser vers la gauche ou la droite.
Ce faisant, la valeur de timecode apparaît.
Chapitre 9 Montage audio 205
••
Si un effet présente un triangle d’affichage, cliquez sur ce dernier (ou double-cliquez sur l’effet) pour développer la présentation de l’effet.
Triangle d’affichage
Une fois l’effet développé, vous pouvez faire glisser l’image clé verticalement pour modifier la valeur du paramètre de l’effet.
Conseil : pour régler les valeurs avec plus de précision, maintenez la touche Commande enfoncée tout en faisant glisser verticalement l’image clé.
Pour ajouter une autre image clé, maintenez la touche Option enfoncée et cliquez (ou appuyez sur Option + K) sur la commande de l’effet à l’endroit où vous voulez ajouter l’image clé. Pour ajouter une image clé et modifier la valeur de paramètre de l’effet en une seule opération, maintenez la touche Option enfoncée, puis faites glisser la commande de l’effet verticalement.
Ajustement des images clés dans l’inspecteur audio
Pour de nombreux effets, vous pouvez ajuster la valeur du paramètre des différentes images clés à l’aide de l’inspecteur audio.
1 Sélectionnez ou placez la tête de lecture sur une image clé, puis ajustez la valeur du paramètre dans l’inspecteur audio.
2 Pour modifier la valeur de l’image clé suivante, accédez à celle-ci et ajustez à nouveau sa valeur.
Ajustement simultané de toutes les images clés dans l’éditeur d’animation audio
mm
Maintenez les touches Commande et Option enfoncées et faites glisser soit une image clé, soit la commande de l’effet verticalement.
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Toutes les images clés sont alors ajustées de la même amplitude, préservant ainsi la forme créée par les ajustements apportés par images clés.
Avant
Après
Affichage d’un seul effet à la fois dans l’éditeur d’animation audio
Vous pouvez condenser l’éditeur d’animation audio pour afficher un seul effet à la fois. Cela peut être utile si vous appliquez plusieurs effets à un plan et que vous souhaitez conserver de l’espace à l’écran.
1 Choisissez Plan > Solo de l’animation (ou appuyez Maj + Contrôle + V).
2 Dans l’éditeur d’animation audio, cliquez sur le triangle en regard du nom de l’effet pour choisir un effet dans le menu local.
Remarque : Lorsque l’option « Solo de l’animation » est activée, vous ne pouvez pas supprimer d’effet depuis l’éditeur d’animation audio.
Pour désactiver « Solo de l’animation », choisissez Plan > Solo de l’animation (ou appuyez sur Maj + Contrôle + V).
Suppression d’images clés
Procédez de l’une des manières suivantes :
mm
Sélectionnez une image clé dans l’éditeur d’animation audio et appuyez sur la touche Supprimer.
mm
Accédez à une image clé dans l’inspecteur audio, puis cliquez sur le bouton Image clé.
Bouton d’image clé
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Masquage de l’animation audio
Procédez de l’une des manières suivantes :
mm Sélectionnez le plan dans la timeline, puis choisissez Plan > Masquer l’animation audio (ou
appuyez sur Contrôle + A).
mm Cliquez sur le bouton de fermeture situé dans l’angle supérieur gauche de l’éditeur
d’animation audio.
mm En maintenant la touche Contrôle enfoncée, cliquez sur le plan dans la timeline, puis choisissez
« Masquer l’animation audio » dans le menu contextuel.
Outils et techniques audio
Amélioration de l’audio
Final Cut Pro comprend plusieurs outils puissants d’analyse et d’amélioration des parties audio
des plans, entre autres ceux présentés ci-dessous.
•• Tonalité : améliore le signal audio principal et le rend plus uniforme.
•• Suppression du bruit de fond réduit le bruit d’arrière-plan.
•• Suppression du bourdonnement : réduit le bourdonnement habituel d’origine électrique à 50
ou 60 Hz.
Vous pouvez analyser l’audio et ajuster la tonalité, le bruit de fond et les bourdonnements à
l’aide de l’inspecteur d’améliorations audio. Vous pouvez aussi analyser et corriger des problèmes
audio lors de l’importation d’un plan.
La section Améliorations audio de l’inspecteur audio inclut également les éléments suivants :
•• Égalisation : améliore les hautes fréquences, les fréquences moyennes et les basses fréquences.
Toutes les améliorations sont conçues pour corriger les problèmes audio les plus courants, automatiquement
ou par des ajustements mineurs.
Remarque : Lorsque vous importez un plan, la fonction d’analyse et de correction audio résout
uniquement les problèmes audio importants. Si le plan contient des problèmes moyennement
importants, ceux-ci s’affichent en jaune à côté de l’analyse audio de la section Amélioration audio
de l’inspecteur audio une fois le plan importé. Pour corriger ces problèmes, vous devez améliorer
automatiquement l’audio dans l’inspecteur d’améliorations audio.
Analyse de l’audio
1 Sélectionnez un clip audio ou un plan vidéo qui contient de l’audio dans la timeline.
2 Pour analyser l’audio, effectuez l’une des opérations suivantes :
•• Choisissez Fenêtre > Aller à > Afficher les améliorations audio (ou appuyez sur
Commande + 8).
•• Choisissez « Afficher les améliorations audio » dans le menu local Améliorations de la barre
d’outils.
•• Dans l’inspecteur audio, cliquez sur le bouton de l’inspecteur d’améliorations audio à côté
d’Analyse audio de la section Améliorations audio. (Le bouton change de couleur si des ajustements
ont été effectués.)
Chapitre 9 Montage audio 208
L’inspecteur des améliorations audio s’affiche. Après l’analyse, des indicateurs apparaissent à côté
de chaque amélioration pour afficher les résultats :
•• un signe rouge indique un problème sévère ;
•• un triangle d’avertissement jaune indique un problème potentiel ;
•• une coche verte indique qu’il n’y a pas de problème.
3 Pour fermer l’inspecteur d’améliorations audio, cliquez sur le bouton Précédent .
Vous pouvez modifier automatiquement ou manuellement les réglages des améliorations pour
corriger des problèmes.
Amélioration automatique de l’audio
Vous avez la possibilité d’améliorer automatiquement l’audio pour analyser et corriger des problèmes
de tonalité, de bruit de fond ou de bourdonnement.
1 Sélectionnez un clip audio ou un plan vidéo contenant de l’audio dans la timeline.
2 Procédez de l’une des manières suivantes :
•• Choisissez Modifier > Amélioration de l’audio automatique.
•• Choisissez « Amélioration de l’audio automatique » dans le menu local Améliorations de la
barre d’outils.
•• Cliquez sur le bouton Amélioration automatique en bas de l’inspecteur d’améliorations audio.
3 Pour fermer l’inspecteur d’améliorations audio, cliquez sur le bouton Précédent .
À l’issue de l’analyse, une coche verte s’affiche à côté d’une amélioration, indiquant que le plan
a été analysé en vue de l’amélioration en question. Des détails s’affichent si une correction est
appliquée automatiquement.
Une coche bleue s’affiche à côté de chaque amélioration activée pour appliquer une correction.
Décochez la case pour désactiver une amélioration.
Application manuelle d’améliorations
Une fois l’analyse de l’audio terminée, vous pouvez ajuster les améliorations manuellement.
1 Sélectionnez un clip audio ou un plan vidéo contenant de l’audio dans la timeline.
2 Pour afficher l’inspecteur d’améliorations audio, procédez de l’une des façons suivantes :
•• Choisissez Fenêtre > Aller à > Afficher les améliorations audio (ou appuyez sur
Commande + 8).
•• Choisissez « Afficher les améliorations audio » dans le menu local Améliorations de la barre
d’outils.
•• Dans l’inspecteur audio, cliquez sur le bouton de l’inspecteur d’améliorations audio à côté
d’Analyse audio de la section Améliorations audio. (Lorsque vous réalisez des ajustements, le
bouton change de couleur.)
Chapitre 9 Montage audio 209
3 Pour activer une amélioration, cliquez sur son icône ou cochez sa case (celle-ci est bleue lorsque l’amélioration est activée).
Case bleue
4 Si nécessaire, procédez de l’une des façons suivantes :
••
Pour modifier les réglages Tonalité : déplacez les curseurs Quantité et Uniformité exprimés en pourcentages. Le curseur Quantité augmente ou diminue la tonalité globale (compression) du plan ou du clip, tandis que le curseur Uniformité augmente ou diminue la plage dynamique concernée.
••
Pour changer le pourcentage de suppression du bruit de fond : faites glisser le curseur Quantité.
••
Pour supprimer le bourdonnement : choisissez la valeur 50 Hz ou 60 Hz pour Suppression du bourdonnement.
5 Pour fermer l’inspecteur d’améliorations audio, cliquez sur le bouton Précédent .
Ajustement de l’égalisation
1 Sélectionnez le plan dans la timeline.
2 Dans la section Améliorations audio de l’inspecteur audio, choisissez un préréglage d’égalisation dans le menu local Égalisation ou cliquez sur le bouton Commandes pour réaliser des ajustements manuels.
Bouton d’accès aux commandesChoisissez un préréglage dans ce menu local.
Si vous voulez qu’un plan sonne comme un autre plan, vous pouvez faire correspondre l’audio.
Synchronisation automatique de l’audio et de la vidéo
Final Cut Pro est en mesure d’analyser et de synchroniser automatiquement les clips audio et les plans vidéo de votre projet.
Par exemple, si vous sélectionnez deux plans vidéo et trois clips audio de différentes sources enregistrées lors d’une même prise, Final Cut Pro analyse et synchronise ensemble automatiquement les plans sous forme de nouveau plan dans le navigateur d’événements.
Chapitre 9 Montage audio 210
Final Cut Pro analyse les plans pour rechercher les points synchrones, tels que des marqueurs
que vous avez ajoutés, le timecode, la date de création des fichiers et le contenu audio. Si aucun
point synchrone n’est trouvé, les plans sont synchronisés à leur point de départ respectif.
Plans sélectionnés dans le navigateur d’événements
Nouveau plan contenant des plans synchronisés
Contenu du
plan synchronisé
Scénario principal pour le
plan synchronisé
Plans connectés
Synchronisation des plans
1 Sélectionnez les clips audio et les plans vidéo à synchroniser dans le navigateur d’événements.
2 Choisissez Plan > Synchroniser les plans (ou appuyez sur les touches Commande + Option + G).
Les plans synchronisés portent alors l’intitulé de « Plan synchronisé » dans le navigateur d’événements.
Ces modifications ne se répercutent pas sur les plans originaux.
Si votre plan synchronisé comprend des canaux audio qui ne sont plus utilisés, vous pouvez les
désactiver. Consultez Configuration des canaux audio à la page 176.
Chapitre 9 Montage audio 211
Correspondance des réglages d’égalisation audio
La fonctionnalité « Faire correspondre l’audio » utilise l’égalisation pour faire correspondre le son
d’un plan sélectionné à celui d’un autre plan. Cela s’avère particulièrement utile lorsque vous
possédez divers clips audio enregistrés dans des environnements différents et que vous souhaitez
qu’ils adoptent un son similaire.
Correspondance audio
1 Sélectionnez le ou les plans que vous souhaitez modifier dans la timeline.
2 Procédez de l’une des manières suivantes :
•• Choisissez Modifier > Faire correspondre l’audio.
•• Choisissez Correspondance dans le menu local Égalisation de la section Améliorations audio
de l’inspecteur audio.
•• Choisissez « Faire correspondre l’audio » dans le menu local Améliorations de la barre d’outils.
3 Cliquez pour sélectionner le plan ou clip auquel vous souhaitez faire correspondre le son.
4 Cliquez sur Appliquer la correspondance.
Une fois la correspondance appliquée, vous pouvez modifier les réglages dans la section
Améliorations audio de l’inspecteur audio.
Suppression de la correspondance audio
1 Sélectionnez le plan dans la timeline.
2 Dans la section Améliorations audio de l’inspecteur audio, choisissez un autre réglage d’égalisation
dans le menu local Égalisation.
Pour supprimer toute égalisation, choisissez le réglage Plat.
Conservation de la tonalité lors de la resynchronisation des plans
Par défaut, Final Cut Pro préserve la tonalité lors de la resynchronisation des plans afin que le
son ne soit pas plus aigu en lecture rapide ou plus grave en lecture lente. Vous pouvez activer ou
désactiver cette fonctionnalité avant ou après la resynchronisation d’un plan.
Activation ou désactivation de la fonction Conserver la tonalité
1 Dans la timeline, sélectionnez un plan complet, ou une plage d’un plan, dont vous souhaitez
modifier la vitesse.
2 Choisissez Conserver la tonalité dans le menu local Resynchronisation de la barre d’outils.
Une coche à gauche du nom de la commande indique que la fonctionnalité Conserver la tonalité
est activée. Pour la désactiver, sélectionnez à nouveau Conserver la tonalité.
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212
Présentation des transitions, des titres, des effets et des générateurs
Il vous est possible d’ajouter facilement des effets spéciaux à de la vidéo, à de l’audio et à des photos inclus dans vos projets. Final Cut Pro propose plusieurs types d’effets et de commandes :
••
Transitions : ajoutez un effet entre des plans afin de diriger les changements d’un plan à un autre. Consultez Présentation des transitions à la page 213.
••
Titres : ajoutez du texte à n’importe quel point de votre projet. Consultez Présentation des titres à la page 222.
••
Effets : exploitez un large éventail d’effets applicables à vos plans vidéo et à vos clips audio, d’effets les plus subtils (du grain ajouté à une vidéo ou un effet de couleur, ou un égaliseur graphique appliqué à l’audio) aux plus marqués (effet du clapotis de gouttelettes ou vision d’un insecte appliqué à la vidéo, ou encore une tonalité plus élevée de l’audio). Il existe deux types principaux d’effets :
••
Effets intégrés : ces effets standard vous permettent de redimensionner, déplacer, faire pivoter, effectuer un trim, incliner, rogner ou appliquer l’effet de zoom Ken Burns à un plan vidéo. Ces effets sont déjà intégrés à chaque plan affiché sur la timeline ; vous n’avez dès lors qu’à les ajuster. Consultez Présentation des effets intégrés à la page 228.
••
Effets de plan : ceux-ci sont conçus pour modifier des plans vidéo et des clips audio dans le but de corriger des problèmes, de créer des atmosphères nouvelles ou de générer des sons inédits. Consultez Présentation des effets de plans à la page 240.
••
Générateurs : ajoutez un élément particulier comme un plan repère d’emplacement, un générateur de timecode ou un compte à rebours, ou ajoutez des couleurs, des motifs ou des arrière-plans animés à votre projet. Consultez Présentation des générateurs à la page 246.
••
Commandes à l’écran : personnalisez de nombreux effets à l’aide des commandes à l’écran. Consultez Présentation des commandes à l’écran à la page 251.
••
Animation vidéo : faites varier les réglages des effets au fur et à mesure de la lecture d’un plan. Consultez Présentation de l’animation vidéo à la page 256.
Vous pouvez ajouter des effets à n’importe quel plan repris sur la timeline. Une fois ajoutés (ou ajustés dans le cas d’effets intégrés), vous pouvez personnaliser les effets par le biais des commandes prévues dans un inspecteur, des commandes à l’écran du visualiseur et celles dont les éditeur d’animation vidéo et éditeur d’animation audio sont dotés. Il vous est également possible de tester plusieurs versions d’un effet par le biais d’auditions.
Vous pouvez ouvrir la plupart des effets et générateurs depuis Motion, une application Apple conçue pour fonctionner avec Final Cut Pro, afin d’en personnaliser et d’en enregistrer des versions spécialisées.
Ajout de transitions, de titres, d’effets et de générateurs
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 213
Ajout et réglage de transitions
Présentation des transitions
Vous avez la possibilité d’ajouter des fondus enchaînés et autres effets de transition entre des coupes pour donner de l’attrait à votre programme.
Les transitions remplacent un plan par un autre sur une durée donnée ; lorsqu’un plan se termine, un autre le remplace. L’on rencontre trois types de transitions vidéo particulièrement courants dans les projets vidéo : les fondus, les fondus enchaînés et les balayages.
Vous pouvez ajouter des transitions audio uniquement à des montages audio au sein d’un scénario. Il peut s’agir d’un fondu entrant, sortant ou enchaîné.
Remarque : Si vous ajoutez une transition à un plan vidéo contenant de l’audio, une transition en fondu enchaîné est automatiquement appliquée à l’audio. Si l’audio est dissocié ou développé par rapport à la vidéo, la piste audio n’est alors pas affectée par la transition vidéo.
Création des transitions
Les transitions nécessitent le chevauchement de vidéo entre les plans, de chaque côté du point de montage. Une transition d’une seconde impose une seconde de vidéo tirée de la fin du plan de gauche et une seconde de vidéo reprise du début du plan de droite. En appliquant une transition à un point de montage, Final Cut Pro tente d’utiliser la vidéo supplémentaire tirée de chacun des plans pour créer la superposition. Ces sections supplémentaires (inutilisées) de plans sont connues sous le nom de poignées de média. L’image suivante représente un plan doté de gestionnaires de média de chaque extrémité et un plan sans autre vidéo supplémentaire, ou gestionnaire de média, à son début.
Plan sélectionné dans le navigateur d’événementsAucune poignée de début du médiaPoignée de fin du médiaPoignée de début du médiaPoignée de fin du média
Il se peut que la vidéo de gestionnaire de média ne soit pas adaptée à son exploitation dans une transition. Par exemple, si la vidéo comprend des parties inutilisables, telles qu’un clap, celles-ci sont alors visibles dans le projet.
Vous pouvez définir la durée par défaut des transitions. Consultez Définition des valeurs par défaut de transition à la page 214.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 214
L’illustration ci-dessous indique comment créer des transitions lorsque les plans, d’un côté ou
d’un autre du point de montage, possèdent des poignées de média. La transition est placée de
sorte qu’elle s’étend sur les plans ; une moitié de la transition vient coïncider sur chacun des
deux plans adjacents. Le média inutilisé issu de la fin de chaque plan est ainsi ajouté afin de remplir
la transition. La durée globale du projet s’en voit inchangée.
Montage sans transition
Poignée de média
Plan 1 Plan 2
Plan 1
Plan 2
Poignée de média
Montage avec transition (poignées de média utilisées)
Si un ou les deux plans ne disposent pas de contenu supplémentaire suffisant (poignées de
média) pour prendre en charge une transition de la durée par défaut, l’option de superposer du
média de votre projet vous est proposée pour créer la transition.
Final Cut Pro exploite toutes les poignées de média disponibles puis fait coïncider le média
nécessaire pour créer la transition. L’illustration ci-dessous reprend la création d’une transition
sans poignée de média. Les deux plans sont destinés à se chevaucher et la transition se voit
placée sur la région de superposition. Il s’agit dès lors d’un montage de superposition (ripple
trim) et la durée totale de votre projet s’en trouve réduite.
Montage sans transition
Plan 1 Plan 2
Plan 1
Plan 2
Montage avec transition (aucune poignée de média utilisée)
Définition des valeurs par défaut de transition
Vous pouvez définir la transition par défaut utilisée grâce au raccourci clavier Commande + T. Il
vous est également possible de définir la durée par défaut des transitions.
Définition de la transition par défaut
1 Dans la barre d’outils, cliquez sur le bouton Transitions.
2 Cliquez sur une transition tout en maintenant la touche Contrôle enfoncée, puis choisissez Par
défaut dans le menu contextuel.
Définition de la durée par défaut
Vous devez définir la durée par défaut des transitions dans les préférences de Final Cut Pro.
1 Choisissez Final Cut Pro > Préférences, ou appuyez sur Commande + Virgule (,), puis cliquez
sur Montage.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 215
2 Utilisez la case de valeur « La durée est de x secondes » pour régler la durée exprimée en secondes de toutes les transitions que vous ajoutez à la timeline.
Vous avez la possibilité d’adapter la durée d’une transition après que cette dernière ait été placée sur la timeline.
Remarque : Certaines transitions disposent d’une durée définie et ne sont pas affectées par ce réglage.
Ajout de transitions au projet
Plusieurs méthodes vous sont proposées pour ajouter des transitions à un projet. Une fois une transition ajoutée, vous avez la possibilité de régler ses paramètres. Vous pouvez également modifier l’effet de transition dans Motion.
Ajout d’un fondu croisé
1 Choisissez l’outil de sélection dans le menu local Outils accessible à partir de la barre d’outils (illustré ci-dessous), puis cliquez sur le bord d’un plan (appelé point de montage) dans la timeline.
L’un des bords ou les deux bords de plan sont mis en surbrillance.
Remarque : Si vous sélectionnez un plan entier sur la timeline plutôt qu’un simple point de montage, les transitions se voient alors ajoutées à chaque extrémité du plan sélectionné.
2 Choisissez Édition > Ajouter un fondu enchaîné (ou appuyez sur Commande + T).
Le fondu croisé est inséré en s’appuyant sur le réglage « Appliquer les transitions utilisant ». Pour en savoir plus, consultez Définition des valeurs par défaut de transition à la page 214. Si le plan vidéo contient une piste audio, une transition en fondu enchaîné s’applique à l’audio.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 216
Ajout ou modification d’une transition à l’aide du navigateur de transitions
1 Dans la barre d’outils, cliquez sur le bouton Transitions.
2 Sélectionnez une transition.
Placez le pointeur sur les vignettes des transitions pour obtenir un aperçu de chacune d’entre
elles. De plus, il vous est possible de taper du texte dans le champ de recherche pour filtrer la
liste des transitions qui apparaissent à l’écran.
3 Procédez de l’une des manières suivantes :
•• Pour appliquer la transition à un point de montage : faites-y glisser la transition.
•• Pour remplacer une transition déjà placée dans le projet : faites-y glisser la transition.
Conseil : Une autre solution consiste à sélectionner tout d’abord le point de montage, puis de
double-cliquer sur une transition dans le navigateur de transitions pour l’appliquer.
La transition est alors ajoutée au montage en s’appuyant sur le réglage « Appliquer les transitions
utilisant ». Pour en savoir plus, consultez Définition des valeurs par défaut de transition à la
page 214. Si le plan vidéo contient une piste audio, une transition en fondu enchaîné s’applique
à l’audio.
Ajout d’un fondu enchaîné audio automatique
Si un plan vidéo contient de l’audio, la piste audio se voit automatiquement appliquée une transition
de fondu enchaîné au moment où une transition vidéo est appliquée. Si l’audio est dissocié
ou développé par rapport à la vidéo, la piste audio n’est alors pas affectée par la transition
vidéo. Suivez ces étapes pour ajouter un fondu enchaîné audio entre des clips audio dissociés
d’un scénario connecté.
1 Créez un scénario uniquement audio connecté au scénario principal.
Pour en savoir plus sur la création de scénarii, consultez Ajout de scénarios à la page 274.
2 Faites appel à l’outil de sélection, cliquez sur le bord d’un plan (à savoir un point de montage)
dans le scénario.
L’un des bords ou les deux bords de plan sont mis en surbrillance.
Remarque : Si vous sélectionnez dans le scénario un plan entier plutôt qu’un simple point de
montage, les transitions se voient alors ajoutées à chaque extrémité du plan sélectionné.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 217
3 Pour insérer un fondu enchaîné, choisissez Édition > Ajouter un fondu enchaîné (ou appuyez sur Commande + T).
Le fondu enchaîné est inséré en s’appuyant sur le réglage « Appliquer les transitions utilisant ». Pour en savoir plus, consultez Définition des valeurs par défaut de transition à la page 214. Vous pouvez configurer les réglages de fondu entrant et de fondu sortant dans l’inspecteur de transition.
Copie d’une transition vers d’autres points de montage par le biais du menu Édition
1 Sélectionnez une transition sur la timeline, puis choisissez Édition > Copier (ou appuyez sur Commande + C).
2 À l’aide de l’outil Sélectionner, cliquez sur le bord d’un plan (un point de montage) dans la timeline, puis choisissez Édition > Coller (ou appuyez sur Commande + V).
Remarque : Si vous copiez une transition et que vous la collez sur un point de montage comportant déjà une transition, la transition existante est supprimée.
Copie d’une transition vers d’autres points de montage par glisser-déposer
mm
Sélectionnez une transition dans la timeline, appuyez sur la touche Option, puis faites glisser la transition sur un autre point de montage.
Remarque : Si vous copiez une transition et que vous la collez sur un point de montage comportant déjà une transition, la transition existante est supprimée.
Suppression de transitions du projet
Vous avez la possibilité de supprimer une transition en toute simplicité, rétablissant ainsi le point de montage en une simple coupe.
Suppression d’une transition
1 Sélectionnez les transitions de votre choix sur la timeline.
2 Appuyez sur la touche Supprimer.
Les transitions sélectionnées sont alors supprimées et leurs points de montage sont convertis en de simples coupes.
Important : Si une transition supprimée faisait appel à une superposition complète, le point de montage coïncide alors avec le point central où se trouvait la transition avant d’être supprimée, et non l’emplacement d’origine avant l’application de la transition. Vous pouvez passer par Édition > Annuler pour supprimer la transition et rétablir les plans à leur durée d’origine. Pour en savoir plus, consultez Création des transitions à la page 213.
Ajustement des transitions sur la timeline
Il vous est possible de régler la durée d’une transition et de la déplacer sur la timeline. Vous avez également la possibilité d’effectuer un trim de l’un des deux plans situés sous la transition.
Modification de la durée d’une transition
1 Sélectionnez une transition dans la timeline.
2 Procédez de l’une des manières suivantes :
••
Choisissez Modifier > Modifier la durée (ou appuyez sur Contrôle + D), saisissez la durée voulue (celle-ci s’affiche dans le panneau de contrôle accessible depuis la barre d’outils) et appuyez sur Retour.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 218
••
Faites glisser l’une des extrémités de la transition en l’éloignant du centre de celle-ci pour la rallonger ou vers l’intérieur pour la raccourcir.
Faites glisser l’un des bords de la transition pour adapter sa durée.
La transition conserve son point central et effectue un trim équivalent de chaque côté et mentionne un nombre indiquant combien d’images sont ainsi ajoutées ou soustraites de la durée de la transition.
Déplacement de la transition
Le déplacement d’une transition réalise en fait un montage roll sous la transition, ajoutant ainsi du contenu à un plan sous-jacent tout en supprimant du contenu de l’autre plan. La durée globale du projet ne se voit pas affectée par cette modification. De plus, vous ne pouvez déplacer la transition que si des gestionnaires de média suffisants sont mis à disposition du plan en cours d’extension.
Plan 2Poignée de médiaMontage avec transitionPoignée de médiaPlan 1Plan 2Poignée de média Poignée de médiaPlan 1Montage avec transition déplacée vers la droite
1 Sélectionnez une transition dans la timeline.
2 Faites glisser l’icône de trim de la transition sur la zone supérieure du centre de la transition.
Faites défiler le montage sous la transition.
Le montage sous la transition se convertit en montage roll : un plan est étendu et l’autre raccourci. Un nombre indique alors le nombre d’images à gauche (nombre négatif) ou à droite (nombre positif) affectées par le montage roll sous la transition.
Vous pouvez aussi utiliser l’éditeur de précision pour effectuer un montage roll de la transition.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 219
Trim d’un plan sous une transition
La transition comprend des icônes qui simplifient le trim à gauche ou à droite du plan sans affecter pour autant la transition.
1 Sélectionnez une transition dans la timeline.
2 Faites glisser l’une des icônes de trim situées dans la zone supérieure gauche ou supérieure droite de la transition.
Faites glisser pour effectuer un trim sur la droite du point de départ du plan.Faites glisser pour effectuer un trim sur la gauche du point d’arrivée du plan.
Le déplacement de l’icône de trim en haut à gauche règle le point de départ du plan de droite ; faire glisser celle qui se trouve dans la partie supérieure droite adapte le point d’arrivée du plan de gauche. Un nombre indique alors le nombre d’images ajoutées (nombres négatifs) ou soustraites (nombres positifs) à la durée du plan. Le trim ne modifie pas la durée de la transition, mais il modifie celle du projet.
Vous pouvez aussi utiliser l’éditeur de précision pour effectuer un trim des plans situés sous la transition.
Ajustement des transitions dans l’inspecteur de transition et dans le visualiseur
Il vous est possible de régler une transition à l’aide des commandes de l’inspecteur de transition et du visualiseur.
Ajustement d’une transition par le biais de l’inspecteur de transition et du visualiseur
1 Si l’inspecteur de transition n’est pas déjà affiché à l’écran, choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4).
2 Dans la timeline, sélectionnez la transition à régler.
Pour cet exemple, utilisons la transition Cercle.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 220
Le visualiseur affiche tout réglage à l’écran que vous opérez en faisant glisser les poignées. L’inspecteur de transition affiche les autres paramètres que vous pouvez ajuster. En outre, certaines transitions disposent d’un cadre d’image vous permettant de sélectionner une image vidéo apparaissant dans le cadre de la transition.
Faites glisser les commandes à l’écran pour ajuster les réglages de transition sélectionnés.
Dans l’exemple ci-dessus, vous pouvez faire glisser le cercle blanc dans le visualiseur (appelé une commande à l’écran) pour positionner le centre du balayage circulaire, et le carré pour régler la largeur de la bordure (dans notre cas, son adoucissement). L’inspecteur de transition comprend un réglage pour les proportions et le traitement de la bordure du balayage circulaire (notamment la couleur de la bordure si vous choisissez un bord uni).
De plus, de nombreuses transitions possèdent des paramètres vous permettant de les animer avec des images clés. Par exemple, vous pouvez faire bouger le centre de la transition Cercle au fur et à mesure de la lecture du plan.
Pour en savoir plus sur l’ajustement de fondus enchaînés dans l’inspecteur de transition, consultez Application d’un fondu entrant ou sortant à l’audio à la page 181.
Ajustement des transitions avec plusieurs images
Plusieurs de celles-ci regroupent des zones remplies à l’aide d’images fixes issues des plans de chaque côté de la transition. Prenons l’exemple de la transition « Panoramique complet à droite » (l’une des transitions de la catégorie Tableau d’affichage).
Cette image porte le numéro de poignée 4 sur la timeline.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 221
Les zones sont numérotées et mises en corrélation aux points numérotés autour de la transition
sur la timeline.
Ajustement des transitions avec des points numérotés
1 Dans la timeline, sélectionnez la transition dotée de points numérotés.
2 Placez la tête de lecture sur la transition jusqu’à ce qu’apparaisse une zone portant le même
nombre que celui des poignées numérotées reprises sur la timeline.
3 Faites glisser la poignée numérotée pour sélectionner l’image destinée à remplir la zone.
4 Continuez jusqu’à obtenir les images choisies pour l’intégralité des zones.
Création de versions de transitions spécialisées dans Motion
De nombreuses transitions ont été élaborées dans Motion, une application Apple conçue pour
fonctionner avec Final Cut Pro. Vous pouvez ouvrir ces transitions dans Motion, y apporter des
modifications et enregistrer ces dernières sous forme de nouveau fichier de transition qui s’affiche
ensuite dans le navigateur de transitions.
Important : Les étapes suivantes impliquent que Motion 5 soit installé sur votre ordinateur.
Modification d’une transition dans Motion
1 Dans la barre d’outils, cliquez sur le bouton Transitions.
2 Dans le navigateur de transitions, cliquez tout en maintenant la touche Contrôle enfoncée sur la
transition à modifier, puis choisissez « Ouvrir une copie dans Motion » dans le menu contextuel.
Motion se lance automatiquement et ouvre le projet de la transition.
3 Modifiez le projet de transition.
Pour en savoir plus, consultez l’Aide Motion à l’adresse http://help.apple.com/motion.
4 Choisissez Fichier > Enregistrer sous (ou appuyez sur Commande + Maj + S), attribuez un nom à
la nouvelle transition (appelée modèle dans Motion), affectez-la à une catégorie (créez-en une au
besoin), choisissez un thème (le cas échéant), puis cliquez sur Publier.
Remarque : Si vous choisissez Fichier > Enregistrer, la transition s’enregistre alors en reprenant le
même nom complété du suffixe « copie ».
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 222
Ajout et réglage de titres
Présentation des titres
Les titres jouent un rôle clé car ils constituent un encadrement important (tels que les titres des
génériques de début et de fin) et parce qu’ils transmettent les différentes dates et heures au sein
du film. Les titres, spécialement ceux du tiers inférieur de l’écran, sont également utilisés dans
les documentaires et les vidéos d’information, afin d’apporter des détails nécessaires quant aux
sujets ou produits présentés à l’écran. Lors du montage, vous pouvez également ajouter des
notes et des repères d’emplacement à votre projet. Les sous-titres peuvent s’avérer vitaux pour
les films tournés dans une langue différente de celle du public.
Vous pouvez créer des titres et des génériques dans Final Cut Pro avec des effets. Les titres sont
des plans synthétisés (semblables à des générateurs) produits par Final Cut Pro. Les plans de titre
ne font référence à aucun média stocké sur disque dur. Lorsque vous ajoutez un titre sous forme
de plan connecté directement au-dessus d’un autre plan, celui-ci apparaît comme arrière-plan du
texte, vous évitant ainsi d’avoir à réaliser un autre compositing pour créer l’effet.
Ajout de titres au projet
Passez par le navigateur de titres pour ajouter des titres aux plans de votre projet. Après avoir
ajouté du texte, vous pouvez en modifier le style pour élaborer le titre.
Ajout d’un titre à un plan du projet
1 Dans la timeline, positionnez la tête de lecture sur le point où vous comptez ajouter le titre.
2 Cliquez sur l’outil Titres dans la barre d’outils (ou appuyez sur Commande + 5).
3 Procédez de l’une des façons suivantes :
•• Pour ajouter un titre à partir du navigateur de titres : double-cliquez sur le titre.
Un plan de titre est ajouté à l’emplacement de la tête de lecture.
•• Pour ajouter un titre standard : choisissez Édition > Connecter un titre > Titre standard (ou
appuyez sur Contrôle + T).
Un plan de titre « Titre standard » (sans effets ou animations) est ajouté à l’emplacement de la
tête de lecture.
•• Pour ajouter un tiers inférieur standard : choisissez Édition > Connecter un titre > Tiers inférieur
standard (ou appuyez sur Maj + Contrôle + T).
Le plan de titre de bas d’écran « Tiers inférieur standard » (sans effets ou animations) est ajouté
à l’emplacement de la tête de lecture.
Il se voit connecté au plan dans le scénario principal, au niveau de la tête de lecture. Sur le
plan visuel, le titre est superposé au plan dans le scénario principal à l’emplacement de la tête
de lecture. Si cette dernière ne se situe pas sur un plan, le titre est alors placé par défaut sur
l’arrière-plan.
Ajout d’un titre en tant que plan dans le scénario principal
Il existe deux façons pour ajouter un titre dans le scénario principal sous forme de plan. Vous
pouvez soit insérer un plan de titre au niveau du point de montage entre deux plans, soit remplacer
un plan existant dans le scénario principal par un plan de titre.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 223
mm
Pour ajouter un titre entre des plans sur la timeline : depuis le navigateur de titres, faites glisser un plan de titre sur le point de montage situé entre les plans à l’endroit où vous voulez qu’il apparaisse.
mm
Pour remplacer un plan existant sur la timeline par un plan de titre : faites glisser un titre du navigateur de titres sur le plan que vous voulez remplacer dans la timeline, puis choisissez Remplacer dans le menu contextuel.
Saisie de texte pour le titre
Après avoir ajouté un plan de titre au projet dans la timeline, il vous est possible d’attribuer du texte au titre dans le visualiseur.
1 Sélectionnez un plan de titre dans la timeline.
2 Placez la tête de lecture sur le plan de titre sélectionné.
3 Dans le visualiseur, double-cliquez sur le texte du titre, puis saisissez le texte de votre choix.
Double-cliquez sur le champ pour taper le texte du titre.Bouton Couche de texte précédenteBouton Couche de texte suivante
4 Pour sélectionner un autre objet texte, procédez de l’une des manières suivantes :
••
Cliquez sur le bouton « Couche de texte précédente » ou « Couche de texte suivante ».
••
Double-cliquez sur un autre objet texte.
5 Tapez le texte voulu.
6 Pour quitter le mode d’édition de texte, appuyez sur Commande + Retour.
Remarque : Les boutons « Couche de texte précédente » et « Couche de texte suivante » prennent également en charge les marqueurs Édition de texte de Motion. Pour en savoir plus, consultez l’. Aide Motion à l'adresse http://help.apple.com/motion.
Réglage des titres
Vous avez la possibilité de modifier du texte dans le visualiseur et d’adapter l’apparence du texte d’un titre grâce à l’inspecteur de titre et à l’inspecteur vidéo. Par exemple, vous pouvez régler l’opacité d’un titre ou modifier la police, l’alignement, la couleur, l’éclat et l’ombre portée du texte.
Modification du texte du titre
1 Double-cliquez sur un plan de titre dans la timeline.
2 Procédez de l’une des manières suivantes :
••
Double-cliquez sur un objet texte dans le visualiseur.
••
Sélectionnez le texte dans l’inspecteur de texte.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 224
3 Modifiez le texte.
4 Pour quitter le mode d’édition de texte, appuyez sur Commande + Retour.
Adaptation de l’emplacement d’un titre à l’écran
1 Sélectionnez un plan de titre dans la timeline.
2 Placez la tête de lecture sur le plan de titre sélectionné.
3 Procédez de l’une des manières suivantes :
••
Dans le visualiseur, faites glisser l’objet texte selon vos besoins.
••
Double-cliquez sur l’objet texte et faites glisser le bouton de positionnement sur le nouvel emplacement.
Cliquez sur le bouton de positionnement (représenté par le petit cercle) et faites glisser le titre selon vos besoins.
Adaptation de l’opacité d’un titre
Si vous placez un titre sur un plan, il vous est alors possible d’ajuster la transparence du titre.
1 Double-cliquez sur un plan de titre dans la timeline.
2 Choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4), puis cliquez sur le bouton Vidéo situé en haut de la fenêtre qui apparaît.
Curseur Opacité
3 Dans la section Compositing, ajustez les réglages d’opacité.
4 Pour quitter le mode d’édition de texte, appuyez sur Commande + Retour.
Remarque : Il vous est également possible d’animer avec des images clés le réglage de l’opacité d’un titre.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 225
Ajustement des réglages d’un titre
Vous pouvez modifier les réglages d’un titre dans l’inspecteur de titre.
1 Sélectionnez un plan de titre dans la timeline.
2 Choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4), puis cliquez sur le bouton Titre situé en haut de la fenêtre qui apparaît.
3 Ajustez le cas échéant les réglages proposés.
Remarque : Vous avez également la possibilité d’animer avec des images clés de nombreux réglages dans les inspecteurs de titre et de texte.
Modification du style du texte d’un titre
Vous pouvez modifier le style de texte d’un titre.
1 Double-cliquez sur un plan de titre dans la timeline.
Le titre apparaît dans le visualiseur et le texte dans le premier objet texte inclus dans le plan de titre est sélectionné.
2 Pour modifier un autre objet texte, sélectionnez-le dans le visualiseur.
3 Choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4).
4 Ajustez le cas échéant les réglages proposés.
5 Pour quitter le mode d’édition de texte, appuyez sur Commande + Retour.
Remarque : Vous avez également la possibilité d’animer avec des images clés de nombreux réglages dans les inspecteurs de titre et de texte.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 226
Réglage simultané de plusieurs objets texte dans un plan de titre
Vous pouvez adapter les réglages de plusieurs objets texte en une seule fois.
1 Sélectionnez un plan de titre dans la timeline.
2 Placez la tête de lecture sur le plan de titre sélectionné.
3 Dans le visualiseur, procédez de l’une des manières suivantes.
••
Tout en maintenant la touche Commande enfoncée, sélectionnez les objets texte à modifier.
••
Faites glisser le pointeur pour sélectionner les objets texte à modifier.
4 Choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4).
5 Ajustez le cas échéant les réglages proposés.
Utilisation de la règle pour agencer et aligner les objets de texte de paragraphe
Le texte créé dans Motion et certains titres du navigateur de titres contiennent du texte de paragraphe. Vous pouvez utiliser une règle et des onglets pour contrôler la présentation du texte de paragraphe. Pour en savoir plus, consultez l’Aide Motion à l’adresse http://help.apple.com/motion.
1 Double-cliquez sur un objet de texte de paragraphe dans le visualiseur.
2 Dans le visualiseur, cliquez sur le bouton Afficher la règle.
Remarque : Le bouton Afficher la règle s'affiche uniquement lorsque vous modifiez un objet de texte de paragraphe.
Une règle apparaît au-dessus de l’objet de texte de paragraphe dans le visualiseur. Les tabulations dans la règle indiquent comment le texte tabulé doit être aligné dans le texte sélectionné.
Centrer la tabulationTabulation décimaleTabulation droiteTabulation gauche
3 Procédez de l’une des façons suivantes :
••
Pour ajouter une tabulation : cliquez sur la règle.
••
Pour changer le type de tabulation ajoutée lorsque vous cliquez sur la règle : cliquez sur la règle tout en maintenant la touche Contrôle enfoncée, puis choisissez un type de tabulation dans le menu contextuel.
••
Pour déplacer une tabulation : faites-la glisser sur la règle.
••
Pour supprimer une tabulation : faites-la glisser en dehors de la règle.
••
Pour changer de type de tabulation : cliquez sur la tabulation tout en maintenant la touche Contrôle enfoncée, puis choisissez un type de tabulation dans le menu contextuel.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 227
Suppression de titres du projet
Vous pouvez supprimer à tout moment un titre du projet.
Suppression d’un titre
mm
Sur la timeline, sélectionnez le titre à supprimer et appuyez sur Supprimer.
Recherche et remplacement de texte dans un projet
Si le projet contient plusieurs instances d’un mot ou d’une expression qui se retrouve dans plusieurs plans de titre, par exemple des noms, des entreprises ou des intitulés de poste, vous pouvez rechercher le mot ou l’expression et modifier rapidement chaque instance.
Recherche et remplacement de texte du titre
1 Choisissez Édition > Rechercher et remplacer le texte du titre.
2 Dans la fenêtre « Rechercher et remplacer le texte du titre » qui s’affiche, saisissez le texte à rechercher dans le champ Rechercher.
3 Dans le champ Remplacer, tapez le texte par lequel vous souhaitez remplacer celui recherché.
4 Pour indiquer où effectuer la recherche, procédez de l’une des manières suivantes :
••
Pour rechercher du texte dans le plan de titre sélectionné : choisissez Titre sélectionné dans le menu local Rechercher dans.
Cette option s’avère utile pour la recherche dans des plans de titre incluant beaucoup de texte, tels que les génériques.
••
Pour rechercher du texte parmi tous les plans de titre du projet : choisissez « Tous les titres du projet » dans le menu local Rechercher dans.
5 Procédez de l’une des façons suivantes :
••
Pour rechercher respectant les majuscules telles qu’elles sont saisies dans le texte recherché : cochez la case Respecter la casse.
••
Pour rechercher des mots entiers plutôt qu’un groupe de lettres dans des mots : cochez la case Mots entiers.
••
Pour que la recherche reprenne depuis le début de l’élément recherché après avoir atteint la fin : cochez la case Rechercher en boucle.
6 Procédez de l’une des manières suivantes :
••
Pour remplacer toutes les instances du texte en une seule fois : cliquez sur le bouton Tout remplacer.
••
Pour remplacer uniquement l’instance sélectionnée du texte : cliquez sur le bouton Remplacer.
••
Pour remplacer l’instance du texte sélectionnée et rechercher l’occurrence suivante du texte : cliquez sur le bouton Remplacer et rechercher.
••
Pour passer à l’instance suivante ou précédente du texte recherché : cliquez sur le bouton respectif Suivant ou Précédent.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 228
Ajustement d’effets intégrés
Présentation des effets intégrés
Final Cut Pro comprend plusieurs effets vidéo intégrant chaque plan de la timeline, directement accessibles depuis le visualiseur ; tout ce qu’il vous reste à faire est de les sélectionner et d’y apporter vos ajustements. Ceux-ci vous permettent de :
••
créer une image composite à partir de plusieurs plans ;
••
repositionner ou recadrer un plan en zoomant dessus ;
••
rogner un plan pour supprimer tous les éléments indésirables, tels que des micros ou l’équipement d’éclairage qui apparaissent accidentellement dans la vidéo ;
••
configurer un effet Ken Burns pour apporter du souffle à vos images fixes (mais aussi à vos plans vidéo).
Il vous est possible d’exploiter plusieurs effets intégrés simultanément. Par exemple, vous pouvez faire appel à l’effet Transformer pour réduire la taille et la position de l’image, Trim pour supprimer une partie de la vidéo et Distorsion pour déformer la vidéo.
Vous pouvez animer ces effets pour qu’ils changent au fil de la lecture du plan. Par exemple, vous pouvez réduire la taille d’une image et la faire sortir de l’écran. Pour configurer une animation, vous devez modifier les réglages sur au moins deux points du plan. Au cours de la lecture du plan, Final Cut Pro crée des transitions animées et fluides entre ces points.
Redimensionnement, déplacement et rotation de plans
L’effet intégré Transformer vous permet de redimensionner, de faire pivoter et de déplacer une image. Cet effet est couramment utilisé sur un plan placé au-dessus d’un plan du scénario principal, qui devient alors l’arrière-plan du plan redimensionné. Il sert également souvent à zoomer sur un plan, vous permettant ainsi de recadrer une prise de vue au besoin.
Ajustement de l’effet Transformer
Les commandes disponibles dans le visualiseur et l’inspecteur vidéo vous permettent d’ajuster cet effet. Cependant, certaines commandes ne sont disponibles que dans l’un ou dans l’autre.
1 Sélectionnez un plan dans la timeline.
2 Pour accéder aux commandes Transformer, effectuez l’une des opérations suivantes :
••
Choisissez Transformer à partir du menu local situé dans le coin inférieur gauche du visualiseur (ou appuyez sur Maj + T).
••
Tout en maintenant la touche Contrôle enfoncée, cliquez dans le visualiseur sur le plan, puis choisissez Transformer dans le menu contextuel.
3 Pour régler l’effet à l’aide des commandes à l’écran :
••
Poignées bleues situées à chaque coin : faites-les glisser pour ajuster la taille de l’image tout en conservant ses proportions.
••
Poignées bleues situées au milieu de chaque côté : faites-les glisser pour adapter indépendamment la taille verticale ou horizontale de l’image, faisant ainsi varier les proportions de l’image.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 229
Remarque : Ces commandes ne sont pas accessibles depuis l’inspecteur vidéo.
••
Cercle blanc situé au centre : indique le point d’ancrage pour la rotation. Faites glisser n’importe où le point actif à l’intérieur de l’image pour adapter sa position.
••
Poignée bleue s’étendant depuis le cercle central : faites-la glisser pour faire pivoter l’image.
Conseil : Pour bénéficier d’une plus grande précision lors de la rotation de l’image, faites glisser la poignée de rotation en l’éloignant du point d’ancrage situé au centre.
Faites glisser la poignée d’un coin pour modifier la taille de l’image sans influer sur ses proportions.Faites glisser la poignée d’un bord pour adapter les proportions de l’image.Faites glisser l’image pour affiner sa position.Faites glisser cette poignée pour faire pivoter l’image.
4 Utilisez les commandes Transformer dans l’inspecteur vidéo comme suit :
••
Position X et Y : utilisez ces commandes pour déplacer l’image horizontalement (axe des X) et verticalement (axe des Y).
••
Rotation : faites-la glisser pour faire pivoter l’image autour de son point d’ancrage.
••
Échelle : cette commande vous permet d’adapter la taille de l’image.
••
Ancrage X et Y : permet de déplacer le point central de l’image. Cette commande définit le point autour duquel l’image pivote.
Remarque : Elle ne se trouve pas parmi les commandes à l’écran.
5 Lorsque vous avez fini l’ajustement de l’effet et que vous n’avez plus besoin des commandes à l’écran, cliquez sur Terminé.
Vous pouvez animer l’effet et le faire apparaître par dessus un arrière-plan. Pour en savoir plus sur la manipulation d’effets intégrés, consultez Manipulation d’effets intégrés à la page 235.
Trim de plans
Les commandes de trim vous permettent d’élaguer indépendamment chacun des bords de l’image, créant ainsi l’aspect d’une fenêtre. Cet effet, couramment employé avec l’effet Transformer, est généralement mis en oeuvre sur un plan placé au-dessus d’un plan du scénario principal, qui devient alors l’arrière-plan du plan faisant l’objet du trim.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 230
Ajustement de l’effet Trim
1 Sélectionnez un plan dans la timeline.
2 Pour accéder aux commandes Trim, effectuez l’une des opérations suivantes :
••
Choisissez Rogner à partir du menu local situé dans le coin inférieur gauche du visualiseur (ou appuyez sur Maj + C).
••
Tout en maintenant la touche Contrôle enfoncée, cliquez dans le visualiseur sur le plan, puis choisissez Rogner dans le menu contextuel.
3 Cliquez sur le bouton Trim en bas du visualiseur.
4 Pour régler l’effet à l’aide des commandes à l’écran :
••
Poignées bleues situées à chaque coin : faites-les glisser pour adapter en même temps la position de deux côtés de la fenêtre du trim.
••
Poignées bleues situées au milieu de chaque côté : faites-les glisser pour ajuster indépendamment la position de chaque côté.
••
N’importe où dans la fenêtre : faites glisser la fenêtre pour affiner sa position.
Faites glisser une poignée au milieu d’un bord pour ne modifier que le bord en question.Faites glisser la poignée d’un angle pour modifier deux côtés simultanément.Faites glisser l’image pour positionner la fenêtre du trim.
5 Pour adapter chaque bord indépendamment à l’aide de la zone de rognage de l’inspecteur vidéo, faites appel aux commandes Trim.
6 Lorsque vous avez fini l’ajustement de l’effet et que vous n’avez plus besoin des commandes à l’écran, cliquez sur Terminé.
Vous pouvez animer l’effet et le faire apparaître par dessus un arrière-plan. Pour en savoir plus sur la manipulation d’effets intégrés, consultez Manipulation d’effets intégrés à la page 235.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 231
Rognage de plans
L’effet Rogner simplifie la suppression des zones indésirables de l’image. Il étend automatiquement l’image rognée de façon à lui faire remplir l’écran.
Ajustement de l’effet Rogner
1 Sélectionnez un plan dans la timeline.
2 Pour accéder aux commandes Rogner, effectuez l’une des opérations suivantes :
••
Choisissez Rogner à partir du menu local situé dans le coin inférieur gauche du visualiseur (ou appuyez sur Maj + C).
••
Tout en maintenant la touche Contrôle enfoncée, cliquez dans le visualiseur sur le plan, puis choisissez Rogner dans le menu contextuel.
3 Cliquez sur le bouton Rognage en bas du visualiseur.
4 Pour régler l’effet à l’aide des commandes à l’écran :
••
Poignées bleues situées à chaque coin : faites-les glisser pour adapter le rognage du coin choisi. L’image rognée conserve toujours ses proportions d’origine.
••
N’importe où dans la fenêtre : faites glisser la fenêtre de rognage pour affiner sa position.
Faites glisser la poignée d’un coin pour modifier la taille de la fenêtre de rognage (mais sans influer sur ses proportions).Faites glisser l’image pour positionner la fenêtre du rognage.Cliquez sur Terminé pour rogner l’image et l’afficher dans sa taille développée finale.
5 Pour adapter chaque bord indépendamment à l’aide de la zone de rognage de l’inspecteur vidéo, faites appel aux commandes Rogner.
Remarque : S’il vous est possible d’exploiter ces commandes pour modifier les proportions de la fenêtre de rognage, l’image finale maintient cependant les proportions de l’image d’origine.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 232
6 Cliquez sur Terminé pour que le rognage s’applique enfin et pour retrouver l’image zoomée de façon à remplir l’écran.
Vous pouvez animer l’effet, créant ainsi l’illusion d’un panoramique et d’un zoom (il s’agit alors en fait d’un effet Ken Burns manuel). Pour en savoir plus sur la manipulation d’effets intégrés, consultez Manipulation d’effets intégrés à la page 235.
Panoramique et zoom des plans avec l'effet Ken Burns
L’effet Ken Burns crée un effet de panoramique et de zoom à l’aide de positions de départ et de fin que vous devez définir. L’effet Ken Burns représente en fait un effet Rogner marqué par deux réglages de rognage : l’un au début du plan et l’autre à sa fin.
Ajustement de l’effet Ken Burns
1 Sélectionnez un plan dans la timeline.
2 Pour accéder aux commandes Ken Burns, effectuez l’une des opérations suivantes :
••
Choisissez Rogner à partir du menu local situé dans le coin inférieur gauche du visualiseur (ou appuyez sur Maj + C).
••
Tout en maintenant la touche Contrôle enfoncée, cliquez dans le visualiseur sur le plan, puis choisissez Rogner dans le menu contextuel.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 233
3 Cliquez sur le bouton Ken Burns en bas du visualiseur.
Deux rectangles apparaissent alors dans le visualiseur : un vert, qui définit l’emplacement et la taille pour le début du plan, et un rouge qui indique la position et la taille pour la fin du plan. Une flèche vient marquer la direction dans laquelle l’image avance lorsque le plan est reproduit.
Sélectionnez le rectangle vert Début ou le rectangle rouge Fin pour régler la taille et l’emplacement du rognage.Cliquez sur le bouton Échange pour intervertir le départ et l’arrivée.Cliquez sur le bouton Lecture en boucle pour reproduire le plan de façon continue.
Les réglages par défaut pour le début et la fin entraînent un zoom de faible amplitude vers le centre de l’image.
4 Pour choisir la partie de l’image qui apparaît au début de l’effet, faites glisser les poignées vertes pour modifier la taille de rognage de l’image et faites glisser la fenêtre pour définir son emplacement.
5 Pour choisir la partie de l’image qui apparaît à la fin de l’effet, faites glisser les poignées rouges pour modifier la taille de rognage de l’image et faites glisser la fenêtre pour définir son emplacement.
6 Pour reproduire continuellement le plan avec l’effet appliqué, cliquez sur le bouton Lecture en boucle.
7 Pour intervertir les emplacements du départ et d’arrivée, cliquez sur le bouton Échange.
8 Cliquez sur Terminé.
Conseil : Faites appel à l’effet Rogner et à des images clés intermédiaires pour créer un effet ressemblant à l’effet Ken Burns, qui suit cependant une trajectoire plus compliquée.
Pour en savoir plus sur la manipulation d’effets intégrés, consultez Manipulation d’effets intégrés à la page 235.
Inclinaison de la perspective d’un plan
L’effet Distorsion s’apparente à l’effet Transformer hormis que vous êtes en mesure de faire glisser chacun des coins indépendamment des autres, vous permettant ainsi de générer une apparence inclinée ou d’ajouter de la perspective à l’image.
Remarque : L’effet Distorsion modifie la forme de la vidéo sans pour autant la déplacer. Pour repositionner la vidéo, utilisez l’effet Transformer.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 234
Ajustement de l’effet Distorsion
1 Sélectionnez un plan dans la timeline.
2 Pour accéder aux commandes Distorsion, effectuez l’une des opérations suivantes :
••
Choisissez Distorsion à partir du menu local situé dans le coin inférieur gauche du visualiseur (ou appuyez sur Commande + Maj + D).
••
Tout en maintenant la touche Contrôle enfoncée, cliquez dans le visualiseur sur le plan, puis choisissez Distorsion dans le menu contextuel.
3 Pour régler l’effet à l’aide des commandes à l’écran :
••
Poignées bleues situées à chaque coin : faites-les glisser pour repositionner chaque coin, ce qui ajoute de la perspective à l’image (une partie semble alors se projeter plus au premier plan que d’autres parties).
••
Poignées bleues situées au milieu de chaque côté : faites-les glisser pour ajuster la position de chaque côté. Vous pouvez ainsi générer un effet d’inclinaison en les faisant glisser dans la même direction que leur bord (plutôt que par rapport au centre).
••
N’importe où dans la fenêtre : faites glisser la fenêtre pour affiner sa position.
Faites glisser chaque coin pour définir sa position.Faites glisser les poignées au milieu des arrêtes pour régler la position d’un côté.
4 Pour ajuster indépendamment chaque coin par le biais de l’inspecteur vidéo, servez-vous des commandes Distorsion.
5 Lorsque vous avez fini l’ajustement de l’effet et que vous n’avez plus besoin des commandes à l’écran, cliquez sur Terminé.
Vous pouvez animer l’effet et le faire apparaître par dessus un arrière-plan. Pour en savoir plus sur la manipulation d’effets intégrés, consultez Manipulation d’effets intégrés à la page 235.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 235
Manipulation d’effets intégrés
Les méthodes suivantes vous permettent de travailler avec des effets intégrés.
Désactivation ou réinitialisation de l’effet
1 Sélectionnez dans la timeline un plan incluant un effet.
2 Procédez de l’une des manières suivantes :
••
Pour désactiver l’effet et conserver ses réglages : cliquez sur la case bleue en regard de l’effet utilisé (Transformer, Rogner ou Distorsion) dans l’inspecteur vidéo.
Vous pouvez cliquer à nouveau sur la case pour réactiver l’effet, simplifiant ainsi la comparaison du plan avec et sans l’effet.
Placez le pointeur sur cette zone et cliquez sur Afficher pour afficher les réglages d’un effet.Cliquez sur une case pour activer ou désactiver un effet.Cliquez sur l’icône d’un effet pour afficher ou masquer les commandes à l’écran correspondantes.Cliquez sur le bouton Réinitialiser d’un effet pour rétablir les valeurs par défaut des réglages.
••
Pour rétablir toutes les valeurs de l’effet à leur valeur par défaut : Cliquez sur le bouton Réinitialiser .
••
Pour désactiver l’effet dans l’éditeur d’animation vidéo : ouvrez l’éditeur en choisissant Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle + V), puis cliquez sur la case en regard de l’effet à désactiver.
Cliquez sur la case d’un effet pour l’activer ou le désactiver.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 236
Animation d’effets intégrés
Utilisez des images clés pour faire évoluer les réglages de l’effet au fur et à mesure de la lecture du plan. Ceci s’applique à tous les effets intégrés sauf à l’effet Ken Burns.
1 Sélectionnez un plan dans la timeline.
2 Choisissez l’effet à animer à partir du menu local situé dans le coin inférieur gauche du visualiseur.
Dans le cadre de cet exemple, choisissez Transformer (ou appuyez sur Maj + T).
3 Positionnez la tête de lecture de la timeline au début du plan.
4 Réglez l’emplacement de départ à l’aide des commandes à l’écran de l’effet.
5 Cliquez sur le bouton « Ajouter une image clé » situé dans la partie supérieure du visualiseur.
Cliquez sur le bouton « Ajouter une image clé » pour ajouter à l’animation la première image clé.
6 Placez la tête de lecture sur la fin du plan.
7 Réglez l’emplacement de fin à l’aide des commandes de l’effet.
Une image clé est alors automatiquement ajoutée. De plus, dans le cas des effets Transformer, une ligne indique la trajectoire empruntée par l’image.
Cliquez sur la flèche gauche pour passer directement à la première image clé.Une fois terminé, la création de l’animation, cliquez sur Terminé.La ligne rouge indique la trajectoire du centre de l’image.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 237
8 Pour confirmer vos opérations, cliquez sur Terminé dans le coin supérieur droit du visualiseur.
Une fois lancée la lecture du plan, la vidéo se déplace de façon fluide entre les images clés, créant ainsi une effet animé. Vous pouvez en fait ajouter plusieurs images clés en déplaçant la tête de lecture et en adaptant les commandes de l’effet. Pour en savoir plus sur l’utilisation des images clés, consultez Présentation de l’animation vidéo à la page 256.
Ajustement de la trajectoire d’animation de l’effet Transformer
Les animations par transformation présentent des commandes d’images clés complémentaires qui permettent d’affiner la trajectoire d’animation. Pour les afficher, vous devez au préalable créer un effet simple sur trois coins.
Le bouton « Ajouter une image clé » s’adapte en bouton « Supprimer l’image clé » lorsque le point actif se trouve sur une image clé.Image clé du milieu
1 Sélectionnez un plan dans la timeline et placez la tête de lecture sur son début.
2 Sélectionnez Transformer à partir du menu local situé dans le coin inférieur gauche du visualiseur (ou appuyez sur Maj + T), puis faites glisser les commandes à l’écran pour réduire la taille de l’image et la placer dans le coin supérieur gauche.
3 Cliquez sur le bouton « Ajouter une image clé ».
4 Dans la timeline, placez la tête de lecture au milieu du plan.
5 Utilisez les commandes à l’écran Transformer pour déplacer l’image vers le coin supérieur droit.
Une image clé est automatiquement ajoutée et une ligne rouge indique le chemin emprunté jusqu’alors par l’animation.
6 Dans la timeline, placez la tête de lecture sur la fin du plan.
7 Servez-vous des commandes à l’écran Transformer pour déplacer l’image sur le centre inférieur.
Une image clé est automatiquement ajoutée et la ligne rouge s’étend alors jusqu’au nouveau point.
8 Pour passer directement d’une image clé à l’autre, cliquez sur les carrés blancs placés le long de la ligne rouge.
Les première et dernière images clés sont dotées de flèches blanches.
Par défaut, la ligne rouge suit une trajectoire fluide (indiquée par sa courbe harmonieuse).
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 238
9 Pour contrôler cette courbe représentant la trajectoire, cliquez sur l’image clé du début ou du milieu, puis faites glisser les poignées de courbe.
Faites glisser ces poignées sur une image clé du milieu pour ajuster la courbe de la trajectoire.Image clé de départImage clé d’arrivée
10 Cliquez sur une image clé en maintenant la touche Contrôle enfoncée, puis choisissez une option dans le menu contextuel :
••
Linéaire : sert aux trajectoires directes non courbes partant ou arrivant à l’image clé en question.
••
Lissage : sert aux trajectoires courbes partant ou arrivant à l’image clé en question, offrant ainsi un mouvement plus naturel.
••
Supprimer le point : permet de supprimer l’image clé.
••
Verrouiller le point : permet d’empêcher tout ajustement de l’image clé. Une fois activé, son intitulé change en Déverrouiller le point.
••
Désactiver le point : sert à ignorer l’image clé en question, mais la laisse en place pour pouvoir l’utiliser ultérieurement au besoin. Une fois activé, son intitulé change en Activer le point.
Effets composites sur un arrière-plan
Les effets Transformer, Trim et Distorsion génèrent souvent une image de taille inférieure à la taille réelle, avec des zones vides noires. Vous pouvez remplacer ces dernières par un arrière-plan en plaçant le plan transformé sur un plan d’arrière-plan, technique connue sous le nom de compositing.
Procédez de l’une des manières suivantes :
mm
Ajoutez un plan à la timeline sous forme de plan connecté, puis l’effet à ce plan.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 239
Ceci entraîne le placement du plan au-dessus du plan du scénario principal, qui devient alors automatiquement l’arrière-plan de l’effet.
Plan composé sur le scénario principalPlan situé dans le scénario principal, constituant l’arrière-plan
mm
Si le plan se trouve déjà dans le scénario principal, faites-le glisser au-dessus de celui-ci, en le positionnant sur le plan faisant office d’arrière-plan.
L’image devient ainsi une image composite.
Les effets Transformer et Trim ont permis de créer une image composite sur l’arrière-plan avec cette image.
Pour en savoir plus sur l’utilisation de plans connectés, consultez Ajout de scénarios à la page 274. Pour en savoir plus sur le compositing de plans, consultez Présentation du compositing à la page 367.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 240
Ajout et réglage des effets de plans
Présentation des effets de plans
En plus des effets intégrés, Final Cut Pro contient une grande variété d’effets vidéo qu’il vous est
possible d’appliquer aux plans vidéo de votre projet. De nombreux effets modifient l’apparence
de votre vidéo, allant de l’ajout d’un flou ou d’un éclat à de fortes distorsions. Certains effets
incrustent des graphismes issus d’un caméscope ou du timecode. Il existe aussi un effet pour
l’incrustation d’un plan vidéo sur un autre.
Final Cut Pro inclut également un ensemble étendu d’effets audio applicables aux clips audio de
votre projet. De nombreux effets modifient le son de votre audio, allant de l’ajout d’échos subtils
à de fortes distorsions de la tonalité.
Après avoir ajouté un effet, vous avez la possibilité de régler ses paramètres. Certains effets ne
disposent que de peu de réglages alors que d’autres en proposent un ensemble complet, vous
permettant un contrôle étendu de leur apparence. Les effets peuvent en outre être animés, leurs
réglages pouvant s’adapter lors de la lecture du plan.
Il est possible d’appliquer plusieurs effets à vos plans, en « empilant » des effets. Cependant,
l’ordre dans lequel vous appliquez ces effets peut influer sur l’apparence finale de votre vidéo.
De plus, vous pouvez ouvrir de nombreux effets vidéo pour les modifier dans Motion, afin de
créer des versions spécialisées utilisables dans vos projets.
Ajout d’effets au projet
Passez par le navigateur d’effets pour ajouter des effets aux plans de votre projet.
Ajout d’un effet à un plan du projet
1 Sélectionnez le plan voulu dans la timeline, puis cliquez sur le bouton Effets de la barre d’outils.
2 Dans le navigateur d’effets, sélectionnez un effet en vous aidant de l’un des éléments suivants :
•• Pour effectuer un preview une fois l’effet appliqué à la vidéo tirée du plan sélectionné sur la timeline
: placez le pointeur sur les vignettes d’effets vidéo.
•• Pour effectuer un preview influant sur la commande principale de l’effet : maintenez la touche
Option enfoncée tout en plaçant le pointeur sur la vignette d’un effet vidéo.
•• Pour filtrer la liste des effets qui apparaissent à l’écran : saisissez le texte recherché dans le champ
de recherche du navigateur d’effets.
3 Procédez de l’une des manières suivantes :
•• Faites glisser l’effet sur le plan situé dans la timeline, auquel vous voulez l’appliquer.
•• Double-cliquez sur la vignette de l’effet pour l’appliquer au plan sélectionné.
Il ne vous reste à présent qu’à adapter l’effet selon vos besoins.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 241
Réglage d’effets dans Final Cut Pro
Pour la plupart des effets, vous pouvez ajuster un ou plusieurs paramètres dans l’inspecteur vidéo ou audio, le visualiseur ou l’éditeur d’animation vidéo ou audio. Vous pouvez également contrôler l’application de l’effet au plan, soit progressivement, soit entièrement sur toute sa durée d’application.
Ajustement d’un effet dans l’inspecteur vidéo et dans le visualiseur
1 Sélectionnez dans la timeline un plan incluant un effet à adapter.
2 Accédez à l’effet dans l’inspecteur vidéo ou dans l’inspecteur audio.
Cliquez sur cette icône pour activer ou désactiver l’effet.Cliquez dessus pour réinitialiser les ajustements de l’effet.
Dans l’exemple ci-dessus, plusieurs réglages sont sélectionnés pour l’effet Capteur. De nombreux effets disposent également d’ajustements qui apparaissent dans le visualiseur, connus sous le nom de commandes à l’écran.
Conseil : Dans le cas d’effets audio, il vous est possible de cliquer sur le bouton Commandes (qui se trouve à droite du nom de l’effet) pour afficher à l’écran une fenêtre de commande personnalisée.
Cliquez sur cette icône pour accéder à la fenêtre de commande personnalisée de l’effet.
3 Sélectionnez les paramètres d’effets et ajustez leurs réglages selon vos besoins.
Pour rétablir les valeurs par défaut des réglages des effets, vous avez la possibilité de cliquer sur le bouton Réinitialiser de l’effet.
Ajustement d’un effet dans l’éditeur d’animation vidéo
De nombreux paramètres d’effets peuvent être adaptés dans l’éditeur d’animation vidéo. De plus, il est possible de configurer ces paramètres de sorte qu’ils soient appliqués progressivement.
1 Sélectionnez dans la timeline un plan incluant un effet vidéo.
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2 Choisissez Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle + V).
L’effet vient s’afficher dans l’éditeur d’animation vidéo au-dessus du plan, sous forme d’animation. Vous pouvez cliquer sur sa case pour activer ou désactiver l’effet. Les effets qui possèdent plusieurs attributs adaptables disposent également d’un menu local pour vous permettre de choisir l’attribut à afficher et à régler.
Double-cliquez sur les effets présentant cette icône pour les développer verticalement.Choisissez un ajustement d’effet spécifique dans ce menu local.Cliquez sur cette icône pour activer ou désactiver l’effet.
3 Pour étirer verticalement la zone d’ajustement de l’effet, choisissez un ajustement donné dans le menu local (si celui-ci est présent) et double-cliquez dessus.
Ceci ne s’applique qu’aux ajustements d’effet qui possèdent une seule valeur. Une icône apparaît à droite de la section de l’effet si l’ajustement peut être développé.
4 Pour que le réglage de l’effet effectue un fondu entrant et sortant du plan, faites glisser les poignées situées de chaque côté de l’effet.
Faites glisser les poignées de fondu pour appliquer progressivement l’effet.Faites glisser cette ligne pour ajuster la valeur sélectionnée.
Il vous est également possible de faire glisser verticalement la ligne horizontale pour contrôler le réglage sélectionné de l’effet (Degré, dans le cas de l’exemple ci-dessus). Toutes les images clés que vous ajoutez apparaissent également.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 243
Affichage des effets audio appliqués à un plan
1 Sélectionnez dans la timeline un plan incluant un effet audio.
2 choisissez Plan > Afficher l’animation audio (ou appuyez sur Contrôle + A).
L’effet audio apparaît dans l’éditeur d’animation audio sous forme d’animation. Vous pouvez cliquer sur sa case verte pour activer ou désactiver l’effet.
Modification de l’ordre des effets
Vous pouvez appliquer plusieurs effets à un plan sur la timeline. L’ordre dans lequel vous les appliquez peut influer sur la sortie finale générée. Par exemple, l’application de l’effet Parasites, qui ajoute par défaut des cercles blancs aléatoires à la vidéo, avant l’effet Papier vieilli, génère par conséquent des cercles blancs dont l’aspect est également vieilli ; son application après l’effet Papier vieilli produit donc des cercles blancs inchangés.
Vous pouvez modifier en toute simplicité l’ordre des effets de plan dans l’inspecteur vidéo, dans l’inspecteur audio, dans l’éditeur d’animation vidéo ou dans l’éditeur d’animation audio.
Remarque : Vous ne pouvez pas adapter l’ordre des effets intégrés ou de l’étalonnage.
Modification de l’ordre des effets de plan vidéo et de clip audio à l’aide de l’inspecteur vidéo ou de l’inspecteur audio
1 Sélectionnez dans la timeline un plan vidéo ou un clip audio auquel plusieurs effets sont appliqués, puis procédez de l’une des manières suivantes :
••
Pour constater le résultat des effets vidéo : ouvrez l’inspecteur vidéo.
••
Pour constater le résultat des effets audio : ouvrez l’inspecteur audio.
2 Dans l’inspecteur vidéo ou l’inspecteur audio, faites glisser les effets pour en modifier l’ordre.
Les effets intégrés et l’étalonnage ne peuvent pas être réorganisés.Faites glisser les effets de plan pour les réorganiser.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 244
Modification de l’ordre des effets de plan vidéo et de clip audio à l’aide de l’éditeur d’animation vidéo ou de l’éditeur d’animation audio
1 Sélectionnez dans la timeline un plan vidéo ou un clip audio auquel plusieurs effets sont appliqués, puis procédez de l’une des manières suivantes :
••
Pour constater le résultat des effets vidéo : Choisissez Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle + V).
••
Pour constater le résultat des effets audio : choisissez Plan > Afficher l’animation audio (ou appuyez sur Contrôle + A).
2 Dans l’éditeur d’animation vidéo ou dans l’éditeur d’animation audio, faites glisser les effets pour en modifier l’ordre.
Les effets intégrés et l’étalonnage ne peuvent pas être réorganisés.Faites glisser les effets de plan pour les réorganiser.
Copie d’effets et d’attributs entre des plans
Final Cut Pro propose deux façons de copier des effets entre les plans. La commande Coller les attributs vous permet de copier les attributs de plan sélectionnés à un autre plan et offre un contrôle supplémentaire sur les différents effets, réglages et images clés. La commande Coller les effets vous permet de copier tous les effets d’un plan vers un autre plan. Elle s’avère être le moyen le plus rapide pour copier des effets et des attributs.
Copie des attribut d’un plan sélectionné vers un autre
Vous pouvez copier les attributs, tels que les réglages et les effets, d’un plan à l’autre. Par exemple, il vous est possible de copier les réglages de rognage vidéo ou tout autre effet ajouté à un plan, y compris des réglages d’image clé quelconques.
La fonctionnalité Coller les attributs vous permet de sélectionner les attributs de plan à appliquer.
1 Sélectionnez un plan dans la timeline, puis choisissez Édition > Copier (ou appuyez sur Commande + C).
2 Sélectionnez le ou les plans auxquels vous souhaitez appliquer les attributs, puis choisissez Édition > Coller les attributs (ou appuyez sur Commande + Maj + V).
3 Effectuez l’une des opérations suivantes :
••
Pour appliquer tous les attributs vidéo ou audio du plan source : cochez la case Attributs vidéo ou la case Attributs audio.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 245
••
Pour appliquer des attributs précis : cochez la case de chaque attribut à appliquer.
4 Si vous apportez un réglage quelconque aux images clés du plan source, choisissez Conserver la synchronisation ou Adapter par étirement à partir du menu local Images clés. Si vous choisissez Adapter par étirement, Final Cut Pro adapte les images clés dans le temps pour respecter la durée du plan de destination.
5 Cliquez sur Coller.
Copie de tous les effets d’un plan vers un autre
1 Dans la timeline, sélectionnez le plan duquel copier les effets, puis sélectionnez Édition > copier (ou appuyez sur Commande + C).
2 Sélectionnez le ou les plans auxquels vous souhaitez appliquer les effets, puis choisissez Édition > Coller les effets (ou appuyez sur Commande + Option + V).
Les effets du plan source et leurs réglages s’appliquent alors au plan de destination. Pour bénéficier d’un plus grand contrôle sur les différents attributs, suivez les instructions dans la section « Copie des attribut d’un plan sélectionné vers un autre » ci-avant.
Désactivation ou suppression d’un effet d’un plan
Lorsque vous appliquez un effet à un plan, il vous est possible soit de désactiver l’effet (tout en conservant ses réglages), soit de le supprimer du plan.
Désactivation d’un effet de plan
1 Sélectionnez dans la timeline un plan incluant un effet.
2 Procédez de l’une des manières suivantes :
••
Choisissez Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle + V) pour voir les effets vidéo, ou choisissez Plan > Afficher l’animation audio (ou appuyez sur Contrôle + A) pour voir les effets audio. Sélectionnez l’effet, puis cliquez sur sa case.
••
Sélectionnez l’effet dans l’inspecteur vidéo ou dans l’inspecteur audio, puis cliquez sur sa case bleue.
L’effet ne s’applique plus à la vidéo ou à l’audio. Vous pouvez cliquer sur la case pour réactiver l’effet avec ses réglages inaltérés.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 246
Suppression d’un effet d’un plan
1 Sélectionnez dans la timeline un plan incluant un effet.
2 Procédez de l’une des manières suivantes :
•• Choisissez Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle + V) pour voir les effets
vidéo, ou choisissez Plan > Afficher l’animation audio pour voir les effets audio. Sélectionnez
l’effet, puis appuyez sur Supprimer.
•• Sélectionnez à l’effet dans l’inspecteur vidéo ou dans l’inspecteur audio.
Création de versions d’effets vidéo spécialisées dans Motion
De nombreux effets vidéo fournis ont été élaborés dans Motion, une application Apple conçue
pour fonctionner avec Final Cut Pro. Vous pouvez ouvrir ces effets dans Motion, y apporter des
modifications et enregistrer ces modifications sous forme de nouvel effet qui s’affiche ensuite
dans le navigateur d’effets.
Important : Les étapes suivantes impliquent que Motion 5 soit installé sur votre ordinateur.
Modification d’un effet vidéo dans Motion
1 Dans la barre d’outils, cliquez sur le bouton Effets.
2 Dans le navigateur d’effets, cliquez sur l’effet tout en maintenant la touche Contrôle enfoncée,
puis choisissez « Ouvrir une copie dans Motion » dans le menu contextuel.
Motion se lance automatiquement et ouvre le projet de l’effet.
3 Modifiez le projet de l’effet.
Pour en savoir plus, consultez l’Aide Motion à l’adresse http://help.apple.com/motion.
4 Choisissez Fichier > Enregistrer sous (ou appuyez sur Commande + Maj + S), attribuez un nom au
nouvel effet (appelé modèle dans Motion), affectez-le à une catégorie (ou créez-en une), choisissez
un thème (le cas échéant), puis cliquez sur Publier.
Remarque : Si vous choisissez Fichier > Enregistrer, l’effet s’enregistre alors en reprenant le même
nom complété du suffixe « copie ».
Ajout de générateurs
Présentation des générateurs
Final Cut Pro comprend une série de plans vidéo, appelés générateurs, pour une panoplie étendue
d’usages dans un projet. Par exemple, vous pouvez faire appel aux générateurs pour ajouter
les éléments suivants :
•• Contenu de repère d’emplacement : si du contenu est absent du projet car il n’a pas encore été
filmé ou remis, vous pouvez ajouter un plan repère d’emplacement. Le générateur de repère
d’emplacement vous permet d’ajouter un plan à la timeline avec une silhouette adaptée
pour représenter le contenu manquant. Consultez Utilisation d’un repère d’emplacement à la
page 247.
•• Compteur de timecode : vous avez la possibilité d’ajouter à votre projet un plan de timecode
pour superposer un compteur de timecode généré sur une partie ou l’intégralité du projet.
Consultez Usage d’un compteur de timecode à la page 248.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 247
•• Plan de forme : vous avez le choix parmi une grande variété de formes pour ajouter des éléments
graphiques au projet. Consultez Utilisation d’une forme à la page 248.
•• Plan d’arrière-plan général : Final Cut Pro inclut un grand choix d’arrière-plans fixes et animés
sur lesquels vous pouvez superposer des titres ou des effets d’incrustation. Consultez
Utilisation d’un arrière-plan à la page 249.
Tous les générateurs s’ajoutent au projet sous forme de plans dont la durée est définie d’entrée
par défaut. Vous pouvez modifier cette durée et la position de façon identique à tout autre plan
vidéo sur la timeline.
Remarque : Les plans générateurs n’apparaissent pas dans le navigateur d’effets.
Utilisation d’un repère d’emplacement
Les repères d’emplacement générés s’avèrent utiles dans de nombreux cas de figure où il
convient de remplir un vide dans le projet par quelque chose fournissant un indice sur ce que le
contenu final est appelé à inclure. Vous pouvez configurer les plans repère d’emplacement pour
représenter un large éventail de plans standard, tels que des gros plans, des groupes, des plans
élargis, etc.
Insertion et configuration d’un plan repère d’emplacement
1 Dans la timeline, positionnez la tête de lecture sur le point où vous comptez ajouter le plan
repère d’emplacement.
2 Procédez de l’une des manières suivantes :
•• Choisissez Édition > Insérer le repère d’emplacement.
•• Ouvrez le navigateur de générateurs en cliquant sur le bouton Générateurs repris sur la barre
d’outils, puis double-cliquez sur la vignette intitulée Repère d’emplacement.
3 Sélectionnez un plan repère d’emplacement sur la timeline.
4 Configurez la prise de vue pour le plan à représenter à l’aide des réglages de l’inspecteur
du générateur.
5 Sélectionnez Afficher les notes pour ajouter une zone de texte dans le visualiseur où il vous est
possible de saisir du texte appartenant au plan en question.
Si vous préférez remplir un vide sur la timeline par un plan vierge, vous pouvez insérer un espace.
Pour en savoir plus, consultez Insertion de plans dans votre projet à la page 108.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 248
Usage d’un compteur de timecode
Lors de l’envoi du projet pour le faire passer en revue, il peut s’avérer utile d’y superposer le timecode,
simplifiant ainsi la tâche au réviseur pour indiquer précisément les sections afin de faire
part de commentaires.
Insertion et configuration d’un compteur de timecode
1 Ouvrez le navigateur de générateurs en cliquant sur le bouton Générateurs repris sur la barre
d’outils.
2 Faites glisser le générateur de timecode au-dessus du scénario principal.
Le plan du générateur de timecode est généralement placé au début du projet, mais il vous
est possible de le placer n’importe où vous voulez qu’il apparaisse puis adapter sa durée à celle
du projet.
3 Configurez les réglages de timecode dans l’inspecteur du générateur.
Vous pouvez cliquer sur le bouton Réinitialiser pour rétablir les réglages par défaut
du générateur.
Utilisation d’une forme
Vous pouvez configurer le générateur de formes afin qu’il s’adapte à n’importe quelle forme
parmi celles proposées, telle qu’une étoile, un losange, une flèche et un coeur. Il s’agit ici de celles
utilisées le plus souvent au-dessus du scénario principal pour ajouter un élément graphique au
projet qu’il vous est ensuite possible d’animer.
Insertion et configuration d’une forme
1 Ouvrez le navigateur de générateurs en cliquant sur le bouton Générateurs repris sur la barre
d’outils.
2 Faites glisser le générateur de formes au-dessus du scénario principal afin qu’il vienne se positionner
par dessus le plan vidéo sur lequel vous voulez que la forme apparaisse.
La forme par défaut correspond à un cercle blanc.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 249
3 Dans le menu local Forme de l’inspecteur du générateur, choisissez la forme à utiliser.
4 Définissez la couleur de remplissage, la couleur et la largeur du contour, ainsi que l’ombre portée
de la forme.
Vous pouvez cliquer sur le bouton Réinitialiser pour rétablir les réglages par défaut
du générateur.
5 Pour adapter la taille, la position et la rotation de la forme, faites appel à l’effet intégré
Transformer ou Distorsion.
Utilisez l’effet Transformer pour
modifier la taille, la position et la
rotation de la forme.
Grâce à ces effets, il vous est également possible d’animer la forme. Par exemple, vous pouvez
faire suivre une personne dans une salle par une flèche.
6 Pour rendre la forme partiellement transparente, sélectionnez-la dans la timeline, puis ajustez son
réglage Opacité dans l’inspecteur vidéo.
Utilisation d’un arrière-plan
De nombreux générateurs prévoient un arrière-plan à caractère général sur lequel il vous est
possible de placer des effets intégrés, des titres, des incrustations et des plans avec un canal
alpha. Certains se composent de simples couleurs unies, d’autres représentent des textures telles
que du bois ou de la pierre. Des générateurs contiennent même des animations, proposant ainsi
un arrière-plan plus attractif.
Insertion et configuration d’un plan d’arrière-plan
1 Dans la timeline, positionnez la tête de lecture sur le point où vous comptez ajouter le plan
d’arrière-plan.
2 Ouvrez le navigateur de générateurs en cliquant sur le bouton Générateurs repris sur la barre
d’outils.
3 Dans le navigateur de générateurs, double-cliquez sur la vignette représentant l’arrière-plan
à utiliser.
4 Sélectionnez le plan d’arrière-plan sur la timeline.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 250
5 Configurez l’arrière-plan (le cas échéant) à l’aide des réglages repris dans l’inspecteur
du générateur.
Création de versions de générateurs spécialisées dans Motion
De nombreux générateurs ont été élaborés dans Motion, une application Apple conçue pour
fonctionner avec Final Cut Pro. Pour les personnaliser davantage, vous pouvez les ouvrir dans
Motion, apporter des modifications et enregistrer ces dernières sous forme de nouveau fichier
qui apparaît ensuite dans le navigateur de générateurs.
Important : Les étapes suivantes impliquent que Motion 5 soit installé sur votre ordinateur.
Modification d’un générateur ou d’un arrière-plan dans Motion
1 Ouvrez le navigateur de générateurs en cliquant sur le bouton Générateurs repris sur la barre
d’outils.
2 Dans le navigateur de générateurs, cliquez sur une vignette en maintenant la touche Contrôle
enfoncée, puis choisissez « Ouvrir une copie dans Motion » dans le menu contextuel.
Motion se lance automatiquement et ouvre le projet du plan.
3 Modifiez le projet du plan.
Pour en savoir plus, consultez l’Aide Motion à l’adresse http://help.apple.com/motion.
4 Choisissez Fichier > Enregistrer sous (ou appuyez sur les touches Commande + Maj + S), attribuez
un nom au nouveau générateur, puis cliquez sur Enregistrer.
Remarque : Si vous choisissez Fichier > Enregistrer, le générateur s’enregistre alors en reprenant
le même nom complété du suffixe « copie ».
À propos des thèmes
Final Cut Pro comprend un certain nombre de générateurs, de transitions et de titres, groupés
par thème. Les générateurs, les transitions et les titres de chaque thème utilisent des formes et
des couleurs proches, offrant un style visuel unique à chacun des thèmes.
Les noms de thème, tels que Boîtes, Bande dessinée ou Documentaire, suggèrent des éléments
qu'ils utilisent ou le type de projet dans lequel il peut être utilisé. Chaque thème peut contenir
plusieurs générateurs vidéo, transitions vidéo et titres.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 251
Pour accéder au navigateur de thèmes, cliquez sur le bouton Thèmes de la barre d’outils.
Pour en savoir plus sur les générateurs vidéo, consultez la section Présentation des générateurs à
la page 246.
Pour en savoir plus sur les transitions vidéo, consultez la section Présentation des transitions à la
page 213.
Pour en savoir plus sur les titres, consultez la section Présentation des titres à la page 222.
Usage des commandes à l’écran
Présentation des commandes à l’écran
De nombreux effets, transitions et autres éléments font appel à des commandes à l’écran, placées
au premier plan de la vidéo reprise dans le visualiseur, afin de simplifier l’ajustement d’un grand
nombre de paramètres. Dans de nombreux cas, ces commandes à l’écran recopient les commandes
reprises dans les inspecteurs, bien que dans certains cas les commandes soient uniques
et constituent le seul moyen de régler un paramètre donné.
Ces commandes peuvent se limiter à la simple définition du centre d’un effet de loupe ou
s’étendre au réglage plus complexe du diamètre, de la largeur et de l’emplacement d’un effet
de vignette.
Cette section se concentre sur les types de commandes à l’écran que l’on retrouve dans les effets
et les transitions de plans. Ces commandes sont également proposées dans d’autres parties de
Final Cut Pro, notamment les suivantes :
•• Effets intégrés : les commandes à l’écran s’avèrent particulièrement utiles pour tous les effets
intégrés. Consultez Présentation des effets intégrés à la page 228.
•• Incrustation colorimétrique : des commandes à l’écran spécialisées vous sont proposées lors de
la configuration d’un incrustateur colorimétrique. Consultez Utilisation des incrustations chromatiques
à la page 348.
•• Étalonnages : les étalonnages prévoient parfois des commandes à l’écran afin de créer des
masques de couleurs et de formes. Consultez Présentation de l’étalonnage manuel à la
page 375.
Affichage ou masquage des commandes à l’écran
Les commandes à l'écran des transitions s'affichent lorsqu'une transition est sélectionnée. Les
commandes à l'écran des effets de plan s'affichent lorsqu'un effet est sélectionné ou lorsque la
tête de lecture est positionnées sur un plan ou un titre dans la timeline à laquelle un effet vidéo
est appliqué. Vous pouvez aussi afficher ou masquer les commandes à l'écran.
Remarque : Les commandes à l’écran se masquent toujours lorsque vous lancez la lecture de
plans dans la timeline.
Affichage ou masquage des commandes à l’écran d’une transition
mm Pour afficher les commandes à l’écran de la transition : sélectionnez la transition dans la timeline.
mm Pour masquer les commandes à l’écran de la transition : désélectionnez la transition sur la timeline.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 252
Affichage ou masquage des commandes à l’écran de l’effet d’un plan
mm
Pour afficher les commandes de l’effet : placez la tête de lecture sur un plan avec l'effet ou sélectionnez un plan avec l'effet dans la timeline, puis sélectionnez l'effet dans l'éditeur d'animation vidéo ou dans l'inspecteur vidéo.
mm
Pour masquer les commandes à l’écran de l’effet : désélectionnez le plan incluant l’effet sur la timeline ou désélectionnez l’effet soit dans l’éditeur d’animation vidéo, soit dans l’inspecteur vidéo.
Remarque : Si un plan contient plusieurs effets utilisant des commandes à l'écran, seules celles de l'effet situé le plus haut s'affichent lorsque la tête de lecture est positionnée sur le plan contenant les effets.
Exemples de commandes à l’écran
Ces quelques exemples de commandes à l’écran ci-dessous peuvent s’avérer utiles au moment de manipuler des effets de plans et des transitions. De nombreux autres effets de plans et transitions s’appuient sur ces commandes ou des commandes semblables (les exemples ci-après sont prévus dans le but de fournir des informations à caractère général sur l’utilisation des commandes à l’écran).
N’oubliez pas les points ci-dessous en suivant ces exemples :
••
Ces derniers partent du principe que vous êtes familier de l’application d’effets aux plans dans la timeline.
••
S’il vous est possible d’appliquer plusieurs effets à un même plan, il est recommandé dans le cadre de ces exemples soit d’appliquer chaque effet à un plan différent sur la timeline, soit de supprimer l’effet du plan voulu avant d’appliquer un autre effet.
••
Ces exemples partent en outre du principe que vous savez ajouter des transitions à des points de montage dans la timeline.
••
La plupart des effets et des transitions possèdent des ajustements complémentaires dans l’inspecteur vidéo ou dans l’inspecteur de transition.
Exemple : Usage des commandes à l’écran pour appliquer un effet Capteur
1 Ouvrez le navigateur d’effets et faites glisser l’effet Capteur sur un plan de la timeline.
2 Pour régler les commandes à l’écran de l’effet, effectuez l’une des opérations suivantes :
••
Pour positionner l’effet : faites glisser le cercle central.
••
Pour définir la taille de l’effet : faites glisser le cercle extérieur.
Faites glisser le cercle central pour positionner l’effet.Faites glisser le cercle pour définir la taille de l’effet.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 253
Exemple : Usage des commandes à l’écran pour appliquer un effet Gouttelette
1 Ouvrez le navigateur d’effets et faites glisser l’effet Gouttelette sur un plan de la timeline.
2 Pour régler les commandes à l’écran de l’effet, effectuez l’une des opérations suivantes :
••
Pour positionner l’effet : faites glisser le cercle central.
••
Pour définir la limite extérieure de l’effet : faites glisser le cercle extérieur.
••
Pour définir la limite intérieure de l’effet : faites glisser le cercle intérieur.
••
Pour définir la taille globale de l’effet : faites glisser n’importe quelle zone entre les cercles intérieur et extérieur. Une zone en relief apparaît lorsque le pointeur se place dessus.
Faites glisser le cercle central pour positionner l’effet.Faites glisser la zone (grisée) délimitée par les cercles pour définir l’étendue de l’effet global.Faites glisser le cercle intérieur pour régler la limite intérieure.Faites glisser le cercle extérieur pour régler la limite extérieure.
Exemple : Usage des commandes à l’écran pour appliquer un effet Prisme
1 Ouvrez le navigateur d’effets et faites glisser l’effet Prisme sur un plan de la timeline.
2 Pour indiquer la direction de l’effet, faites glisser la flèche.
L’effet ne prévoyant aucun centre défini, le cercle central ne peut pas être glissé.
Faites glisser la flèche pour indiquer la direction de l’effet.Le cercle central ne peut pas être glissé car l’effet ne possède aucun centre défini.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 254
Exemple : Usage des commandes à l’écran pour appliquer un effet Étalement
1 Ouvrez le navigateur d’effets et faites glisser l’effet Étalement sur un plan de la timeline.
2 Pour régler les commandes à l’écran de l’effet, effectuez l’une des opérations suivantes :
••
Pour positionner l’effet : faites glisser le cercle central.
••
Pour définir le sens de l’effet : faites glisser la poignée de rotation.
Faites glisser cette poignée pour faire pivoter la direction de l’effet.Faites glisser le cercle central pour régler la position de départ de l’effet.
Exemple : Usage des commandes à l’écran pour appliquer une transition Centre
1 Ouvrez le navigateur de transitions et faites glisser la transition Centre sur un point de montage de la timeline.
2 Pour régler les commandes à l’écran de la transition, effectuez l’une des opérations suivantes :
••
Pour positionner la transition : faites glisser le cercle central.
••
Pour définir le sens de la transition : faites glisser la flèche.
••
Pour régler l’épaisseur de la bordure de la transition (effet d’adoucissement dans ce cas) : faites glisser la poignée extérieure par rapport au cercle central.
Faites glisser la flèche pour indiquer la direction de la transition.Faites glisser le cercle central pour positionner la transition.Faites glisser cette poignée pour définir la largeur de la bordure (ici, il s’agit d’une frange d’adoucissement).
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 255
Exemple : Usage des commandes à l’écran pour appliquer une transition Étoile
1 Ouvrez le navigateur de transitions et faites glisser la transition Étoile sur un point de montage de la timeline.
2 Pour régler les commandes à l’écran de la transition, effectuez l’une des opérations suivantes :
••
Pour positionner la transition : faites glisser le cercle central.
••
Pour définir le nombre de points de l’étoile : faites glisser la poignée la plus longue.
••
Pour faire pivoter l’étoile : faites glisser la poignée la plus courte.
Faites glisser le cercle central pour régler la position de la transition.Faites glisser cette poignée pour définir le nombre de branches de l’étoile.Faites glisser cette poignée pour faire pivoter l’étoile de transition.
Exemple : Usage des commandes à l’écran pour appliquer une transition Zoom et panoramique
1 Ouvrez le navigateur de transitions et faites glisser la transition Zoom et panoramique sur un point de montage de la timeline.
2 Pour régler les commandes à l’écran de la transition, effectuez l’une des opérations suivantes :
••
Pour définir le point de départ de la transition : faites glisser le cercle vert.
••
Pour définir le point d’arrivée de la transition : faites glisser le cercle rouge.
Faites glisser le cercle rouge pour définir le point d’arrivée.Faites glisser le cercle vert pour régler le point de départ.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 256
Utilisation de l’éditeur d’animation vidéo
Présentation de l’animation vidéo
Grâce à Final Cut Pro, vous pouvez créer des variations simples de la vidéo au cours de la lecture, telles que le fondu entrant progressif de la vidéo au début d’un film. Vous avez également la possibilité de réaliser des ajustements sophistiqués et précis dans le temps pour de nombreux paramètres d’effets vidéo différents, de transitions, de trajectoires d’animation, etc.
Final Cut Pro prévoit des images clés et des poignées de fondu dans l’éditeur d’animation vidéo pour vous permettre de faire évoluer les effets au gré de la lecture.
Le terme image clé est issu de l’animation traditionnelle, où seules les images importantes (clés) d’une séquence animée étaient dessinées pour esquisser l’animation d’un personnage au fil du temps. Une fois les images clés déterminées, un artiste d’interpolation dessine toutes les images intermédiaires.
Dans Final Cut Pro, vous pouvez régler des paramètres sur des valeurs spécifiques à des moments précis (représentés par des images clés) et laisser Final Cut Pro jouer le rôle du graphiste chargé de l’interpolation en temps réel, en calculant toutes les valeurs intermédiaires entre vos images clés. Par exemple, pour animer un paramètre, tel qu’un réglage de rotation ou de mise à l’échelle, vous devez créer au moins deux images clés dans le plan. Final Cut Pro déduit la valeur du réglage entre les images clés, créant ainsi une animation fluide au fur et à mesure des fluctuations du réglage.
Vous pouvez animer normalement ou avec des images clés aussi bien des effets vidéo qu’audio dans Final Cut Pro, notamment les différents paramètres d’effets et les propriétés des plans. Pour en savoir plus sur l’animation audio avec des images clés, consultez Ajustement des effets audio à l’aide d’images clés à la page 200.
Ajustement d’effets vidéo à l’aide d’images clés
Vous devez dans ce cas placer des images clés à des points spécifiques d’un plan pour modifier les valeurs des paramètres au niveau de ces points.
Par exemple, si vous souhaitez qu’un plan de votre projet se fonde jusqu’à se noircir complètement, vous devez définir deux images clés d’opacité à deux instants différents : l’un avec une valeur de 100 (entièrement visible) et l’autre avec une valeur de 0 (complètement transparent). Final Cut Pro interpole les valeurs intermédiaires entre 100 et 0, ce qui crée un fondu en douceur vers le noir.
Il est possible de définir des images clés sur la timeline ou dans l’inspecteur vidéo. Pour localiser les images clés sur la timeline, vous devez afficher l’éditeur d’animation vidéo pour le plan en question.
Des commandes d’images clés supplémentaires apparaissent avec les effets intégrés de Final Cut Pro. Consultez Manipulation d’effets intégrés à la page 235.
Pour en savoir plus sur les images clés appliquées à des clips audio, consultez Ajustement des effets audio à l’aide d’images clés à la page 200.
Ajout d’images clés
1 Procédez de l’une des manières suivantes :
••
Sélectionnez un plan dans la timeline, puis choisissez Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle + V).
••
En maintenant la touche Contrôle enfoncée, cliquez sur un plan dans la timeline, puis choisissez « Afficher l’animation vidéo » dans le menu contextuel.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 257
Dans l’éditeur d’animation vidéo, chaque effet possède une zone séparée pour l’ajout d’images clés.
Certains effets possèdent plusieurs paramètres et vous permettent d’ajouter des images clés indépendamment aux différents paramètres. Dans l’éditeur d’animation vidéo, ils apparaissent avec un triangle en regard du nom de l’effet et dans l’inspecteur vidéo sous forme de commandes de paramètre supplémentaires.
2 Sélectionnez l’effet auquel vous souhaitez ajouter des images clés dans l’éditeur d’animation vidéo ou dans la section Effets de l’inspecteur vidéo.
3 Procédez de l’une des manières suivantes :
••
Pour développer les paramètres dans l’éditeur d’animation vidéo : cliquez sur le triangle pour choisir un paramètre précis dans le menu local, ou sélectionnez Tous pour ajouter des images clés à tous les paramètres.
••
Pour développer les paramètres dans l’inspecteur vidéo : cliquez sur Afficher lorsque vous placez le pointeur sur l’effet et qu’apparaît l’option.
4 Effectuez l’une des opérations suivantes pour chaque effet :
••
Dans l’éditeur d’animation vidéo : tout en maintenant la touche Option enfoncée, cliquez sur un point de la commande horizontale de l’effet où vous souhaitez ajouter l’image clé (ou appuyez sur Option + K).
Les images clés pour le paramètre choisi s’affichent sous forme de losanges blancs, alors que celles des autres paramètres apparaissent en gris.
Image clé du paramètre sélectionné
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 258
Si vous choisissez d’afficher tous les paramètres dans l’éditeur d’animation vidéo, les images clés s’affichent sous forme de losanges blancs pour tous les paramètres. Une paire de losanges indique que vous avez ajouté des images clés à plusieurs paramètres au point indiqué.
Double losange
••
Dans l’inspecteur vidéo : placez la tête de lecture dans la timeline à l’endroit où vous souhaitez ajouter une image clé, puis cliquez sur le bouton Image clé (ou appuyez sur Option + K).
Une fois l’image clé ajoutée, le bouton Image clé devient jaune, indiquant que la tête de lecture est positionnée sur une image clé.
Bouton d’image clé
Lorsque vous déplacez la tête de lecture sur la timeline, des flèches s’affichent à côté du bouton Image clé dans l’inspecteur vidéo pour indiquer de quel côté de la tête de lecture des images clés sont placées. Pour revenir à l’image clé précédente, cliquez sur la flèche gauche ou appuyez sur Option + Point-virgule (;). Pour passer à l’image clé suivante, cliquez sur la flèche droite ou appuyez sur Option + apostrophe (’).
Flèches
5 Ajoutez des images clés si nécessaire.
Conseil : après avoir ajouté une image clé, il vous est possible d’en ajouter une autre automatiquement en déplaçant la tête de lecture sur la timeline, puis en ajustant la valeur de paramètre de l’effet dans l’inspecteur vidéo.
Ajout automatique d’images clés sur une zone sélectionnée
Si un effet est assorti d’un triangle d’affichage dans l’éditeur d’animation vidéo, vous pouvez utiliser l’outil Sélectionner ou Sélection de plage pour ajouter automatiquement des images clés sur une zone sélectionnée.
1 Procédez de l’une des manières suivantes :
••
Sélectionnez un plan dans la timeline, puis choisissez Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle + V).
••
En maintenant la touche Contrôle enfoncée, cliquez sur un plan, puis choisissez « Afficher l’animation vidéo » dans le menu contextuel.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 259
2 Sélectionnez un effet, puis cliquez sur le triangle d’affichage pour le développer dans l’éditeur d’animation vidéo.
Triangle d’affichage
3 Dans la timeline, choisissez Sélectionner ou Sélection de plage dans le menu local Outils de la barre d’outils (ou appuyez sur la touche A pour Sélectionner ou sur la touche R pour Sélection de plage).
4 Faites glisser le curseur dans l’éditeur d’animation vidéo, sur la zone où vous souhaitez ajuster un effet.
5 Ajustez l’effet sur la plage en déplaçant verticalement la commande horizontale.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 260
Les images clés sont automatiquement créées le long des points d’ajustement dans la plage.
Ajustement des images clés dans l’éditeur d’animation vidéo
Vous pouvez déplacer horizontalement des images clés dans l’éditeur d’animation vidéo. Si un effet présente un triangle d’affichage, vous pouvez développer la présentation de l’effet et déplacer verticalement les images clés pour modifier la valeur du paramètre.
1 Sélectionnez une image clé.
2 Procédez de l’une des manières suivantes :
••
Pour repositionner l’image clé dans l’éditeur d’animation vidéo, faites-la glisser vers la gauche ou la droite.
Ce faisant, la valeur de timecode apparaît.
Faites glisser horizontalement l’image clé.
••
Si un effet présente un triangle d’affichage, cliquez sur ce dernier (ou double-cliquez sur l’effet) pour le développer.
Triangle d’affichage
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 261
Une fois l’effet développé, vous pouvez faire glisser l’image clé verticalement pour modifier la valeur du paramètre de l’effet.
Conseil : pour régler les valeurs avec plus de précision, maintenez la touche Commande enfoncée tout en faisant glisser verticalement l’image clé.
Faites glisser verticalement l’image clé.
Pour ajouter une autre image clé, maintenez la touche Option enfoncée et cliquez (ou appuyez sur Option + K) sur la commande de l’effet à l’endroit où vous voulez ajouter l’image clé. Pour ajouter une image clé et modifier la valeur de paramètre de l’effet en une seule opération, maintenez la touche Option enfoncée, puis faites glisser la commande de l’effet verticalement.
Si un effet présente un triangle d’affichage dans l’éditeur d’animation vidéo, vous pouvez aussi appliquer un fondu entrant ou sortant aux effets vidéo ou faire évoluer la forme de la courbe de l’effet d’une image clé à l’autre.
Ajustement des images clés dans l’inspecteur vidéo
Pour de nombreux effets, vous pouvez ajuster la valeur du paramètre des différentes images clés à l’aide de l’inspecteur vidéo.
Lorsque vous déplacez la tête de lecture sur la timeline, des flèches s’affichent à côté du bouton Image clé dans l’inspecteur vidéo pour indiquer de quel côté de la tête de lecture des images clés sont placées. Pour revenir à l’image clé précédente, cliquez sur la flèche gauche ou appuyez sur Option + Point-virgule (;). Pour passer à l’image clé suivante, cliquez sur la flèche droite ou appuyez sur Option + apostrophe (’).
Flèches
1 Sélectionnez ou placez la tête de lecture sur une image clé, puis ajustez la valeur du paramètre dans l’inspecteur vidéo.
2 Pour modifier la valeur de l’image clé suivante, accédez à celle-ci et ajustez à nouveau sa valeur.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 262
Affichage d’un seul effet à la fois dans l’éditeur d’animation vidéo
Vous pouvez condenser l’éditeur d’animation vidéo pour afficher un seul effet à la fois. Cela peut être utile si vous appliquez plusieurs effets à un plan et que vous souhaitez conserver de l’espace à l’écran.
1 Choisissez Plan > Solo de l’animation (ou appuyez Maj + Contrôle + V).
2 Dans l’éditeur d’animation vidéo, cliquez sur le triangle en regard du nom de l’effet pour choisir un effet dans le menu local.
Remarque : Lorsque l’option « Solo de l’animation » est activée, vous ne pouvez pas supprimer d’effet depuis l’éditeur d’animation vidéo.
Pour désactiver « Solo de l’animation », choisissez Plan > Solo de l’animation (ou appuyez sur Maj + Contrôle + V).
Suppression d’images clés
Procédez de l’une des manières suivantes :
mm
Sélectionnez une image clé dans l’éditeur d’animation vidéo et appuyez sur la touche Supprimer.
mm
Accédez à une image clé dans l’inspecteur vidéo, puis cliquez sur le bouton Image clé.
Une fois atteint une image clé, cliquez sur le bouton d’image clé pour la supprimer.
Masquage de l’animation vidéo pour un plan
Procédez de l’une des manières suivantes :
mm
Sélectionnez le plan dans la timeline, puis choisissez Plan > Masquer l’animation vidéo (ou appuyez sur Contrôle + V).
mm
Cliquez sur le bouton de fermeture situé dans l’angle supérieur gauche de l’éditeur d’animation vidéo.
mm
En maintenant la touche Contrôle enfoncée, cliquez sur le plan dans la timeline, puis choisissez « Masquer l’animation vidéo » dans le menu contextuel.
Ajustement des courbes d’effet à l’aide des poignées de fondu ou d’une animation avec des images clés
Dans l’éditeur d’animation vidéo, certains effets comprennent des poignées de fondu permettant d'ajuster la durée du fondu entrant ou sortant d'un effet. Par exemple, vous pouvez utiliser les poignets de fondu pour ajuster la durée du fondu entrant de l'effet d'opacité, du fondu à l'ouverture depuis le noir ou du fondu au noir.
Vous pouvez aussi déplacer les images clés verticalement pour créer une courbe destinée au paramètre de l’effet et modifier la forme de la courbe (interpolation) passant par les images clés.
Créer ainsi une courbe de fondu ou d’effet adoucit la transition de sorte que les variations de l’effet semblent plus naturelles lors de la lecture du plan.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 263
Modification d’un effet à l’aide des poignées de fondu
1 Cliquez sur le triangle d’affichage pour développer l’effet dans l’éditeur d’animation vidéo.
Triangle d’affichage
Remarque : Si un effet ne possède aucun triangle d’affichage, il ne prévoit alors pas de poignée de fondu.
2 Faites glisser la poignée de fondu sur le point du plan où vous souhaitez que le fondu commence ou se termine.
Les poignées de fondu placées au début d’un plan créent un fondu entrant, tandis que celles placées à la fin d’un plan génèrent un fondu sortant.
Fondu entrantFondu sortant
Modification d’un effet à l’aide d’images clés
mm
Cliquez sur le triangle d’affichage pour développer l’effet dans l’éditeur d’animation vidéo.
Triangle d’affichage
Remarque : Si un effet ne possède aucun triangle d’affichage, il ne vous est alors pas possible de déplacer verticalement les images clés.
••
Pour ajouter une image clé : tout en maintenant la touche Option enfoncée, cliquez sur un point de la commande de l’effet où vous souhaitez ajouter l’image clé (ou appuyez sur Option + K).
Conseil : Pour ajouter une image clé et modifier la valeur de paramètre de l’effet en une seule opération, maintenez la touche Option enfoncée, puis faites glisser la commande de l’effet verticalement.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 264
••
Pour modifier la valeur de paramètre de l’effet au niveau d’une image clé donnée : sélectionnez une image clé, puis faites-la glisser verticalement.
Conseil : pour régler les valeurs avec plus de précision, maintenez la touche Commande enfoncée tout en faisant glisser verticalement l’image clé.
Faites glisser verticalement l’image clé.
Modification de la forme de la courbe (interpolation) passant par les images clés
Procédez de l’une des manières suivantes :
mm
Faites glisser horizontalement la ligne entre les images clés pour créer une courbe.
Pour ajuster la courbe avec plus de précision, maintenez la touche Commande enfoncée tout en faisant glisser verticalement le pointeur.
mm
Tout en appuyant sur la touche Contrôle, cliquez sur la ligne passant par les images clés, puis choisissez une option de courbe dans le menu contextuel.
••
Linéaire : maintient une vitesse de changement constante sur toute la durée du fondu.
••
Fluide : atténue en entrée et en sortie le fondu d’après le point intermédiaire défini entre les valeurs de début et de fin.
••
Atténuation en entrée : commence lentement depuis la valeur de début, puis accélère progressivement vers la valeur de fin.
••
Atténuation en sortie : commence rapidement depuis la valeur de début, puis ralentit progressivement vers la valeur de fin.
Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 265
Remarque : Vous pouvez modifier la forme de la courbe entre les images clés pour les effets vidéo uniquement. Dans le cas d’une courbe se limitant au volume, vous avez la possibilité d’influer sur la forme de la courbe pour les fondus créés à l’aide des poignées de fondu mais pas pour les images clés. Consultez Application d’un fondu entrant ou sortant à l’audio à la page 181.
Réglage de toutes les images clés sur la courbe
mm
Maintenez les touches Commande et Option enfoncées, puis faites glisser soit une image clé, soit la courbe complète verticalement.
Toutes les images clés sont alors ajustées de la même amplitude, préservant ainsi la forme d’origine de la courbe.
Avant
Après
11
266
Regroupement des plans et des plans composés
Présentation des plans composés
Avec Final Cut Pro, vous pouvez créer des plans composés, qui vous permettent de regrouper des plans de n’importe quels types dans la timeline ou le navigateur d’événements et d’imbriquer des plans dans d’autres plans.
Un plan composé peut contenir des composants de plan vidéo et clip audio, des plans et d’autres plans composés. Chaque plan composé peut être considéré comme un mini-projet possédant ses propres propriétés. Les plans composés fonctionnent comme les autres plans : vous pouvez les ajouter à votre projet, leur appliquer un trim, les resynchroniser et leur ajouter des effets et des transitions. Des icônes identifient les plans composés dans le navigateur d’événements et la timeline.
Icône de plan composé d’un plan dans le navigateur d’événementsIcône de plan composé d’un plan dans la timeline
Les plans composés se dénotent pour leurs nombreux usages. Vous pouvez :
••
simplifier un projet complexe en créant un plan composé distinct pour chaque section principale ;
••
synchroniser un plan vidéo un ou plusieurs clips audio, puis combiner les plans dans un plan composé, pour éviter de perdre par erreur leur synchronisation ;
••
ouvrir n’importe quel plan, en modifier le contenu dans la timeline, puis le refermer ;
••
créer rapidement un plan composé contenant les plans d’un événement, dans l’ordre dans lequel ils apparaissent dans le navigateur d’événements ;
••
exploiter un plan composé pour créer une section d’un projet avec des réglages différents de ceux du projet principal.
Montage avancé
Chapitre 11 Montage avancé 267
Le diagramme suivant illustre comment un projet peut être simplifié dans la timeline à l’aide de
plans composés :
Plans sélectionnés dans la timeline
Nouveau plan composé
Les plans composés présentent les caractéristiques suivantes :
•• Vous pouvez créer des plans composés dans le navigateur d’événements ou dans la timeline.
•• Chaque plan composé dans la timeline possède un plan composé « parent » dans le navigateur
d’événements.
Plans de l’événement
Projet 1 Projet 3
Plan enfant Plans enfants Plan enfant
Projet 2
Plan composé parent
•• Lorsque vous modifiez le contenu d’un plan composé quelconque, vous montez en fait le
plan composé parent depuis le navigateur d’événements. Toute modification apportée à un
plan composé est transmise à l’intégralité de ses plans enfants. Par exemple, si vous supprimez
un plan de titre du contenu d’un plan composé parent, il est alors supprimé de tous les
plans enfants.
Vous pouvez créer un plan composé indépendant d’un plan composé existant. Par exemple,
vous pouvez disposer d’un plan composé d’une séquence de titre standard pour vos séries télévisées
ou vos podcasts. Vous pouvez créer des instances uniques (indépendantes) du plan composé
pour chaque épisode sans affecter pour autant les autres instances de la séquence de titre.
Remarque : Dans Final Cut Pro X, les plans composés offrent les mêmes fonctionnalités que les
séquences imbriquées dans Final Cut Pro 7, mais avec plus de flexibilité et de convivialité.
Chapitre 11 Montage avancé 268
Création et division de plans composés
Vous pouvez créer un plan composé à partir de plans existants dans la timeline ou le navigateur d’événements, ou bien créer un plan composé vide dans le navigateur d’événements et y ajouter des plans dans la timeline. Vous pouvez également scinder un plan composé ; ses différentes parties sont alors reconverties en éléments individuels dans la timeline.
Création d’un plan composé à partir de plans existants
1 Sélectionnez un ou plusieurs plans dans la timeline ou le navigateur d’événements.
Il peut s’agir de plans contigus ou non, de plans composés, de plans du scénario principal ou de plans connectés.
2 Procédez de l’une des manières suivantes :
••
Choisissez Fichier > Nouveau plan composé (ou appuyez sur Option + G).
••
Cliquez sur la sélection tout en maintenant la touche ctrl enfoncée, puis choisissez Nouveau plan composé dans le menu contextuel.
Remarque : Lorsque vous ajoutez un plan composé à la timeline ou créez un plan composé à partir de plans existants dans la timeline, une relation directe et active s’établit entre un plan composé parent dans le navigateur d’événements et le plan composé enfant dans la timeline. Si le plan parent n’existe pas déjà dans le navigateur d’événements, Final Cut Pro en crée alors un automatiquement. Lorsque vous modifiez le contenu d’un plan composé (par exemple, en effectuant le trim de plans ou en ajoutant des effets à des plans inclus dans le plan composé), vous modifiez en fait toutes les instances du plan composé en question, y compris le plan composé parent dans le navigateur d’événements.
Chapitre 11 Montage avancé 269
La façon dont les plans sont regroupés au sein du plan composé dépend de l’endroit où vous les avez sélectionnés :
••
Si vous avez sélectionné les plans dans un événement : Final Cut Pro crée un plan composé dans l’événement (en plus des plans sélectionnés) et place des copies des plans sélectionnés horizontalement dans le nouveau plan composé, dans l’ordre dans lequel vous avez sélectionné les plans. (Pour obtenir des instructions complémentaires sur la création d’un plan composé dans le navigateur d’événements, consultez « Création d’un plan composé vide » ci-après.)
Plans sélectionnés dans le navigateur d’événementsNouveau plan composéContenu du plan composé
Chapitre 11 Montage avancé 270
•• Si vous avez sélectionné les plans dans la timeline : Final Cut Pro place les plans sélectionnés
dans le nouveau plan composé exactement comme ils le sont dans la timeline. Le nouveau
plan composé hérite de la taille d’image et de la fréquence d’images de la timeline actuelle.
Plans sélectionnés dans la timeline
Nouveau plan composé
Contenu du
plan composé
Création d’un plan composé indépendant d’un plan composé existant
1 Sélectionnez un plan composé dans la timeline.
2 Choisissez Plan > Référencer un nouveau plan parent.
Final Cut Pro crée un plan composé « parent » dans le navigateur d’événements. Cette commande
rompt la relation entre le plan composé sélectionné dans la timeline et le plan composé
parent d’origine qui lui correspond (ainsi que toute autre plan enfant du parent d’origine, dans
tous les projets).
Remarque : Vous pouvez également sélectionner plusieurs plans à l’étape 1 et laisser
Final Cut Pro établir un ou plusieurs plans parents en s’appuyant sur les références de plan
parent existantes.
Création d’un plan composé vide
Vous pouvez créer des plans composés vides puis y ajouter des plans. Chaque plan composé
peut être considéré comme un mini-projet possédant ses propres propriétés.
1 Dans la bibliothèque d’événements, sélectionnez l’événement auquel vous voulez ajouter le
plan composé.
Chapitre 11 Montage avancé 271
2 Choisissez Fichier > Nouveau plan composé.
Dans la fenêtre qui s’affiche, attribuez un nom au plan composé dans le champ Nom.
3 Cliquez sur « Utiliser les réglages personnalisés » pour personnaliser davantage les réglages pour votre plan composé.
Remarque : Final Cut Pro affiche les réglages automatiques par défaut, mais conserve en mémoire ceux que vous avez utilisés en dernier. Cette étape peut dès lors s’avérer facultative.
4 Par défaut, Final Cut Pro définit le champ Timecode de début à la valeur de timecode la plus faible pour les plans sélectionnés. Si vous voulez que le timecode du plan composé commence à une autre valeur, saisissez sa valeur dans le champ Timecode de début.
5 Pour modifier les réglages vidéo, audio et de rendu, cliquez sur Personnalisé. À moins que vous n’ayez des besoins précis pour le plan composé que vous créez, il est préférable de laisser les options « Définir automatiquement d’après le 1er plan vidéo » et « Utiliser les réglages par défaut » sélectionnées.
6 Cliquez sur OK.
Le nouveau plan composé apparaît dans l’événement.
Modification du contenu d’un plan standard dans la timeline
Vous pouvez modifier le contenu d’un plan standard.
mm
Sélectionnez un plan dans le navigateur d’événements ou la timeline, puis choisissez Plan > Ouvrir dans la timeline.
La timeline affiche le contenu du plan. La plupart des plans standard comprennent un composant vidéo et/ou un composant audio. Vous ne pouvez pas modifier le contenu de ces composants audio et vidéo.
Il vous est possible d’ajouter des données au contenu de ce plan (en ajoutant des plans à cette timeline). Pour fermer ce plan, accédez au niveau immédiatement supérieur dans l’historique de la timeline.
Remarque : Comme le montage effectué dans Final Cut Pro n’est pas destructif, toute modification apportée au contenu d’un plan standard ou composé n’a pas d’effet sur les fichiers d’origine qui demeurent intacts sur le disque dur de votre ordinateur. Pour en savoir plus sur la différence entre fichiers source et plans, consultez Fichiers de média et plans à la page 18.
Scinder des éléments de plan
Vous pouvez scinder un plan composé ou un plan standard pour convertir son contenu en plans individuels dans la timeline.
mm
Sélectionnez un plan composé ou un plan standard dans la timeline, puis choisissez Plan > Scinder les éléments de plan (ou appuyez sur cmd + Maj + G).
Final Cut Pro remplace le plan sélectionné dans la timeline par les différents éléments qui le constituent.
Si vous avez sélectionné un plan composé, les plans d’origine qui le constituaient sont rétablis. Cependant, le plan composé parent est conservé dans le navigateur d’événements.
Si le plan sélectionné est un plan standard, son contenu apparaît sous forme de plans individuels dans la timeline. La plupart des plans standard incluent un composant vidéo, un composant audio ou les deux. Les données audio apparaissent sous la forme d’un plan connecté.
Chapitre 11 Montage avancé 272
Gestion des plans composés
Les plans composés peuvent être gérés et modifiés de diverses manières. Vous pouvez, par exemple, les ouvrir (et modifier leurs composants) dans une timeline distincte. Vous pouvez facilement parcourir les différents niveaux d’un plan composé. Enfin, vous pouvez ouvrir et modifier un plan composé au sein d’un événement.
Remarque : Lorsque vous modifiez le contenu d’un plan composé (par exemple, en effectuant le trim de plans ou en ajoutant des effets à des plans inclus dans le plan composé), vous modifiez en fait toutes les instances du plan composé en question, y compris le plan composé parent dans le navigateur d’événements. Toute modification apportée aux éléments intégrant le plan composé est transmise à l’intégralité de ses plans enfants, dans tous les projets. Ces modifications incluent entre autres l’ajout ou la suppression de plans, les réglages de trim, les effets vidéo ou audio tels que l’étalonnage, ou encore la resynchronisation de la vitesse des plans. Par exemple, si vous supprimez un plan de titre d’un plan composé parent, il est alors supprimé de tous les plans composés enfants.
Ouverture d’un plan composé en vue de sa modification
Procédez de l’une des manières suivantes :
mm
Sélectionnez un plan composé dans la timeline ou le navigateur d’événements, puis choisissez Plan > Ouvrir dans la timeline.
mm
Double-cliquez sur la partie vidéo d'un plan composé dans la timeline ou le navigateur d'événements.
mm
Cliquez sur l’icône de plan composé dans le coin supérieur gauche d’un plan composé dans la timeline.
Le plan composé s’ouvre dans une nouvelle timeline et son contenu peut être modifié.
Plan composé d’un projet dans la timelinePlan composé ouvert dans une nouvelle vue de la timelineProjetPlan composéProjet
Chapitre 11 Montage avancé 273
Remarque : Comme le montage effectué dans Final Cut Pro n’est pas destructif, toute modification
apportée au contenu d’un plan standard ou composé n’a pas d’effet sur les fichiers d’origine
qui demeurent intacts sur le disque dur de votre ordinateur. Pour en savoir plus sur la différence
entre fichiers source et plans, consultez Fichiers de média et plans à la page 18.
Parcourir les niveaux d’un plan composé à l’aide de commandes de menu et de raccourcis
clavier
Vous pouvez monter ou descendre d'un ou plusieurs niveaux dans un plan composé.
mm Pour avancer (descendre d’un niveau) : Choisir Présentation > Avancer dans l'historique de la timeline,
ou appuyez sur Commande + Crochet fermant (])
mm Pour reculer (monter d’un niveau) : Choisir Présentation > Reculer dans l'historique de la timeline,
ou appuyez sur Commande + Crochet ouvrant ([)
Parcourir les niveaux d’un plan composé à l’aide des boutons fléchés
Procédez de l’une des manières suivantes :
mm Cliquez sur les flèches vers la gauche et la droite dans le coin supérieur gauche de la timeline.
mm Cliquez sur la flèche droite ou gauche dans le coin supérieur gauche de la timeline et maintenez
le bouton de la souris enfoncé, puis choisissez un niveau dans le menu local.
La flèche gauche permet de fermer le plan composé actuel et d’ouvrir son plan parent, le niveau
supérieur étant le projet ou l’événement contenant le plan composé. S’il n’y a pas d’historique à
parcourir, les flèches gauche et droite sont estompées.
S’assurer que tout le contenu d’un plan composé apparaît dans la séquence
Lorsque vous montez le contenu d’un plan composé, Final Cut Pro indique la limite de ce dernier
à l’aide d’une zone hachurée gris foncé à gauche de son point de départ et à droite de son point
d’arrivée.
Si vous ajoutez des plans au contenu du plan composé, les parties de ces plans s’étendant dans
la zone gris foncé n’apparaissent pas dans le projet.
Les plans figurant dans la zone hachurée
gris foncé n’apparaissent pas dans la
séquence finale.
Chapitre 11 Montage avancé 274
Pour que les données des nouveaux plans apparaissent dans votre projet, effectuez l’une des opérations suivantes pour leur faire de la place :
mm
Réduisez la durée totale des autres plans du plan composé. Vous pouvez par exemple appliquer un trim à un ou plusieurs plans du plan composé.
mm
Fermez le plan composé pour remonter d’un niveau, puis augmentez la durée totale du plan parent (le « conteneur » du plan composé) dans la timeline.
Pour en savoir plus, consultez Présentation du trim à la page 130.
Ajout de scénarios
Les scénarios sont des séquences de plans connectés au scénario principal. Ils offrent à la fois la commodité des plans connectés et les possibilités de montage de précision du scénario principal.
Vous pouvez utiliser les scénarios pour les mêmes utilisations que les plans connectés (par exemple, créer des plans de coupe, composer des titres et autres graphismes ou encore ajouter des effets sonores et de la musique).
L’avantage unique des scénarios réside dans la capacité à monter une suite de plans connectés dans le contexte des autres plans sur la timeline. Par exemple, il vous est possible d’ajouter des transitions en fondu croisé à une série de titres superposés dans un scénario, puis d’adapter le contrôle du temps des titres de sorte à les faire correspondre aux plans du scénario principal. Tout comme les plans connectés, les scénarios peuvent contenir aussi bien de la vidéo que de l’audio, ou se limiter à la vidéo seule et à l’audio. Pour plus d’informations sur les plans connectés, consultez Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés à la page 110.
ScénarioScénario ne contenant que des données audioScénario principal
Pour monter les scénarios, vous pouvez utiliser les mêmes méthodes que pour le scénario principal. Vous pouvez :
••
Ajouter des plans : faites glisser des plans vers le scénario pour les ajouter, ou utilisez les commandes d’ajout, d’insertion, de remplacement et d’écrasement standard.
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Ajouter de transitions, des titres, des effets et des générateurs : ajoutez des effets à un scénario en les faisant glisser vers celui-ci ou en utilisant les commandes et les raccourcis clavier standard.
Remarque : Lorsque vous appliquez une transition à un plan connecté au scénario principal, un scénario est automatiquement créé pour ce plan.
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Appliquer un trim aux plans : utilisez les montages trim standard dans un scénario, notamment les montages Ripple, Roll, par coulissement et par glissement. Vous pouvez également appliquer un trim aux plans ou les déplacer au sein des scénarios en saisissant des valeurs de timecode.
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Créer des montages par chevauchement : définissez des points de départ et d’arrivée distincts pour les données vidéo et audio dans un plan particulier pour créer des montages scindés (coupes en L et en J) dans un scénario.
Création et scission de scénarios
Vous pouvez créer rapidement des scénarios à partir de plans connectés existants.
1 Dans la timeline, sélectionnez au moins deux plans connectés.
2 Choisissez Plan > Créer un scénario (ou appuyez sur cmd + G).
Une bordure grise apparaît autour des plans pour indiquer la présence d’un scénario.
La bordure grise indique un scénario.
Remarque : Si les plans connectés d’origine ne sont pas contigus, Final Cut Pro insère un plan vide pour combler l’espace entre les plans.
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Vous pouvez également créer un scénario en maintenant enfoncée la touche G et en faisant glisser un plan vers un plan connecté jusqu’à ce que leurs bords se touchent :
Maintenez la touche G enfoncée lorsque vous faites glisser un plan vers un plan connecté.
3 Pour reconvertir un scénario en plans individuels, procédez de l’une des manières suivantes :
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Sélectionnez le scénario (en cliquant sur la bordure grise) et choisissez Plan > Scinder les éléments de plan (ou appuyez sur cmd + Maj + G).
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Faites glisser le scénario vers le scénario principal.
Sélection et déplacement de scénarios
Vous pouvez sélectionner ou déplacer des scénarios complets comme s’il s’agissait de plans standard ou de plans composés. Ils possèdent les propriétés de connexion des plans connectés.
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Pour sélectionner un scénario complet : cliquez sur la bordure grise du scénario.
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Pour déplacer un scénario en le faisant glisser : cliquez sur la bordure grise du scénario et faites glisser celui-ci vers la gauche ou la droite pour le connecter à un autre point du scénario principal.
Faites glisser horizontalement le scénario.
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Pour déplacer un scénario à l’aide de valeurs de timecode ou de raccourcis clavier : utilisez les mêmes techniques que pour les plans standard.
Pour en savoir plus, consultez Disposition des plans dans la timeline à la page 124.
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Ajustement des montages à l’aide de l’éditeur de précision
Vous pouvez ajuster le point de montage entre deux plans dans la timeline à l’aide de l’éditeur de précision, qui fournit une présentation étendue des plans de part et d’autre du point de montage ainsi que des parties non utilisées de chaque plan. Vous pouvez modifier (trim ou extension) la fin d’un plan et le début de l’autre, séparément ou ensemble. Vous pouvez observer instantanément l’effet de vos modifications sur la coupure ou la transition entre un plan et le suivant.
Un « double » affichage apparaît dans le visualiseur lorsque vous appliquez un trim à des points de montage dans la timeline. Pour en savoir plus, consultez Affichage détaillé des commentaires sur le trimming à la page 145.
Ajustement du point de montage entre des plans à l’aide de l’éditeur de précision
1 Choisissez l’outil Sélectionner ou l’outil Trim dans le menu local Outils de la barre d’outils, puis double-cliquez sur le point de montage auquel vous voulez appliquer un trim dans la timeline.
Double-cliquez sur le point de montage auquel appliquer un trim.
L’éditeur de précision apparaît avec une présentation étendue des plans sortant et entrant. Le point de montage est représenté par une ligne verticale au centre de l’éditeur de précision. Le plan sortant et ceux qui le précèdent apparaissent dans la partie supérieure du scénario. Le plan entrant et ceux qui le suivent apparaissent dans la partie inférieure.
Les parties estompées des plans à droite et à gauche de la ligne de montage correspondent aux données non utilisées disponibles pour le trim (on les appelle les poignées de données). Vous pouvez survoler ces zones pour afficher et lire les données afin de déterminer l’endroit où vous allez appliquer le trim.
Point d’arrivée du plan sortantTrait de montageSkimmerPoint de départ du plan entrantPoignée du trait de montage
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2 Pour ajuster le point de montage, effectuez l’une des opérations suivantes :
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Déplacez la ligne de montage au centre de l’éditeur de précision en faisant glisser sa poignée vers la gauche ou la droite.
Faites glisser la poignée de ligne de montage horizontalement.
Déplacer l’ensemble de la ligne de montage permet d’effectuer un montage Roll.
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Déplacez le point d’arrivée du plan sortant ou le point de départ du plan entrant. Cela permet d’effectuer un montage Ripple.
Remarque : Vous pouvez faire glisser la ligne de montage ou les différents points de montage tant que des poignées de données sont disponibles. Une fois que vous avez atteint la longueur maximale du plan dans l’une ou l’autre direction, le bord du plan devient rouge.
Déplacez le point d’arrivée du plan sortant ou le point de départ du plan entrant.
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••
Survolez le plan sortant ou entrant et cliquez à l’endroit voulu.
Cliquez n’importe où sur l’un des deux plans.
Le point de montage du plan est placé au niveau de l’image sur laquelle vous cliquez. Cette opération équivaut à un montage Ripple.
Le point de montage du plan se place au niveau de l’image sur laquelle vous cliquez.
Vous pouvez également saisir une valeur de timecode pour ajuster numériquement le point de montage. Si vous sélectionnez le point d’arrivée du plan sortant ou le point de départ du plan entrant, un montage Ripple est effectué. Sinon, un montage Roll est appliqué.
3 Pour atteindre un autre point de montage, effectuez l’une des opérations suivantes :
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Pour atteindre directement un point de montage : cliquez sur l’autre point de montage.
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Pour atteindre le point de montage suivant ou précédent : appuyez sur la touche fléchée vers le haut ou vers le bas.
4 Pour fermer l’éditeur de précision, effectuez l’une des opérations suivantes :
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Double-cliquez sur le point de montage actuel, ou appuyez sur la touche Échap.
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Cliquez sur le bouton « Fermer l’éditeur de précision » dans le coin inférieur droit de la timeline.
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Création de montages scindés
Final Cut Pro permet de définir des points de départ et d’arrivée distincts pour les données vidéo et audio dans un plan donné. Ces montages, appelés montages scindés, peuvent être utilisés dans de nombreuses situations, notamment dans des scènes de dialogue, pour le montage d’une séquence Roll B à des fins d’illustration dans une interview ou pour effectuer une transition entre deux scènes.
Vous pouvez utiliser un montage scindé pour introduire le son d’un nouveau plan ou d’une nouvelle scène avant l’arrivée de ce plan ou de cette scène. À l’inverse, vous pouvez faire appel à un montage scindé pour étendre l’audio d’un plan sur le plan suivant. Par exemple, vous pouvez passer du plan d’une personne qui parle à la vidéo d’une personne qui écoute tout en conservant l’audio du premier plan.
La technique de montage scindé produit des plans en L et en J, l’audio s’étendant vers la gauche ou la droite. C’est ce qu’on appelle des coupes en L et des coupes en J.
Remarque : Lorsque vous utilisez des montages scindés, il est recommandé de sélectionner Présentation > Développer les plans audio/vidéo > Pour les scissions (afin qu’une coche apparaisse en regard de l’élément du menu). Ce réglage offre une précision d’affichage optimale pour tous vos montages scindés.
Création d’un montage scindé par glissement
Pour créer un montage scindé, vous devez étendre l’audio d’un plan au plan voisin. Dans cet exemple, l’audio du gros plan de l’homme s’étend au gros plan de la femme de sorte à créer une coupe en J.
1 Ajoutez des plans à la timeline dans l’ordre dans lequel vous voulez qu’ils apparaissent dans votre film.
2 Pour afficher séparément les données audio du plan que vous voulez monter, effectuez l’une des opérations suivantes :
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Sur la timeline, sélectionnez le plan dont vous voulez développer l’audio, puis choisissez Plan > Développer l’audio/la vidéo (ou appuyez sur ctrl + S).
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Double-cliquez sur la forme d’onde audio du plan.
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Les données audio et vidéo du plan apparaissent sous forme de composants distincts que vous pouvez modifier séparément. Ils sont néanmoins toujours connectés et resteront synchronisés.
3 Faites glisser le point de départ (bord gauche) des données vidéo du plan vers la droite ; cela a pour effet d’appliquer au plan un trim de type Ripple.
L’exemple ci-dessous illustre le glissement du point de départ vidéo du gros plan de l’homme vers la droite.
Cela crée un montage scindé en J, le point de départ de l’audio chevauchant le plan précédent.
4 Pour terminer le montage scindé, affichez séparément les données audio du plan précédent, puis effectuez l’une des opérations suivantes :
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Faites glisser le point d’arrivée du plan précédent vers la gauche de sorte que les deux plans audio ne se chevauchent plus.
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••
Ajustez le niveau audio (fondu) de l’un des deux plans de sorte que le chevauchement des plans audio soit naturel.
5 Si vous souhaitez désactiver l’affichage séparé des données audio pour « remettre en ordre » les plans que vous venez de manipuler, effectuez l’une des opérations suivantes :
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choisissez Présentation > Condenser tous les plans.
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Sélectionnez le plan dans la timeline, puis choisissez Plan > Condenser l’audio/la vidéo (ou appuyez sur ctrl + S).
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Double-cliquez sur la forme d’onde audio du plan.
Lors de la lecture de cette partie de la timeline, vous pouvez entendre l’homme commencer à parler avant l’affichage de son gros plan. Vous pouvez donc utiliser les montages scindés pour créer des transitions transparentes entre deux plans consécutifs.
Création d’un montage scindé à l’aide de raccourcis clavier
Vous pouvez créer rapidement des montages scindés à l’aide des raccourcis clavier. Dans cet exemple, l’audio du gros plan de l’homme s’étend au gros plan de la femme de sorte à créer une coupe en J.
1 Confirmez que les deux plans adjacents disposent de poignées de média suffisantes. Dans le cas contraire, réalisez un trim des plans (raccourcir) pour créer les poignées en question.
2 Pour étendre l’audio (afficher l’audio à part) des deux plans adjacents, procédez de l’une des manières suivantes :
••
Dans la timeline, sélectionnez les plans dont vous voulez étendre l’audio, puis choisissez Plan > Développer l’audio/la vidéo (ou appuyez sur ctrl + S).
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••
Double-cliquez sur la forme d’onde audio du plan.
3 Placez la tête de lecture sur le point de montage situé entre les deux plans.
Tête de lecture sur le point de montage
Pour assurer un placement précis de la tête de lecture, faites appel aux raccourcis clavier :
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Pour placer la tête de lecture sur le point de montage précédent : appuyez sur Point-virgule (;) ou sur la touche Flèche vers le haut.
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Pour placer la tête de lecture sur le point de montage suivant : appuyez sur Apostrophe (’) ou sur la touche Flèche vers le bas.
4 Procédez de l’une des manières suivantes :
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Pour sélectionner les deux bords du point de montage audio : appuyez sur Maj + Barre oblique inverse (\).
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Pour sélectionner les deux bords du point de montage vidéo : appuyez sur Barre oblique inverse (\).
Point de montage audio sélectionné
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5 Procédez de l’une des manières suivantes pour effectuer un montage roll du point de montage audio ou vidéo :
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Pour déplacer le point de montage à gauche ou à droite : appuyez sur Virgule (,) ou Point (.) respectivement.
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Pour déplacer le point de montage de 10 images vers la gauche ou vers la droite : appuyez respectivement sur Maj + Virgule (,) ou sur Maj + Point (.).
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Pour ajouter ou soustraire du montage actif par le biais du timecode : appuyez sur la touche Plus (+) ou Moins (–), saisissez la durée de timecode, puis appuyez sur Retour.
Le champ de saisie du timecode (avec des nombres bleus) apparaît dans le panneau de contrôle de la barre d’outils pendant que vous tapez. Pour en savoir plus sur la saisie de valeurs de timecode, consultez la section Navigation à l’aide du timecode à la page 151.
Point de montage originalPoint de montage déplacé
Lors de la lecture de cette partie de la timeline, vous pouvez entendre l’homme commencer à parler avant l’affichage de son gros plan. Vous pouvez donc utiliser les montages scindés pour créer des transitions transparentes entre deux plans consécutifs.
Réalisation de montages à trois points
Présentation du montage à trois points
Le montage à trois points vous permet d’utiliser des points de départ et d’arrivée définis dans le navigateur d’événements et la timeline pour spécifier la durée d’un plan et son emplacement dans la timeline. Le montage à trois points tire son nom du fait que seuls trois points de montage sont nécessaires pour définir la partie du plan source à utiliser et l’emplacement de ce plan dans la timeline. Final Cut Pro déduit automatiquement le quatrième point de montage. Le résultat du montage dépend de la répartition des trois points définis dans le navigateur d’événements et dans la timeline : deux points de départ et un point d’arrivée ou un point de départ et deux points d’arrivée.
Vous pouvez utiliser le montage à trois points avec les types de montage suivants :
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Insérer
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Connecter
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Écraser
Avec chacun de ces types de montage, vous pouvez également effectuer des montages à trois points à rebours, dans lesquels le point d’arrivée (et non le point de départ) est aligné sur la position du skimmer ou de la tête de lecture dans le navigateur d’événements ou la timeline. Vous pouvez également réaliser des montages à deux points dans lesquels les points de départ et d’arrivée sont déduits d’après la position du skimmer et la durée du plan.
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Pour réaliser des montages à trois points, il est important de savoir effectuer des sélections et utiliser le skimmer et la tête de lecture. Pour en savoir plus sur les sélections, consultez Sélection d’une plage à la page 100 et Sélection d’un ou plusieurs plans à la page 98. Pour en savoir plus sur le skimmer et la tête de lecture, consultez Présentation de la lecture et du survol à la page 78.
Le montage à trois points de base se déroule en trois étapes :
Étape 1 : définition des points de montage de la sélection source dans le navigateur d’événements
Indiquez quelle partie d’un plan vous souhaitez placer dans la timeline. Pour ce faire, définissez les points de départ et d’arrivée. Si vous souhaitez ne définir qu’un point de départ dans le navigateur d’événements, positionnez le skimmer (ou la tête de lecture) à l’endroit où vous voulez que le montage commence. Dans ce cas, le point d’arrivée est déterminé d’après les points de départ et d’arrivée définis dans la timeline ou d’après la fin du plan. Vous pouvez également sélectionner plusieurs plans dans le navigateur d’événements ; dans ce cas, la durée totale des données source détermine les points de départ et d’arrivée.
Étape 2 : définition de points de montage dans un scénario dans la timeline
Indiquez l’endroit où vous voulez que le plan apparaisse dans la timeline en définissant des points de départ et d’arrivée dans le scénario principal ou dans un scénario connecté. Si les points de départ et d’arrivée sont tous deux définis dans la timeline, ils déterminent la durée du montage, quelle que soit la durée définie dans le navigateur d’événements. Si aucun point de départ ou d’arrivée n’est défini dans la timeline, Final Cut Pro utilise la position du skimmer comme point de départ du montage. Si le skimmer est absent, Final Cut Pro utilise la position de la tête de lecture.
Important : À quelques exceptions près, le montage à trois points nécessite des sélections de plage (et non des sélections de plan).
Étape 3 : ajout du plan ou de la sélection source à la timeline
Vous pouvez opter pour un montage par insertion, connexion ou écrasement.
Important : Les points de départ et d’arrivée définis dans la timeline sont toujours prioritaires sur ceux définis dans le navigateur d’événements. Cela signifie que si vous définissez des points de départ et d’arrivée dans la timeline, ceux-ci déterminent la durée du montage, quels que soient les points de départ et d’arrivée définis dans le navigateur d’événements. Cela vous permet de limiter votre montage à une section spécifique de la timeline.
Vous devez garder un certain nombre de facteurs à l’esprit lorsque vous réalisez un montage à trois points.
Points de montage définis
Résultats
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Points de départ et d’arrivée de la sélection source définis dans le navigateur d’événements
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Point de départ de destination défini dans la timeline
Le point de départ de la sélection source dans le navigateur d’événements est aligné sur le point de départ de destination défini dans la timeline, et la durée du montage est déterminée d’après les points de départ et d’arrivée de la sélection source dans le navigateur d’événements.
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Point de départ de la sélection source défini dans le navigateur d’événements
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Points de départ et d’arrivée de destination définis dans la timeline
Le point de départ de la sélection source dans le navigateur d’événements est aligné sur le point de départ de destination défini dans la timeline, et la durée du montage est déterminée d’après les points de départ et d’arrivée de destination définis dans la timeline.
Remarque : Ce montage nécessite la sélection d’une plage dans la timeline. Pour ce faire, vous pouvez utiliser l’outil Sélection de plage ou les touches I et O. Pour en savoir plus sur les sélections de plage, consultez Sélection d’une plage à la page 100.
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Points de montage définis
Résultats
••
Points de départ et d’arrivée de la sélection source définis dans le navigateur d’événements
••
Point d’arrivée de destination défini dans la timeline
Le point d’arrivée de la sélection source dans le navigateur d’événements est aligné sur le point d’arrivée de destination défini dans la timeline, et la durée du montage est déterminée d’après les points de départ et d’arrivée de la sélection source dans le navigateur d’événements.
Cette méthode est appelée « backtiming » d’un plan. Vous pouvez y avoir recours pour vous assurer qu’un plan se termine à un endroit précis du projet.
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Point d’arrivée de la sélection source défini dans le navigateur d’événements
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Points de départ et d’arrivée de destination définis dans la timeline
Le point d’arrivée de la sélection source dans le navigateur d’événements est aligné sur le point d’arrivée de destination défini dans la timeline, et la durée du montage est déterminée d’après les points de départ et d’arrivée de destination définis dans la timeline.
Cette méthode est appelée « backtiming » d’un plan. Vous pouvez y avoir recours pour vous assurer qu’un plan se termine à un endroit précis du projet.
Remarque : Ce montage nécessite la sélection d’une plage dans la timeline. Pour ce faire, vous pouvez utiliser l’outil Sélection de plage ou les touches I et O. Pour en savoir plus sur les sélections de plage, consultez Sélection d’une plage à la page 100.
Exemples de montage à trois points
Dans Final Cut Pro, vous pouvez réaliser des montages précis en combinant trois (voire deux) points de montage définis dans le navigateur d’événements et la timeline. Pour en savoir plus, consultez Présentation du montage à trois points à la page 284.
Voici quelques exemples de réalisation de montages à trois points.
Exemple : réalisation d’un montage à trois points
La méthode la plus simple pour réaliser un montage à trois points consiste à définir les points de départ et d’arrivée de la sélection source dans le navigateur d’événements, puis à indiquer le point de départ de destination dans votre projet en positionnant le skimmer (ou la tête de lecture) dans la timeline.
1 Définissez les points de départ et d’arrivée de la sélection source dans le navigateur d’événements.
Point de départPoint d’arrivée
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2 Dans la timeline, positionnez le skimmer (ou la tête de lecture, si le skimmer est absent) à l’endroit où vous voulez que le plan commence dans votre projet (point de départ de destination).
Positionnez le skimmer à l’emplacement où vous souhaitez que le plan commence dans le projet.
3 Pour ajouter la sélection source au projet à l’aide d’un montage par écrasement, appuyez sur la touche D.
Le nouveau plan commence à l’emplacement où se trouvait le skimmer.
La partie de votre sélection source située entre les points de départ et d’arrivée apparaît dans la timeline ; elle commence au niveau du skimmer.
En ne définissant que trois points, à savoir les points de départ et d’arrivée de la sélection source dans le navigateur d’événements et le point de départ de destination dans la timeline, vous avez un contrôle total du montage.
Exemple : réalisation d’un montage à trois points à rebours
Vous pouvez réaliser un montage à trois points en définissant les points de départ et d’arrivée de la sélection source dans le navigateur d’événements et un point d’arrivée (au lieu d’un point de départ) de destination dans la timeline. Cette technique s’appelle le backtiming d’un plan. Vous pouvez y avoir recours pour vous assurer qu’un plan donné se termine à un endroit précis d’un projet, sur un temps musical. Dans le montage obtenu, le point d’arrivée des données de la sélection effectuée dans le navigateur d’événements est aligné sur le point d’arrivée défini dans la timeline, et le reste de la sélection source apparaît à gauche.
1 Définissez les points de départ et d’arrivée de la sélection source dans le navigateur d’événements.
Point de départPoint d’arrivée
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2 Dans la timeline, positionnez le skimmer (ou la tête de lecture, si le skimmer est absent) à l’endroit où vous voulez que le plan se termine dans votre projet.
Positionnez le skimmer là où le plan doit se terminer.
3 Effectuez l’une des opérations suivantes :
••
Pour effectuer un backtiming de la sélection avec un montage par connexion : appuyez sur Maj + Q.
••
Pour effectuer un backtiming de la sélection avec un montage par écrasement : appuyez sur Maj + D.
Votre sélection source est montée dans le projet de telle sorte que le point d’arrivée de ses données soit aligné sur le point d’arrivée que vous avez défini dans la timeline.
Le nouveau plan se termine à l’emplacement où se trouvait le skimmer.
Le reste du plan écrase les données situées à gauche du point d’arrivée sur la durée déterminée par les points de départ et d’arrivée de la sélection source définis dans le navigateur d’événements.
Exemple : réalisation d’un montage à trois points avec plusieurs plans
Vous pouvez réaliser des montages à trois points avec plusieurs plans à la fois.
1 Dans le navigateur d’événements, sélectionnez au moins deux plans. (Ne sélectionnez pas une plage au sein d’un même plan.)
Pour en savoir plus sur la sélection de plusieurs plans, consultez Sélection d’un ou plusieurs plans à la page 98.
Trois plans sont sélectionnés en vue d’être placés dans le scénario. Aucune sélection de plage n’est définie.
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2 Dans la timeline, définissez un point de départ de destination en positionnant le skimmer à l’endroit où vous voulez que le plan ou le groupe de plans commence dans votre projet.
Positionnez le skimmer là où le groupe de plans doit commencer.
3 Pour ajouter les plans sélectionnés au projet à l’aide d’un montage par écrasement, appuyez sur la touche D.
Le nouveau groupe de plans commence depuis le skimmer.La tête de lecture se place à la fin des nouveaux plans.
L’ensemble du groupe de plans sélectionnés dans le navigateur d’événements est monté dans le projet.
Remarque : Les plans sont ajoutés dans l’ordre dans lequel vous les avez sélectionnés.
Comme vous avez utilisé un montage par écrasement, tous les éléments de plan déjà présents dans le projet sont écrasés par les plans sélectionnés dans le navigateur d’événements sur la durée de ces derniers.
Vous pouvez également réaliser un montage à trois points à partir de plusieurs plans dans la timeline. Pour sélectionner une plage sur plusieurs plans dans la timeline, utilisez l’outil Sélection de plage ou les touches I et O. Pour en savoir plus sur les sélections de plage, consultez Sélection d’une plage à la page 100.
Exemple : réalisation d’un montage à deux points
Vous pouvez réaliser un montage sans effectuer aucune sélection dans le navigateur d’événements ou la timeline. C’est ce qu’on appelle un montage à deux points. Dans ce cas, Final Cut Pro se base sur le plan actuel dans le navigateur d’événements, de la position du skimmer ou de la tête de lecture à la fin du plan, et sur le projet dans la timeline, en avançant à partir de la position du skimmer ou de la tête de lecture.
Vous pouvez également réaliser des montages à deux points à rebours, dans lesquels Final Cut Pro se base sur le plan actuel dans le navigateur d’événements et sur le projet dans la timeline, en reculant à partir de la position du skimmer ou de la tête de lecture.
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Dans les deux cas, la durée du montage est déterminée par la position du skimmer ou de la tête de lecture et la fin du plan dans le navigateur d’événements.
1 Pour définir un point de départ pour la sélection source dans le navigateur d’événements, placez le skimmer ou la tête de lecture à l’endroit où vous voulez que le montage commence (mais n’effectuez aucune sélection).
L’emplacement de la tête de lecture du navigateur d’événements détermine le point d’entrée de la sélection source.
2 Pour définir un point de départ de destination dans la timeline, placez le skimmer ou la tête de lecture à l’endroit où vous voulez que le montage commence (mais n’effectuez aucune sélection).
L’emplacement du skimmer sur la timeline constitue le point de départ cible.
3 Pour ajouter le plan au projet à l’aide d’un montage par écrasement, appuyez sur la touche D.
Le nouveau plan commence au niveau du skimmer.
Le nouveau plan commence à l’emplacement où se trouvait le skimmer.
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Essai de plans à l’aide des auditions
Présentation des auditions
Dans Final Cut Pro, vous pouvez regrouper des plans connexes dans des ensembles, appelés auditions, vous permettant de choisir celui à utiliser. Vous pouvez créer une audition composée de différents plans pour tester plusieurs prises ou constituée de plusieurs versions du même plan pour effectuer le preview d’effets divers. Dans le navigateur d’événements et la timeline, les auditions se présentent sous la forme de plans affichant une icône Audition dans le coin supérieur gauche.
Icône d’une audition dans le navigateur d’événements
Icône d’une audition dans la timeline
La pellicule de l’audition affiche le plan actuellement sélectionné, que l’on appelle le meilleur élément. Tous les autres plans de l’audition sont appelés plans alternatifs. Vous pouvez ouvrir une audition pour afficher le plan sélectionné et les plans alternatifs.
Autres plansPlan sélectionné
Les auditions vous permettent de conserver vos montages alternatifs sans que cela n’ait d’influence sur les autres plans dans la timeline. Lorsque vous ne visionnez pas les différents plans d’une audition, celle-ci se comporte comme un plan individuel. Vous pouvez appliquer un trim à une audition, insérer des transitions entre des auditions et d’autres plans, et ajouter des mots-clés et des marqueurs. Vous pouvez conserver une audition contenant des plans alternatifs aussi longtemps que cela est nécessaire.
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Après avoir passé en revue les plans de l’audition et choisi celui qui convient le mieux à votre projet, vous pouvez finaliser l’audition ; elle est alors supprimée et le meilleur élément reste dans la timeline sous forme de plan individuel. Celui-ci conserve la position de l’audition dans la timeline ainsi que tous les mots-clés et marqueurs appliqués à l’audition.
Création d’auditions pour essayer des plans
Vous pouvez créer des auditions dans le navigateur d’événements puis les ajouter à la timeline, ou les créer directement dans la timeline. Lorsque vous créez des auditions dans la timeline, vous pouvez regrouper des plans connexes ou plusieurs versions du même plan (par exemple, pour tester plusieurs effets ou plusieurs titres dans le tiers inférieur).
Icône d’une audition dans le navigateur d’événements
Icône d’une audition dans la timeline
Création d’auditions dans le navigateur d’événements
mm
Sélectionnez les plans à inclure dans l’audition, puis choisissez Plan > Audition > Créer (ou appuyez sur cmd + Y).
Création d’auditions dans la timeline
mm
Pour créer une audition avec des plans connexes : Faites glisser un plan ou un groupe de plans du navigateur d’événements vers un plan dans la timeline, puis choisissez une option d’audition dans le menu contextuel.
L’option « Ajouter à l’audition » crée une audition dans laquelle le meilleur élément est le plan existant dans la timeline. L’option « Remplacer et ajouter à l’audition » utilise le plan que vous faites glisser comme meilleur élément.
Important : Si une transition est appliquée au plan existant dans la timeline et que le meilleur élément de la nouvelle audition ne dispose pas de suffisamment de données pour cette transition, celle-ci est soit raccourcie, soit supprimée.
mm
Pour créer une audition avec une copie d’un plan, avec les effets appliqués : Sélectionnez un plan dans la timeline, puis choisissez Plan > Audition > Dupliquer comme audition.
L’audition créée contient le plan sélectionné ainsi qu’une copie présentant tous les effets appliqués à l’original.
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mm
Pour créer une audition avec une copie de la version originale d’un plan, sans les effets appliqués : Sélectionnez un plan dans la timeline, puis choisissez Plan > Audition > Dupliquer l’original (ou appuyez sur Commande + Maj. + Y).
L’audition créée contient le plan sélectionné ainsi qu’une copie sans les effets appliqués à l’original.
mm
Pour créer une audition avec une copie de la version originale d’un plan, avec les effets appliqués et les attributs à partir d'un autre plan : Sélectionnez un plan dans la timeline qui possède les attribuer que vous souhaitez copier et choisissez Édition > Copier (ou appuyez sur Commande + C). Puis, sélectionnez le plan que vous souhaitez transformer en audition et choisissez Plan > Audition > Dupliquer et coller les effets (ou appuyez sur Commande + Option + Y).
L’audition créée contient le plan sélectionné ainsi qu’une copie présentant les effets et les attributs copiés à partir du premier plan.
Ouverture d’une audition
Après avoir créé une audition, vous pouvez facilement l’ouvrir et examiner son contenu.
Procédez de l’une des manières suivantes :
mm
Choisissez Plan > Audition > Ouvrir (ou appuyez sur la touche Y).
mm
Cliquez sur l’icône Audition.
Icône d’audition
La fenêtre Audition s’ouvre ; vous pouvez y prévisualiser vos plans et choisir le meilleur élément.
Ajout et suppression de plans dans les auditions
Lorsque vous créez des auditions pour tester plusieurs plans ou plusieurs versions d’un plan avec des effets différents, vous pouvez ajouter et supprimer des plans à tout moment. Dans le navigateur d’événements et la timeline, vous pouvez ajouter et dupliquer des plans dans une audition. Dans la timeline, lorsqu’une audition contient les plans que vous voulez tester, vous pouvez l’utiliser pour prévisualiser les plans ou les effets dans votre projet.
Ajout de plans à une audition dans le navigateur d’événements
mm
Pour ajouter des plans à une audition dans le navigateur d’événements : Sélectionnez l’audition et les plans que vous voulez y ajouter, puis choisissez Plan > Audition > Créer (ou appuyez sur cmd + Y).
Sélectionnez l’audition.Sélectionnez les plans à ajouter à l’audition.
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mm
Pour dupliquer un plan au sein d’une audition dans le navigateur d’événements : Cliquez sur l’icône affichée dans le coin supérieur gauche de l’audition pour ouvrir la fenêtre Audition, sélectionnez le plan à dupliquer, puis cliquez sur Dupliquer.
Sélectionnez le plan à copier, puis cliquez sur Dupliquer.
Une nouvelle version du plan sélectionné apparaît dans la fenêtre Audition.
Ajout de plans à une audition dans la timeline
mm
Pour ajouter un plan à une audition en conservant le plan existant dans la timeline comme meilleur élément : faites glisser un plan du navigateur d’événements vers l’audition dans la timeline et choisissez « Ajouter à l’audition » dans le menu contextuel.
mm
Pour ajouter un plan à une audition en faisant de celui-ci le meilleur élément : faites glisser un plan du navigateur d’événements vers l’audition dans la timeline et choisissez « Remplacer et ajouter à l’audition » dans le menu contextuel.
Important : Si une transition est appliquée au plan existant dans la timeline et que le meilleur élément de la nouvelle audition ne dispose pas de suffisamment de données pour cette transition, celle-ci est soit raccourcie, soit supprimée.
mm
Pour dupliquer un plan au sein d’une audition : cliquez sur l’icône Audition affichée dans le coin supérieur gauche de l’audition pour ouvrir la fenêtre Audition, sélectionnez le plan à dupliquer, puis cliquez sur Dupliquer (ou sur Commande + Maj + Y).
Sélectionnez le plan à copier, puis cliquez sur Dupliquer.
Une nouvelle version du plan sélectionné apparaît dans la fenêtre Audition.
mm
Pour ajouter une copie de la version originale d’un meilleur élément d'audition, avec les effets appliqués et les attributs à partir d'un autre plan : Sélectionnez un plan dans la timeline qui possède les attribuer que vous souhaitez copier et choisissez Édition > Copier (ou appuyez sur Commande + C). Puis, sélectionnez l'audition et choisissez Plan > Audition > Dupliquer et coller les effets (ou appuyez sur Commande + Option + Y).
Suppression d’un plan d’une audition
1 Pour ouvrir l’audition contenant le plan que vous voulez supprimer, cliquez sur l’icône affichée dans le coin supérieur gauche de l’audition.
2 Dans la fenêtre Audition, sélectionnez le plan à supprimer puis appuyez sur Supprimer.
Le plan est alors supprimé de l’audition.
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Utilisation d’auditions pour essayer des plans dans votre projet
Vous pouvez créer une audition pour tester les plans qu’elle contient et déterminer celui qui convient le mieux à votre projet. Bien que le flux de production d’audition soit différent d’un projet à un autre, la procédure générale reste la même. Vous créez une audition contenant un ensemble de prises, d’effets ou de traitements de texte alternatifs, puis vous choisissez le meilleur plan pour le montage en le sélectionnant comme meilleur élément. Lorsque vous êtes sûr de votre choix, vous finalisez l’audition, ce qui a pour effet de la dissoudre en laissant le meilleur élément dans la timeline.
Selon votre flux de production, vous pouvez tester les plans de vos auditions et aplatir celles-ci au fur et à mesure, ou vous pouvez laisser les auditions dans la timeline pour pouvoir présenter des montages alternatifs à un client.
Remarque : Les commandes d’audition ne peuvent être utilisées qu’avec une seule audition sélectionnée à la fois. Il est par exemple impossible de finaliser plusieurs auditions sélectionnées.
Passage en revue des plans d’une audition dans la timeline
1 Dans la timeline, sélectionnez l’audition contenant les plans que vous voulez passer en revue, puis ouvrez-la en choisissant Plan > Audition > Ouvrir (ou en appuyant sur la touche Y).
Le plan situé sous le projecteur au centre de la fenêtre correspond à la meilleure image.
2 Dans la fenêtre Audition, sélectionnez le meilleur élément, puis appuyez sur la barre d’espace (ou sur les touches cmd + ctrl + Y) pour le lire.
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3 Pour lire un autre plan dans le visualiseur, sélectionnez un plan à droite ou à gauche du meilleur
élément (ou appuyez sur la touche fléchée vers la droite ou la gauche).
L’autre plan devient la nouvelle
meilleure image et se lit dans
le visualiseur.
L’icône représentant l’étoile indique
la meilleure image précédente.
Conseil : Pour parcourir et lire rapidement des plans alternatifs, sélectionnez une audition fermée
dans la timeline, appuyez sur la barre d’espace, puis sur ctrl + Flèche gauche pour lire les plans
situés à gauche de l’élément sélectionné ou sur ctrl + Flèche droite pour lire ceux de droite.
4 Une fois que vous avez trouvé le plan que vous voulez utiliser, assurez-vous qu’il est sélectionné
sous le spot, puis cliquez sur Terminé.
5 Si vous êtes sûr de votre choix et que vous voulez finaliser l’audition, choisissez Plan > Audition >
Finaliser l’audition (ou appuyez sur Maj + Option + Y).
L’audition est alors dissoute en laissant le meilleur élément dans la timeline. Le plan sélectionné
comme meilleur élément conserve les éventuels mots-clés ou marqueurs affectés à l’audition.
Essai de plusieurs effets sur un plan dans la timeline
Vous pouvez tester différents effets sur un plan dans la timeline en créant une audition et en
ajoutant des effets à des copies de ce plan. Cette technique vous permet de visualiser chaque
effet dans le contexte des plans précédant et suivant l’audition dans la timeline.
1 Dans la timeline, sélectionnez le plan sur lequel vous voulez essayer différents effets.
2 Choisissez Plan > Audition > Dupliquer comme audition (ou appuyez sur Option + Y).
3 Recommencez l’étape 2 pour chaque effet que vous voulez tester.
4 Pour ouvrir la fenêtre Audition, cliquez sur l’icône affichée dans le coin supérieur gauche de
l’audition (ou appuyez sur la touche Y).
5 Pour ouvrir le navigateur d’effets, cliquez sur le bouton Effets dans la barre d’outils (ou appuyez
sur cmd + 5).
6 Dans la fenêtre Audition, sélectionnez la version du plan à laquelle vous voulez appliquer l’effet.
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7 Dans le navigateur d’effets, sélectionnez l’effet que vous voulez tester et faites-le glisser sur le plan dans la fenêtre Audition.
Faites glisser un effet du navigateur d’effets sur un plan dans la fenêtre Audition.
8 Recommencez les étapes 6 et 7 jusqu’à ce que vous ayez appliqué tous les effets que vous voulez tester.
9 Examinez l’impact de chaque effet sur le plan dans la timeline en sélectionnant un plan à droite ou à gauche du meilleur élément.
Cliquez sur un autre plan pour le lire dans le visualiseur.
Conseil : Pour parcourir et lire rapidement les plans alternatifs, appuyez sur ctrl + Flèche gauche pour lire les plans situés à gauche de l’élément sélectionné ou sur ctrl + Flèche droite pour lire ceux de droite.
10 Une fois que vous avez choisi l’effet que vous voulez utiliser, sélectionnez le plan avec cet effet dans la fenêtre Audition, puis cliquez sur Terminé.
11 Si vous êtes sûr de votre choix et que vous voulez finaliser l’audition, choisissez Plan > Audition > Finaliser l’audition (ou appuyez sur Maj + Option + Y).
L’audition est alors dissoute et l’effet choisi est appliqué au plan dans la timeline.
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Conseil : Pour vous permettre de gagner du temps, Final Cut Pro peut dupliquer automatiquement un plan dans la timeline et appliquer un effet à la copie. Pour ce faire, faites glisser un effet du navigateur d’effets vers le plan dans la timeline tout en maintenant enfoncée la touche ctrl. Vous pouvez également appliquer un effet à chaque plan d’une audition en faisant glisser l’effet du navigateur d’effets vers l’audition dans la timeline tout en maintenant enfoncées les touches Option et ctrl. Dans les deux cas, vous devez commencer à faire glisser l’effet depuis le navigateur d’effets, puis appuyer sur les touches au moment d’ajouter l’effet au plan.
Resynchronisation de plans pour créer des effets de vitesse
Présentation de la resynchronisation de plans
Vous pouvez ajuster les réglages de vitesse d’un plan pour créer des effets d’accéléré ou de ralenti. Vous pouvez également inverser un plan, rembobiner un segment d’un plan, appliquer des effets de vitesse variable (également appelés effets de rampe de vélocité) à une sélection de plans et créer des ralentis instantanés. Par défaut, Final Cut Pro conserve la tonalité à chaque ajustement de la vitesse, mais vous pouvez désactiver cette fonctionnalité pour accentuer l’effet de vitesse.
Vous ne pouvez pas appliquer de changements de vitesse à des images fixes, des générateurs, des titres et des thèmes dans Final Cut Pro.
Modification de la vitesse du plan
Dans Final Cut Pro, vous pouvez appliquer des changements de vitesse constants ou variables à vos plans tout en préservant la tonalité de l’audio.
Remarque : les réglages de vitesse ne sont appliqués qu’à une occurrence spécifique du plan sélectionné. Ils ne sont pas appliqués au fichier multimédia source de ce plan sur le disque. Pour créer un fichier multimédia auquel les effets de vitesse sont appliqués, exportez le plan sous forme de séquence QuickTime. Pour en savoir plus, consultez Partage de projets, de plans et de plages à la page 395.
Changement de vitesse constant
Lorsque vous appliquez un changement de vitesse constant à une sélection de plage ou à un plan complet, la vitesse de lecture de l’ensemble de la sélection est modifiée selon le même pourcentage. Par exemple, si vous appliquez un réglage de vitesse de 25 pour cent à la sélection, celle-ci est lue intégralement au ralenti.
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La vitesse constante modifie également la durée d’un plan. Si un changement de vitesse
constant entraîne une diminution ou une augmentation de la durée d’un plan dans votre
projet, tous les plans suivants sont décalés vers l’avant ou l’arrière. Si vous choisissez une vitesse
de 50 pour cent, la durée du plan est doublée. À l’inverse, si vous optez pour une vitesse de
200 pour cent, le plan est deux fois moins long. Par exemple, si vous réglez la vitesse de lecture
d’un plan de 5 secondes sur 50 pour cent, Final Cut Pro ajoute des images au plan pour
que celui-ci dure 10 secondes et soit lu plus lentement. Si vous réglez la vitesse du plan sur
200 pour cent, Final Cut Pro supprime des images de sorte que le plan ne dure plus que
5 secondes et soit lu considérablement plus vite.
Plan identique avec vitesse réglée
sur 50 pour cent (à présent long de
10 secondes)
Plan de 5 secondes
1 Dans la timeline, sélectionnez une plage, un plan complet ou un groupe de plans dont vous
voulez modifier la vitesse.
2 Procédez de l’une des manières suivantes :
•• Pour appliquer un réglage de vitesse prédéfini : choisissez Lente ou Rapide dans le menu local
Resynchronisation de la barre d’outils (illustré ci-dessous), puis sélectionnez une vitesse dans
le sous-menu.
•• Pour appliquer un réglage de vitesse personnalisé : choisissez « Afficher l’éditeur de resynchronisation
» dans le menu local Resynchronisation (ou appuyez sur cmd + R) pour afficher l’éditeur
de resynchronisation au-dessus de la sélection dans la timeline, puis faites glisser la poignée
de resynchronisation.
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Si vous faites glisser la poignée de resynchronisation vers la droite, la vitesse de la sélection diminue, sa durée augmente et la barre affichée au-dessus d’elle dans la timeline devient orange.
Faites glisser la poignée de resynchronisation vers la droite pour créer un effet de ralenti.
Si vous faites glisser la poignée de resynchronisation vers la gauche, la vitesse de la sélection augmente, sa durée diminue et la barre affichée au-dessus d’elle dans la timeline devient bleue.
Faites glisser la poignée de resynchronisation vers la gauche pour créer un effet d’accéléré.
Changement de vitesse variable
Pour faire varier la vitesse d’un plan dans le temps, en avant ou en arrière, vous pouvez appliquer un changement de vitesse variable (également appelé effet de rampe de vélocité). Les changements de vitesse variables créent des effets de lecture sophistiqués grâce auxquels les sujets semblent passer aisément d’une vitesse à une autre, avec des transitions nettes ou progressives entre chaque changement. Ces types d’effets sont fréquemment utilisés dans les vidéos musicales et les spots publicitaires, et ils peuvent être créés directement dans la timeline. Pour appliquer des effets de vitesse variable, vous devez diviser un plan en segments de vitesse réglés sur des pourcentages de vitesse précis.
1 Dans la timeline, sélectionnez une plage d’un plan ou un plan complet auquel vous voulez appliquer un effet de rampe de vélocité.
2 Procédez de l’une des manières suivantes :
••
Pour réduire progressivement la vitesse : choisissez Rampe de vélocité > jusqu’à 0 % dans le menu local Resynchronisation de la barre d’outils.
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•• Pour augmenter progressivement la vitesse : choisissez Rampe de vélocité > depuis 0 % dans le
menu local Resynchronisation de la barre d’outils.
La sélection est divisée en quatre segments ayant chacun un pourcentage de vitesse différent
pour créer l’effet de rampe. Si une plus grande précision est requise, vous pouvez faire glisser
manuellement l’une des quatre poignées de resynchronisation pour définir la vitesse voulue.
Faites glisser une poignée de resynchronisation
pour modifier le pourcentage de vitesse d’un
segment de rampe de vélocité.
Conserver la tonalité dans les plans resynchronisés
Par défaut, Final Cut Pro conserve la tonalité d’un plan qui a été resynchronisé. Toutefois, si vous
souhaitez accentuer l’effet de resynchronisation en autorisant les variations de la tonalité en
fonction de l’ajustement de la vitesse, vous pouvez désactiver cette fonctionnalité.
1 Dans la timeline, sélectionnez une plage, un plan complet ou un groupe de plans dont vous
voulez modifier la vitesse.
2 Choisissez Conserver la tonalité dans le menu local Resynchronisation de la barre d’outils.
Une coche à gauche du nom de la commande indique que la fonctionnalité Conserver la tonalité
est activée. Choisissez à nouveau Conserver la tonalité pour la désactiver.
Modification de l’image de fin d’un segment de vitesse
Vous pouvez changer l’image de fin d’un segment de vitesse dans la timeline.
Lorsque vous faites glisser la poignée de resynchronisation d’un segment de vitesse, vous ajustez
la vitesse de ce segment, vous n’effectuez pas de trim. La commande « Modifier l’image de
source de fin » vous permet d’appliquer un trim au point de fin (image de fin) d’un segment.
1 Dans la timeline, sélectionnez un plan contenant des segments de vitesse.
2 Pour afficher l’éditeur de resynchronisation au-dessus du plan dans la timeline, choisissez Éditeur
de resynchronisation dans le menu local Resynchronisation de la barre d’outils (ou appuyez sur
cmd + R).
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3 Cliquez sur le triangle en regard du pourcentage de vitesse d’un segment de vitesse, puis choisissez
« Modifier l’image de source de fin » dans le menu local.
Une icône de pellicule apparaît au-dessus de l’image de fin du segment rapide.
4 Pour changer l’image de fin, faites glisser l’icône de pellicule vers la gauche ou la droite.
Icône
Pellicule
Pendant le glissement, le visualiseur affiche l’image de fin actuelle.
Adaptation de la vitesse d’un plan à celle du projet
Si vous avez appliqué des effets de vitesse à l’aide de votre caméra, la vitesse d’origine des données
source risque de ne pas correspondre à celle des données source des autres plans de votre
projet dans la timeline. Toutefois, vous pouvez modifier le plan dont la vitesse d’origine diffère
pour l’adapter aux autres plans présents dans la timeline.
1 Dans la timeline, sélectionnez le plan dont vous voulez modifier la vitesse pour la faire correspondre
à celle des autres plans de votre projet.
2 Choisissez Adapter la vitesse dans le menu local Resynchronisation de la barre d’outils.
Lissage d’un plan ralenti à l’aide de préréglages de qualité vidéo
Pour lisser le mouvement apparent d’un plan lu au ralenti, vous pouvez lui appliquer une fusion
d’images ou une analyse du flux optique.
1 Dans la timeline, sélectionnez une plage, un plan complet ou un groupe de plans dont vous
voulez modifier la qualité vidéo.
2 Choisissez un réglage Qualité vidéo dans le menu local Resynchronisation de la barre d’outils.
•• Normale : réglage par défaut. Les images sont dupliquées et aucune fusion d’images n’est
appliquée au plan ralenti. Ne nécessite aucun rendu.
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•• Fusion d’images : ajoute des images intermédiaires en fusionnant les pixels des images voisines.
La lecture des plans ralentis créés avec le réglage Fusion d’images semble plus fluide que celle
des plans créés avec le réglage Normale (duplication). Un rendu est nécessaire.
•• Flux optique : ajoute des images intermédiaires à l’aide d’un algorithme de flux optique, qui
analyse le plan pour déterminer la direction du mouvement des pixels puis dessine partiellement
les nouvelles images en fonction des résultats de l’analyse du flux optique. Seule la portion
du plan utilisée dans le projet (données situées entre les points de départ et d’arrivée du
plan) est analysée. Un rendu est nécessaire.
Remarque : Plus il y a d’animation dans un plan, plus l’analyse et le rendu prendront de temps.
Inversion ou rembobinage des plans
Outre la possibilité de modifier la vitesse d’un plan, vous pouvez également ajouter des effets
directionnels :
•• Inverser : inverse l’ordre des images du plan de sorte que la dernière image soit lue en premier.
•• Rembobiner : ajoute un segment dupliqué de la sélection de plage ou du plan, rembobine ce
segment dupliqué à une vitesse de 1x, 2x ou 4x, puis lit le segment de plan d’origine en avant
et à vitesse normale.
Inversion d’un plan
1 Dans la timeline, sélectionnez un plan complet ou un groupe de plans dont vous voulez inverser
le contenu.
2 Choisissez Inverser le plan dans le menu local Resynchronisation de la barre d’outils.
La barre verte avec des flèches pointant vers la gauche au-dessus de la sélection dans la timeline
indique que le plan est inversé.
3 Si vous voulez modifier la vitesse du plan inversé, faites glisser la poignée de resynchronisation
vers la gauche pour l’augmenter ou vers la droite pour la diminuer.
Segment inversé
Faites glisser
la poignée de
resynchronisation
pour modifier la
vitesse du plan
inversé.
4 Pour visualiser l’effet d’inversion, lisez le plan ou la sélection inversé(e).
Rembobinage d’une sélection de plage ou d’un plan
1 Dans la timeline, sélectionnez une plage, un plan complet ou un groupe de plans dont vous
voulez rembobiner le contenu.
Chapitre 11 Montage avancé 304
2 Choisissez Rembobiner dans le menu local Resynchronisation de la barre d’outils (illustré ci-dessous),
puis sélectionnez une vitesse dans le sous-menu.
La sélection est dupliquée, ajoutée à la suite de la sélection d’origine, puis inversée à la vitesse
choisie. Une autre copie de la sélection de la timeline suit la section inversée et est lue en avant à
la vitesse d’origine de la sélection.
3 Si vous voulez modifier la vitesse de la section rembobinée ou des sections précédant et suivant
celle-ci, faites glisser la poignée de resynchronisation de la section vers la gauche pour augmenter
la vitesse ou vers la droite pour la diminuer.
Faites glisser une poignée de resynchronisation
pour modifier la vitesse.
4 Lancez la lecture du plan pour visualiser l’effet de rembobinage.
Création de ralentis instantanés
Vous pouvez appliquer un ralenti instantané à une sélection de plage au sein d’un plan ou à un
plan complet. Final Cut Pro duplique la plage ou le plan et ajoute les images dupliquées à la suite
de la sélection sous la forme d’un nouveau segment. Vous pouvez ensuite modifier la vitesse de
ce nouveau segment pour obtenir l’effet de ralenti instantané recherché.
Création d’un ralenti instantané
1 Dans la timeline, sélectionnez une plage ou un plan complet dont vous voulez utiliser le contenu
pour créer un ralenti instantané.
2 Choisissez Ralenti instantané dans le menu local Resynchronisation de la barre d’outils.
Une copie de la plage ou du plan est ajoutée à la suite de la sélection et lue en avant à la vitesse
d’origine de la sélection. (Par défaut, la vitesse de lecture du ralenti instantané est réglée sur
100 pour cent.)
Chapitre 11 Montage avancé 305
3 Si vous voulez modifier la vitesse du segment de ralenti instantané, faites glisser la poignée de
resynchronisation vers la gauche pour l’augmenter ou vers la droite pour la diminuer.
Plan d’origine
(désormais un
segment)
Segment de ralenti
instantané avec réglage
de ralenti manuel
Faites glisser la poignée de resynchronisation
pour modifier la vitesse du segment de ralenti
instantané.
4 Pour visualiser l’effet de ralenti instantané, lancez la lecture de la sélection d’origine et du segment
de ralenti instantané.
Création d’un segment de suspension
Dans Final Cut Pro, vous pouvez suspendre une image donnée pour créer une image fixe, ce
qui a pour effet d’arrêter temporairement l’action à l’écran. Par défaut, Final Cut Pro ajoute une
image fixe, appelée segment de suspension, au niveau du skimmer ou de la tête de lecture, mais
vous pouvez modifier à tout moment la durée de l’image en question.
Une autre solution consiste à créer des plans d’arrêt sur image à part dans Final Cut Pro. Une
des différences clés entre les images figées et les segments de suspension est que ces derniers
restent intégrés au plan d’origine et que leur durée peut être ajustée au sein du plan. Pour en
savoir plus, consultez Création d’images figées à la page 120.
Important : L’ajout d’un segment de suspension à un plan augmente la durée de ce dernier.
Création d’un segment de suspension à image fixe
1 Dans la timeline, effectuez l’une des opérations suivantes :
•• Sélectionnez le plan contenant l’image que vous voulez suspendre, puis placez le skimmer ou
la tête de lecture sur cette image.
•• Sélectionnez une plage au sein d’un plan dans la timeline.
2 Choisissez Suspendre dans le menu local Resynchronisation de la barre d’outils (ou appuyez sur
Maj + H).
Si vous avez sélectionné un plan, un segment de suspension de 2 secondes est ajouté à celui-ci
au niveau du skimmer ou de la tête de lecture.
Si vous avez sélectionné une plage, un segment de suspension dont la durée correspond à celle
de la plage est créé. La première image (celle la plus à gauche) de la plage est utilisée comme
image fixe.
Chapitre 11 Montage avancé 306
3 Si vous voulez modifier la durée du segment de suspension, faites glisser la poignée de resynchronisation
du segment vers la droite pour l’augmenter ou vers la gauche pour la diminuer.
Faites glisser la poignée de
resynchronisation pour modifier la
durée du segment de suspension.
4 Pour visualiser l’effet du segment de suspension, lancez la lecture du plan dans la timeline.
Restauration de la vitesse normale des plans resynchronisés
Vous pouvez restaurer la vitesse de lecture normale (100 pour cent) d’une sélection de plage ou
d’un plan à tout moment. La restauration de la vitesse supprime en même temps l’ensemble des
effets directionnels et des suspensions appliqués à la sélection.
Restauration de la vitesse de lecture en avant à 100 pour cent d’une plage ou d’un plan
1 Dans la timeline, sélectionnez une plage, un plan complet ou un groupe de plans dont vous
voulez restaurer la vitesse d’origine.
2 Choisissez Normale 100 % dans le menu local Resynchronisation de la barre d’outils.
Adaptation des tailles d’images et des fréquences d’images
Final Cut Pro gère automatiquement les réglages du projet. Cela signifie que vous pouvez utiliser
plusieurs types de média ayant des tailles d’image (ou résolutions) et des fréquences d’images
différentes dans le même projet. Lorsque vous ajoutez le premier plan vidéo à votre projet,
Final Cut Pro définit automatiquement le format, la taille d’image et la fréquence d’images de
l’ensemble du projet en fonction des propriétés de ce premier plan (ou, plus exactement, en
fonction des propriétés du fichier multimédia source de ce plan).
Vous pouvez à tout moment modifier les réglages du projet, et vous pouvez contrôler, plan par
plan, la façon dont Final Cut Pro adapte la fréquence d’images et la taille d’image d’un plan
pour les faire correspondre aux réglages du projet. Toutes les informations relatives au projet de
cette section s’appliquent également aux plans composés, qui peuvent posséder leurs propres
réglages de projet.
Vous pouvez ajouter des plans entrelacés à des projets progressifs (non entrelacés) et des plans
progressifs à des projets entrelacés. Pour ajouter un plan entrelacé à un projet progressif, suivez
les instructions ci-dessous. Final Cut Pro accepte automatiquement les plans progressifs dans les
projets entrelacés.
Chapitre 11 Montage avancé 307
Gardez les points suivants à l’esprit lorsque vous travaillez avec plusieurs formats et tailles
d’image :
•• Choisissez les propriétés vidéo et audio de votre projet en fonction de la façon dont vous prévoyez
de partager votre séquence finale. Par exemple, si vous montez un projet avec un média
de format mixte et que vous prévoyez de le partager en HD 1080p, définissez ses propriétés
vidéo sur HD 1080p.
•• Si vous ne savez pas encore quel sera le format de distribution final, vous devez au moins
déterminer la fréquence d’images de votre projet avant de le créer. En effet, le format et la
taille d’image de votre projet peuvent être modifiés facilement à tout moment, ce qui n’est
pas le cas de la fréquence d’images, dont la modification peut entraîner le décalage dans le
temps de tous les points de montage de votre projet.
•• Si vous possédez un plan dont les propriétés audio et vidéo correspondent à celles du
format dans lequel vous prévoyez de partager votre projet, ajoutez-le en premier à ce dernier.
Final Cut Pro crée automatiquement les réglages correspondants du projet. Cela vous
permet de gagner du temps en vous évitant d’avoir à modifier ultérieurement les réglages de
votre projet.
Conseil : Si le premier plan que vous ajoutez à un projet est un clip audio ou une image fixe,
Final Cut Pro vous invite à définir les propriétés vidéo de votre projet. Annulez le montage,
ajoutez un plan vidéo dont le fichier multimédia source présente les propriétés vidéo dont
vous avez besoin pour votre projet, puis ajoutez le plan non vidéo à ce dernier.
Choix d’une méthode d’adaptation de la taille d’image
Vous pouvez choisir la façon dont Final Cut Pro modifie la taille d’image d’un plan pour la faire
correspondre aux réglages de taille d’image du projet. Par exemple, Final Cut Pro peut modifier la
taille d’image du plan de façon à l’ajuster en fonction de la dimension d’image la plus grande du
projet ou à remplir l’intégralité de l’image du projet (ce qui entraîne généralement un rognage),
ou il peut laisser la taille d’image du plan telle quelle.
1 Ajoutez à la timeline un plan dont la taille d’image ne correspond pas aux réglages de taille
d’image (résolution) du projet actuel.
2 Sélectionnez le plan dans la timeline.
3 Pour ouvrir l’inspecteur vidéo, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous),
puis cliquez sur le bouton Vidéo en haut de la fenêtre qui apparaît.
4 Choisissez une méthode d’adaptation de la taille d’image dans le menu local Type de la section
Adaptation spatiale de l’inspecteur vidéo.
•• Adapter : réglage par défaut. Adapte le plan au réglage de taille d’image du projet sans rogner
la vidéo du plan. Des barres noires apparaissent sur les côtés des images ne correspondant pas
à la taille d’image (résolution) du projet. Dans le cas d’un plan de définition standard (SD) dans
un projet haute définition (HD), Final Cut Pro augmente l’échelle du plan SD pour l’adapter à
la taille d’image du projet HD. Dans le cas d’un plan HD dans un projet SD, Final Cut Pro réduit
l’échelle du plan HD pour l’adapter à la taille d’image du projet SD.
Chapitre 11 Montage avancé 308
•• Remplir : adapte la vidéo du plan de sorte qu’elle occupe la totalité de la taille d’image du
projet. Dans le cas d’un plan SD dans un projet HD, Final Cut Pro augmente l’échelle du plan
SD pour l’adapter à la taille d’image du projet HD. La dimension la plus grande du plan est
rognée pour permettre à la dimension la plus petite de remplir l’écran. Dans le cas d’un
plan HD dans un projet SD, Final Cut Pro réduit l’échelle du plan HD pour l’adapter à la taille
d’image du projet SD. La dimension la plus petite du plan est rognée pour permettre à la
dimension la plus grande de remplir l’écran.
•• Aucune : laisse la taille d’image du plan telle quelle. Si la taille d’image du plan est supérieure à
celle du projet, le plan est rogné. Si la taille d’image du plan est inférieure à celle du projet, des
barres noires apparaissent autour du plan.
Choix d’une méthode d’adaptation de la fréquence d’images
Lorsque la fréquence d’images d’un plan diffère de celle du projet, Final Cut Pro utilise une
méthode d’échantillonnage d’image pour modifier la fréquence d’images du plan afin de la faire
correspondre à celle du projet. Vous pouvez sélectionner la méthode d’échantillonnage d’image
utilisée par Final Cut Pro pour modifier la fréquence d’images du plan. La méthode choisie
dépend de l’importance que vous attachez à l’élimination des à-coups et autres défauts visuels.
1 Ajoutez à la timeline un plan dont la fréquence d’images ne correspond pas aux réglages de fréquence
d’images du projet actuel.
2 Sélectionnez le plan dans la timeline.
3 Pour ouvrir l’inspecteur vidéo, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous),
puis cliquez sur le bouton Vidéo en haut de la fenêtre qui apparaît.
4 Choisissez une méthode d’adaptation de la fréquence d’images dans le menu local
Échantillonnage d’image de la section « Adaptation de la fréquence » de l’inspecteur vidéo.
Remarque : Si le plan sélectionné possède la même fréquence d’images que celle des réglages
du projet, la section « Adaptation de la fréquence » ne s’affiche pas dans l’inspecteur vidéo.
•• Plancher : réglage par défaut. Final Cut Pro tronque à l’entier inférieur le plus proche lors de
son calcul pour faire correspondre la fréquence d’images du plan à celle du projet.
•• Voisin le plus proche : Final Cut Pro arrondit à l’entier le plus proche lors de son calcul pour faire
correspondre la fréquence d’images du plan à celle du projet. L’option « Voisin le plus proche »
réduit les défauts aux dépens des à-coups visuels. Un rendu est nécessaire.
•• Fusion d’images : crée des images intermédiaires en fusionnant les pixels des images voisines.
La lecture des plans ralentis créés avec le réglage Fusion d’images semble plus fluide que celle
des plans créés avec le réglage Plancher ou « Voisin le plus proche ». Ce réglage offre une meilleure
réduction des à-coups mais peut engendrer des défauts visuels. Un rendu est nécessaire.
•• Flux optique : type de fusion d’images utilisant un algorithme de flux optique pour créer des
images intermédiaires. Final Cut Pro analyse le plan pour déterminer la direction du mouvement
des pixels puis dessine partiellement les nouvelles images en fonction des résultats
de l’analyse du flux optique. L’option Flux optique offre une meilleure réduction des à-coups
visuels et Final Cut Pro consacre relativement beaucoup de temps à la correction des défauts.
Chapitre 11 Montage avancé 309
Ajouter un plan entrelacé à un projet non entrelacé (progressif)
Certains formats vidéo utilisent une méthode de balayage qui divise une image vidéo en deux
trames, chacune d’elles étant constituée de lignes paires et impaires alternées, balayées à différents
moments.
Si vous souhaitez ajouter un plan entrelacé à un projet progressif, Final Cut Pro peut désentrelacer
le plan pour qu’il soit reproduit à pleine résolution et exempt des lignes dentelées associées
aux plans entrelacés dans les projets progressifs.
1 Procédez de l’une des manières suivantes :
•• Dans le navigateur d’événements, sélectionnez les plans entrelacés que vous souhaitez ajouter
à un projet progressif.
•• Dans la timeline, sélectionnez les plans entrelacés que vous avez ajoutés à un projet progressif.
2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur de la barre d’outils (illustré
ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche.
3 Dans l’inspecteur d’informations, choisissez la présentation Réglages dans le menu local
Présentation Métadonnées.
4 Cochez la case Désentrelacer.
Remarque : En sélectionnant le réglage Désentrelacer, la fréquence d’images des plans sélectionnés
double. Par exemple, si les plans entrelacés originaux possèdent une fréquence d’images de
29,97 ips, les plans désentrelacés passent à 59,94 ips. Gardez cela à l’esprit lorsque vous définissez
les réglages audio et vidéo de votre projet.
Conseil : Pour confirmer l’absence de défauts liés à l’entrelacement, vous pouvez appuyer
sur Flèche gauche ou Flèche droite pour naviguer entre les plans dans la timeline, une image
après l’autre.
5 Choisissez Final Cut Pro > Préférences, cliquez sur Lecture, puis sélectionnez Haute qualité dans
le menu local Qualité de lecture.
Les plans sont alors reproduits et fonctionnent comme des plans progressifs. Selon la configuration
de votre ordinateur, le rendu en arrière-plan peut être nécessaire.
Réglage de métrage anamorphosé
Certains caméscopes et dispositifs d’enregistrement vidéo filment dans les proportions d’écran
large 16/9 mais enregistrent les données à travers des proportions 4/3. Parfois, les balise de
métadonnées permettant une lecture en 16/9 du fichier vidéo manquent ou sont incorrectement
définies. Dans Final Cut Pro, vous pouvez définir cette balise de sorte que la vidéo puisse être lue
correctement dans des proportions en 16/9 pour écrans larges.
Remarque : Cette option n’est applicable qu’aux (et n’apparaît que pour les) formats en
définition standard.
1 Dans le navigateur d’événements ou dans la timeline, sélectionnez les plans SD pour lesquels
vous souhaitez ajuster le réglage d’anamorphose.
Chapitre 11 Montage avancé 310
2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur de la barre d’outils (illustré
ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche.
3 Choisissez la présentation Réglages dans le menu local Présentation Métadonnées situé en bas
de l’inspecteur d’informations.
4 Dans le menu local Remplacement anamorphosé, choisissez Écran large.
Les plans peuvent dès lors être reproduits et fonctionnent avec les proportions en 16/9 à
écran large.
Utilisation de rôles pour gérer des plans
Présentation des rôles
Les rôles sont des étiquettes de métadonnées que vous associez à des plans dans le navigateur
d’événements ou la timeline, afin d’obtenir un moyen souple et performant de gérer votre flux
de production de montage. Final Cut Pro vous permet d’utiliser des rôles pour organiser vos
plans dans des événements et des projets, contrôler l’apparence de la timeline ou exporter des
fichiers vidéo ou audio (également appelés stems) séparément en vue de la distribution, du
mixage audio ou de la postproduction.
Lorsque vous importez des plans (vidéo, audio ou images fixes), Final Cut Pro analyse les métadonnées
de plan existantes pour attribuer l’un des cinq rôles par défaut aux composants vidéo
et audio de chaque plan : Vidéo, Titres, Dialogue, Musique et Effets. Par exemple, si un fichier de
média source intègre une balise de métadonnées iTunes « genre », Final Cut Pro attribue le rôle
Musique au plan obtenu. Final Cut Pro attribue les rôles Vidéo et Dialogue aux plans contenant
aussi bien de la vidéo et que de l’audio.
Vous pouvez utiliser des rôles pour les flux de production suivants :
•• Réaffectation de rôles : vous pouvez visualiser et réaffecter les rôles d’un plan dans l’index
de la timeline, le navigateur d’événements, l’inspecteur d’informations ou le menu Modifier.
Consultez Affichage et réattribution de rôles à la page 311. Vous pouvez aussi créer des rôles et
des sous-rôles personnalisés pour organiser davantage vos plans.
•• Visualiser des plans en fonction du rôle : l’index de la timeline vous permet d’organiser des plans
en fonction du rôle, d’activer ou de désactiver des rôles et de mettre des plans en surbrillance
ou de les minimiser en vue de leur affichage dans la timeline. Vous pouvez par exemple identifier
facilement tous vos plans de dialogue et les lire isolément par rapport aux autres plans
audio. Consultez Affichage des plans en fonction du rôle dans la timeline à la page 316.
•• Exporter des stems : Il est possible d’exporter des rôles sous forme de stems soit dans un fichier
QuickTime multipiste combiné, soit dans des fichiers audio ou vidéo séparés. Durant le processus
d’exportation, vous pouvez attribuer des sorties mono, stéréo ou Surround à vos canaux
audio. Consultez Préférences de destinations à la page 441.
Chapitre 11 Montage avancé 311
Affichage et réattribution de rôles
Vous pouvez afficher et modifier les rôles attribués aux plans dans l’index de la timeline, le navigateur d’événements, l’inspecteur d’informations ou le menu Modifier.
Tenez compte des éléments suivants lorsque vous utilisez des rôles :
••
Chaque plan doit avoir reçu au moins un rôle (les plans à contenu audio et vidéo possèdent toujours un rôle audio et un rôle vidéo). Les images fixes reçoivent par défaut le rôle Vidéo, mais vous pouvez créer un rôle personnalisé (image fixe) et l’attribuer à vos images fixes.
••
Il est impossible d’attribuer des rôles Vidéo à des plans ne contenant que de l’audio ou des rôles Audio à des plans ne contenant que de la vidéo.
••
Il est possible d’attribuer des rôles aux composants audio ou vidéo d’un plan, mais pas à une plage de plans ni à une portion de plan.
••
Vous avez également la possibilité d’afficher et de réattribuer le rôle pour un composant audio dans l’inspecteur d’informations (ou via le menu Modifier lorsque son plan de ce composant se trouve dans la timeline).
••
Vous pouvez attribuer des rôles différents à chaque instance d’un plan. Ainsi, les plans que vous ajoutez à la timeline depuis le navigateur d’événements ou que vous copiez d’un événement à l’autre ou au sein de la timeline, constituent des instances de plan (des copies) indépendantes les unes des autres.
Affichage et réattribution de rôles dans le navigateur d’événements
1 Dans le navigateur d’événements en présentation par liste, sélectionnez un ou plusieurs plans.
Remarque : Si la colonne Rôles n’est pas visible dans le navigateur d’événements, cliquez sur l’en-tête d’une colonne en maintenant la touche ctrl enfoncée et choisissez Rôles dans le menu contextuel.
2 Dans la colonne Rôles, cliquez sur le rôle attribué à un plan pour afficher un menu contextuel présentant les rôles disponibles.
3 Pour changer l’attribution des rôles dans les plans sélectionnés, choisissez d’autres rôles dans le menu contextuel.
Affichage et réattribution de rôles dans l’inspecteur d’informations
1 Sélectionnez un ou plusieurs plans dans le navigateur d’événements ou la timeline.
2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche.
Chapitre 11 Montage avancé 312
3 Dans l’inspecteur d’informations, cliquez sur le menu local Rôles pour accéder aux rôles disponibles.
4 Pour changer l’attribution des rôles dans les plans sélectionnés, choisissez d’autres rôles dans le menu local Rôles.
Affichage et réattribution de rôles dans l’index de la timeline
1 Pour ouvrir l’index de la timeline, cliquez sur le bouton Index de la timeline situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro (ou appuyez sur Commande + Maj + 2).
2 Pour ouvrir la fenêtre Plans, cliquez sur le bouton Plans en haut de l’index de la timeline.
3 Si la colonne Rôles n’est pas visible dans la fenêtre Plans, cliquez sur l’en-tête d’une colonne en maintenant la touche ctrl enfoncée et choisissez Rôles dans le menu contextuel.
4 Sélectionnez un ou plusieurs plans dans la fenêtre Plans.
5 Pour changer l’attribution des rôles dans les plans sélectionnés, cliquez sur le rôle attribué et choisissez d’autres rôles dans le menu contextuel.
Chapitre 11 Montage avancé 313
Affichage et réattribution de rôles dans le menu Modifier
1 Sélectionnez un ou plusieurs plans dans le navigateur d’événements ou la timeline.
2 Choisissez Modifier > Attribuer des rôles, puis sélectionnez un rôle dans le sous-menu.
Une coche apparaît en regard du rôle que vous avez choisi.
Affichage et réattribution du rôle d’un composant audio
1 Sélectionnez un plan dans la timeline, puis choisissez Plan > Développer les composants audio (ou appuyez sur Option + Contrôle + S).
Composants audio
2 Sélectionnez un composant audio.
3 Pour changer l’attribution du rôle pour le composant sélectionné, procédez de l’une des manières suivantes :
••
Choisissez Modifier > Attribuer des rôles, puis sélectionnez un rôle dans le sous-menu.
Une coche apparaît en regard du rôle que vous avez choisi.
••
Ouvrez l’inspecteur d’informations, puis choisissez un autre rôle dans le menu local Rôles.
Une coche apparaît en regard du rôle que vous avez choisi.
Pour en savoir plus sur les composants audio, consultez À propos des canaux audio et des composants audio à la page 165.
Affichage et réattribution de rôles dans des plans composés
Les plans composés reflètent les rôles des plans d’origine qui les constituent. Vous pouvez afficher et réattribuer les rôles des plans à l’intérieur d’un plan composé, mais vous ne pouvez pas attribuer des rôles au plan composé lui-même.
1 Sélectionnez un plan composé dans le navigateur d’événements ou la timeline.
2 Pour afficher les rôles attribués ou pour attribuer un rôle à chaque plan à l’intérieur du plan composé, procédez de l’une des manières suivantes :
••
Colonne Rôles dans le navigateur d’événements en présentation par liste : Suivez les instructions présentées dans la section « Affichage et réattribution de rôles dans le navigateur d’événements » ci-dessus.
••
Menu local Rôles dans l’inspecteur d’informations : Suivez les instructions présentées dans la section « Affichage et réattribution de rôles dans l’inspecteur d’informations » ci-dessus.
••
Colonne Rôles dans la fenêtre Plans de l’index de la timeline : Suivez les instructions présentées dans la section « Affichage et réattribution de rôles dans l’index de la timeline » ci-dessus.
••
cmd Attribuer des rôles : Suivez les instructions présentées dans la section « Affichage et réattribution de rôles dans le menu Modifier » ci-dessus.
Chapitre 11 Montage avancé 314
Lorsque vous attribuez un rôle à un plan composé (le conteneur), le rôle est attribué à tous les plans à l’intérieur de ce plan composé. Pour attribuer des rôles différents à certains plans du plan composé, vous pouvez ouvrir le plan composé afin de le modifier, puis attribuer individuellement des rôles à des plans du plan composé.
Pour en savoir plus sur les plans composés, consultez Présentation des plans composés à la page 266.
Création de sous-rôles et de rôles personnalisés
Vous pouvez créer, outre les cinq rôles par défaut (Vidéo, Titres, Dialogue, Musique et Effets), des sous-rôles et des rôles personnalisés.
Important : Soyez prudent lorsque vous créez des sous-rôles et des rôles personnalisés. Les rôles personnalisés (ainsi que leurs noms) ne peuvent pas être modifiés ou supprimés de la liste des rôles. Vous pouvez toutefois changer à tout moment les attributions de rôle à des plans.
Création de rôles personnalisés
1 Pour ouvrir l’éditeur de rôle, procédez de l’une des manières suivantes :
••
Choisissez Modifier > Modifier les rôles.
••
Dans le navigateur d’événements en présentation par liste ou dans la fenêtre Plans de l’index de la timeline, cliquez sur un rôle dans la colonne Rôles, puis choisissez Modifier les rôles dans le menu contextuel.
••
Après avoir sélectionné un plan dans le navigateur d’événements ou dans la timeline, ouvrez l’inspecteur d’informations, puis choisissez Modifier les rôles dans le menu local Rôles.
2 Choisissez le type de rôle dans le menu local Ajouter un rôle situé dans le coin inférieur gauche de l’éditeur de rôle.
Le nouveau rôle apparaît en bas de la colonne Rôle.
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3 Saisissez un nom pour le nouveau rôle.
Le nouveau rôle apparaît dans la liste des rôles, afin que vous puissiez l’attribuer à n’importe quel plan.
Création de sous-rôles
Les sous-rôles vous permettent d’organiser différents rôles au sein d’un rôle ; vous pouvez par exemple créer un sous-rôle Bruitage au sein du rôle Effets ou un rôle Sous-titres espagnols dans le rôle Titres.
1 Pour ouvrir l’éditeur de rôle, procédez de l’une des manières suivantes :
••
Choisissez Modifier > Modifier les rôles.
••
Dans le navigateur d’événements en présentation par liste ou dans la fenêtre Plans de l’index de la timeline, cliquez sur un rôle dans la colonne Rôles, puis choisissez Modifier les rôles dans le menu contextuel.
••
Après avoir sélectionné un plan dans le navigateur d’événements ou dans la timeline, ouvrez l’inspecteur d’informations, puis choisissez Modifier les rôles dans le menu local Rôles.
Chapitre 11 Montage avancé 316
2 Sélectionnez un rôle dans la colonne Rôle, puis cliquez sur le bouton Ajouter un sous-rôle (signe plus) sous la colonne Sous-rôle.
3 Saisissez un nom pour le sous-rôle.
Le nouveau sous-rôle demeure dans la liste Sous-rôle et apparaît en dessous de son rôle parent dans les listes de rôles présentes dans Final Cut Pro. Lorsque vous attribuez des sous-rôles à des plans dans la timeline, ces sous-rôles apparaissent également dans l’index de la timeline.
Sous-rôles
Affichage des plans en fonction du rôle dans la timeline
Vous pouvez utiliser la fenêtre Rôles de l’index de la timeline pour afficher et lire des plans en fonction de leur rôle dans la timeline.
Tous les plans vidéo et audio sont organisés en fonction soit des rôles par défaut (Vidéo, Titres, Dialogue, Musique ou Effets), soit de rôles ou de sous-rôles que vous avez créés. Il est possible de désactiver certains rôles afin de suspendre la lecture de tous les plans auxquels ces rôles ont été attribués. Vous pouvez, par exemple, désactiver tous les rôles sauf le rôle Dialogue pour ne lire que les plans de dialogue, puis activer le rôle Musique pour écouter la bande son du film en même temps que les dialogues.
Les rôles vous offrent un moyen très efficace d’organiser et de prévisualiser des plans avant de les exporter sous forme de fichiers en vue de leur diffusion ou de la postproduction audio.
Remarque : L’activation ou la désactivation des rôles dans l’index de la timeline n’a pas d’effet sur les réglages d’exportation ni sur les réglages de plan dans le navigateur d’événements, la timeline ou les inspecteurs.
Chapitre 11 Montage avancé 317
Activation ou désactivation des rôles
1 Dans l’index de la timeline, cliquez sur le bouton Rôles.
2 Dans la fenêtre Rôles, cochez les cases en regard des rôles ou des sous-rôles que vous voulez activer. Désélectionnez les cases en regard des rôles ou des sous-rôles que vous voulez désactiver.
Les rôles activés sont affichés en couleur dans la timeline, tandis que les rôles désactivés sont affichés en gris. Si vous désactivez tous les rôles vidéo ou tous les rôles audio, la partie respective des plans audio-vidéo est également affichée en gris.
Les plans auxquels un rôle actif est assigné apparaissent en couleur.Les plans auxquels un rôle inactif est assigné apparaissent en gris.Rôles actifs
3 Pour prévisualiser des plans en fonction de leur rôle, effectuez la lecture de votre projet.
Seuls les plans ayant des rôles activés sont lus.
Mise de rôles en surbrillance dans la timeline
1 Dans l’index de la timeline, cliquez sur le bouton Rôles.
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2 Dans la fenêtre Rôles, cliquez sur le nom du rôle à mettre en surbrillance.
Les plans ayant reçu ce rôle sont mis en surbrillance dans la timeline. Cela inclut à la fois les plans actifs (en couleur) et les plans inactifs (en gris).
Rôle sélectionnéLes plans auxquels un rôle sélectionné est assigné apparaissent en surbrillance.
Conseil : Pour mettre en surbrillance plusieurs rôles à la fois, sélectionnez-les en maintenant la touche Maj enfoncée s’ils sont contigus ou la touche cmd si ce n’est pas le cas.
Réduction des plans en fonction du rôle
Pour dégager de l’espace dans la timeline afin de pouvoir mieux visualiser et manipuler des plans, vous pouvez réduire les plans correspondant à certains rôles. Ces plans sont alors affichés en plus petit dans la timeline.
1 Dans l’index de la timeline, cliquez sur le bouton Rôles.
2 Dans la fenêtre Rôles, cliquez sur le bouton de réduction en regard du rôle dont vous souhaitez réduire les plans.
Bouton MinimiserPlan minimiséLes rôles ayant été minimisés.
Il est possible également de personnaliser l’affichage des plans dans la timeline en modifiant leur apparence et leur hauteur et en déterminant s’ils doivent être visualisés par leur nom ou leur rôle. Consultez Ajustement des réglages de la timeline à la page 147.
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Utilisation de rôles pour exporter des stems
Lorsque vous exportez votre travail, vous pouvez utiliser des rôles pour déterminer les détails de vos fichiers de sortie. Ce processus est souvent utilisé lorsqu’il s’agit de livrer des fichiers correspondant à certaines spécifications de diffusion ou de remettre des stems en vue du mixage ou de la postproduction.
Vous pouvez exporter des rôles dans un fichier QuickTime multipiste combiné ou dans des fichiers audio ou vidéo séparés. Durant le processus d’exportation, vous pouvez attribuer des sorties mono, stéréo ou Surround à vos canaux audio.
Pour en savoir plus, consultez Préférences de destinations à la page 441.
Utilisation de fichiers XML pour transférer des projets et des événements
Final Cut Pro peut importer ou exporter des fichiers XML (eXtensible Markup Language). Vous pouvez utiliser des documents XML (fichiers texte ASCII incluant des éléments balisés) pour transférer les détails de vos événements et de vos projets entre Final Cut Pro et des applications tierces, des périphériques et des outils de gestion de ressources multimédias incapables de reconnaître les événements ou les projets Final Cut Pro.
Les options d’importation et d’exportation XML sont décrites en détail dans la documentation destinée aux développeurs XML Final Cut Pro. Pour en savoir plus, consultez la page consacrée aux applications Apple du site web Apple Developer à l'adresse http://developer.apple.com/fr/appleapplications.
Importation au format XML dans Final Cut Pro
Vous pouvez générer des fichiers XML avec d’autres applications, puis les importer dans Final Cut Pro. Lorsque vous importez un fichier XML dans Final Cut Pro, des plans, des événements et des projets sont automatiquement générés dans Final Cut Pro.
1 Dans Final Cut Pro, choisissez Fichier > Importer > XML.
2 Naviguez ensuite jusqu’au fichier XML à importer, puis cliquez sur Importer.
Final Cut Pro traite le fichier XML et génère des plans, des événements et des projets dans la bibliothèque d’événements et la bibliothèque de projets.
Exportation au format XML depuis Final Cut Pro
Vous pouvez exporter des événements et des projets sous forme de fichiers XML.
1 Dans la bibliothèque d’événements ou la bibliothèque de projets, choisissez un ou plusieurs événements ou projets à exporter sous forme de fichiers XML.
2 Choisissez Fichier > Exporter le fichier XML.
3 Dans la fenêtre qui apparaît, naviguez jusqu’au dossier de votre disque dur où vous voulez enregistrer les fichiers XML, puis cliquez sur Enregistrer.
Chapitre 11 Montage avancé 320
Montage de plans multicam
Présentation du montage multicam
Vous pouvez exploiter Final Cut Pro pour monter le métrage de prises multicaméra ou tout
autre métrage synchronisé en temps réel. Par exemple, si vous filmez un concert en direct ou un
mariage avec quatre caméras, vous pouvez synchroniser le métrage de chaque angle dans un
même plan multicam et effectuer des coupes entre les angles en temps réel.
Les différents angles d’un plan multicam sont synchronisés par un point de synchronisation
commun, une image qu’il vous est possible de reconnaître (visiblement ou à l’oreille) pour
chacun des angles que vous synchronisez. Lorsque vous ajoutez un plan multicam à la timeline,
l’angle qui s’affiche dans le visualiseur au moment où vous procédez à la lecture de votre projet
s’appelle l’angle actif. Alors que les angles actifs se reproduisent dans le visualiseur, vous pouvez
également visionner tous les angles simultanément dans le visualiseur d’angle, puis effectuer des
coupes et passer facilement d’un angle à l’autre.
Angle 1
Angle 2 Angle actif
Angle 3
Angle 4
Point de synchronisation
icône Plan multicam
L’utilisation de plans multicam dans Final Cut Pro assure un processus polyvalent et fluide. À tout
moment, vous pouvez ajouter ou supprimer des angles d’un plan multicam, et adapter facilement
la synchronisation entre eux.
Vous pouvez aussi grouper des éléments de métrage non associés pour le montage en temps
réel (vidéos musicales, par exemple). Par exemple, si vous montez une vidéo musicale, vous
avez la possibilité d’ajouter plusieurs angles d’images abstraites et d’effectuer des coupes à des
moments précis de la musique. Il est en outre possible d’exploiter des photos (d’un appareil
photo) dans un plan multicam. Si les informations de date et heure (Contenu créé) correspondent
au contenu des autres angles, les photos sont automatiquement ajustées sur la durée
de sorte à « remplir » l’angle.
Les plans multicam présentent les caractéristiques suivantes :
•• Vous ne pouvez créer de plans multicam que dans le navigateur d’événements, à partir de
plans d’événements existants.
•• Vous devez effectuer des coupes et adapter les plans multicam dans l’éditeur d’angles, lequel
ressemble à la timeline.
Chapitre 11 Montage avancé 321
••
Lorsque vous ajoutez un plan multicam à la timeline, une relation directe et active s’établit entre le plan multicam « parent » dans le navigateur d’événements et le plan multicam « enfant » sur la timeline.
Plans de l’événementProjet 3Projet 1Plan enfantPlans enfantsPlan enfantProjet 2Plan multicam parent
••
Si vous ouvrez un plan multicam dans l’éditeur d’angles (que ce soit depuis le navigateur d’événements ou depuis la timeline), il s’agit en fait du plan multicam parent qui s’ouvre depuis le navigateur d’événements. Toute modification apportée à un plan multicam dans l’éditeur d’angles est transmise à l’intégralité de ses plans enfants, dans tous les projets. Ces changements comprennent les réglages de synchronisation ou de trim, la resynchronisation de la vitesse des plans, les effets vidéo ou audio tels que l’étalonnage, ainsi que les angles ajoutés ou supprimés. Par exemple, si vous supprimez un angle d’un plan multicam parent, il est alors supprimé de tous les plans enfants. Pour en savoir plus sur l’éditeur d’angles, consultez la section Synchronisation et ajustement des angles et des plans dans l’éditeur d’angles à la page 337.
Flux de production de montage multicam
Le processus à suivre pour la création d’un projet multicam est décrit ci-après. Ces procédures sont présentées dans un ordre chronologique approximatif. Vous pouvez par conséquent les réorganiser pour répondre aux besoins de votre flux de production.
Tournage d’un événement avec plusieurs caméras et enregistrement des informations de synchronisation
Un plan multicaméra utilise plusieurs caméras pour enregistrer le même sujet ou événement sous des angles et à des distances différents.
Dans le cas de projets multicam, il peut s’avérer judicieux de régler la date, l’heure et le fuseau horaire sur votre caméscope ou tout autre équipement d’enregistrement avant le tournage. Cela fournit des informations utiles à Final Cut Pro lors du processus de création automatique des plans multicam.
Dans les plans multicaméra professionnels, chaque caméscope ou magnétoscope reçoit le même timecode à partir d’un générateur de timecode maître. Vous pouvez aussi effectuer une synchronisation fixe sur le générateur de timecode de chaque caméscope au début du plan. Si vous utilisez un caméscope numérique grand public incompatible avec le timecode externe, vous devez enregistrer un signal visuel ou sonore, tel que la fermeture d’un clap ou le flash d’une caméra, sur toutes les caméras. Ce signal vous permet de synchroniser les angles dans vos plans multicam.
Dans la mesure où vous pouvez vous servir de la fonctionnalité sophistiquée de synchronisation audio automatique de Final Cut Pro pour vous apporter toute la précision nécessaire à la synchronisation multicam, il convient d’enregistrer l’audio sur chaque caméscope et équipement d’enregistrement utilisés dans votre production multicam. (À noter que des enregistrements audio nets produisent les meilleurs résultats.)
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Importation de média pour un montage multicam
Bien que l’importation de média pour les projets multicam soit identique à celle pour tout autre projet, des étapes intermédiaires lors de l’importation sont à même de vous aider à simplifier le flux de production multicam.
Attribution du nom des caméras et des angles multicam
Les balises de métadonnées « Nom de la caméra » et « Angle de caméra » vous permettent d’automatiser et d’organiser votre flux de production multicam. Il est conseillé (mais cependant facultatif) d’appliquer ces balises à vos plans d’événements avant de créer un plan multicam.
Création de plans multicam
Vous devez créer des plans multicam à partir de plans d’événements sélectionnés (comme c’est le cas pour les auditions et les plans composés dans le navigateur d’événements). Que vous réalisiez cette étape manuellement ou que Final Cut Pro s’en charge automatiquement, la création d’un plan multicam suppose trois étapes essentielles :
••
la création d’angles (lesquels contiennent un ou plusieurs plans chacun),
••
la réorganisation de l’ordre des plans dans chaque angle,
••
la synchronisation des angles à travers un point de synchronisation commun.
Si vous connaissez le type de métadonnées comprises dans votre média source, vous pouvez créer manuellement des plans multicam plus rapidement que par les automatisations proposées. Pour en savoir plus, consultez Attribution du nom des caméras et des angles multicam à la page 323 et Création de plans multicam dans le navigateur d’événements à la page 324.
Coupe et passage d’un angle à l’autre dans le visualiseur d’angle
Après avoir créé un plan multicam, il vous est possible de visionner simultanément tous les angles dans le visualiseur d’angle tout en passant ou en coupant en temps réel entre les différents angles. Vous pouvez couper et changer les éléments audio et vidéo simultanément ou indépendamment. Par exemple, vous pouvez utiliser l’élément audio de l’angle 1 tout en alternant entre les angles 1 à 4 de la vidéo.
Synchronisation et ajustement des angles dans l’éditeur d’angles
Vous pouvez ouvrir à tout moment des plans multicam dans l’éditeur d’angles pour adapter la synchronisation et l’ordre des angles ou pour en ajouter ou en supprimer. Vous pouvez aussi passer par l’éditeur d’angles pour réaliser des montages dans les différents plans insérés dans un plan multicam (par exemple, lors de trim, d’étalonnages, d’ajout de transitions, etc.).
Montage de plans multicam sur la timeline
Vous pouvez passer directement à des angles multicam sur la timeline ou dans l’inspecteur, sans ouvrir le visualiseur d’angle. Bien que les plans multicam présentent des propriétés uniques, il vous est possible de les modifier sur la timeline de la même façon que pour le montage d’autres plans.
Importation de média pour un montage multicam
Lorsque vous importez du média dans un projet multicam, vous pouvez attribuer un nom au caméscope ou à l’équipement d’enregistrement produisant des fichiers. Final Cut Pro fait appel à la balise « Nom de la caméra » pour trier les plans source au sein d’un plan multicam lors du processus de création automatique des plans multicam.
Si vous prévoyez que vos plans multicam compteront de nombreux angles, sélectionnez « Utiliser un média proxy » dans les préférences Lecture pour préserver des performances optimales lors de votre montage multicam. Vous pouvez générer les versions proxy nécessaires de vos plans lors du processus d’importation.
Chapitre 11 Montage avancé 323
Si vous ne possédez que quelques angles dans votre montage multicam, vous avez la possibilité de réaliser des versions optimisées de votre média lors de l’importation, par le biais du codec Apple ProRes 422. Si vous préférez, il vous est également possible de sélectionner « Créer des média optimisés pour des plans multicam » dans les préférences Lecture pour générer automatiquement des données optimisées chaque fois que vous créez un plan multicam. Pour en savoir plus, consultez Préférences de lecture à la page 438.
Attribution de nom à une caméra
Les instructions suivantes expliquent comment ajouter la propriété « Nom de la caméra » lorsque vous importez des médias à partir d’un dispositif à système de fichiers. Il vous est également possible d’ajouter la propriété « Nom de la caméra » a postériori.
1 Branchez votre caméra ou équipement d’enregistrement sur votre ordinateur.
2 Dans Final Cut Pro, choisissez Fichier > Importer > Média (ou appuyez sur Commande + I).
3 Dans la fenêtre Importation des médias, sélectionnez votre caméscope ou autre matériel dans la liste des dispositifs à gauche, s’il ne l’est pas déjà.
4 Cliquez à nouveau dessus, puis attribuez-lui un nom.
Final Cut Pro affecte ce nom à la propriété de métadonnées « Nom de la caméra » pour tous les plans que vous importez depuis l’appareil en question.
Remarque : les caméscopes et équipements d’enregistrement les plus récents (notamment tous les dispositifs iOS) enregistrent une balise Identifiant Caméra. Final Cut Pro importe automatiquement les métadonnées Identifiant Caméra lorsque vous importez à partir d’un dispositif à système de fichiers et peut exploiter ces informations pour construire automatiquement des angles multicam.
Attribution du nom des caméras et des angles multicam
Les propriétés « Nom de la caméra » et « Angle de caméra » constituent des balises de métadonnées polyvalentes qui vous permettent d’organiser votre flux de production multicam.
Bien qu’il vous soit possible d’attribuer à tout moment des métadonnées à des plans, il s’avère plus logique d’affecter les valeurs aux balises « Angle de caméra » et « Nom de la caméra » avant d’utiliser les plans pour créer les plans multicam. La balise « Angle de caméra » vous permet de déterminer et d’effectuer le suivi des plans apparaissant dans les divers angles. Vous pouvez appliquer la balise « Nom de la caméra » lors de l’importation qui peut être utile dans un grand nombre de cas, par exemple lors de l’étalonnage des couleurs.
Final Cut Pro vous permet de créer automatiquement ou manuellement des plans multicam. Si vous utilisez la méthode de création automatique des angles dans le plan multicam, Final Cut Pro recherche les métadonnées dans les plans sélectionnés dans l’ordre suivant :
••
Métadonnées « Angle de caméra »
••
Métadonnées « Nom de la caméra »
••
Métadonnées « Identifiant Caméra »
Remarque : Les caméscopes et équipements d’enregistrement les plus récents (notamment tous les dispositifs iOS) génèrent la balise Identifiant Caméra. Final Cut Pro importe automatiquement les métadonnées Identifiant Caméra lorsque vous effectuez une importation à partir d’un dispositif à système de fichiers.
Final Cut Pro exploite les métadonnées « Angle de caméra », « Nom de la caméra » et « Identifiant Caméra » pour placer les plans dans le bon angle. Si l’application ne trouve pas ces informations, Final Cut Pro crée alors un angle à part pour chacun des plans sélectionnés.
Chapitre 11 Montage avancé 324
Attribution du nom des caméras et des angles à des plans sélectionnés
Procédez de l’une des manières suivantes :
mm
Sélectionnez des plans dans le navigateur d’événements ou sur la timeline, ouvrez l’inspecteur d’informations, puis saisissez du texte dans le champ « Angle de caméra » ou « Nom de la caméra ».
mm
Dans le navigateur d’événements en présentation par liste, saisissez du texte dans la colonne correspondante pour l’un des plans.
Remarque : Si vous utilisez la méthode de création automatique des angles, Final Cut Pro fait appel aux balises « Angle de caméra » dans les plans sélectionnés pour nommer les angles dans le plan multicam résultant. En l’absence de balise « Angle de caméra », Final Cut Pro s’appuie sur les métadonnées « Nom de la caméra », « Nom » (nom du plan) ou « Identifiant Caméra » pour attribuer un nom aux angles. Vous pouvez renommer ces angles dans l’éditeur d’angles. Pour en savoir plus, consultez Synchronisation et ajustement des angles et des plans dans l’éditeur d’angles à la page 337.
Création de plans multicam dans le navigateur d’événements
La création de plans multicam est semblable à la création d’auditions et de plans composés dans le navigateur d’événements. Les plans multicam peuvent se composer de diverses sources de média (différents formats, fréquences d’images, etc.). Vous pouvez posséder plusieurs plans dans un angle donné d’un plan multicam.
Vous pouvez indiquer à Final Cut Pro de créer automatiquement des plans multicam ou procéder manuellement.
Si vous connaissez le type de métadonnées comprises dans votre média multicam, vous pouvez créer manuellement des plans multicam plus rapidement que par les automatisations proposées. Les méthodes automatiques s’appuient sur une technologie sophistiquée de synchronisation audio automatique pour assurer la précision de la synchronisation (mais aux dépens du temps de traitement). Il est recommandé de désactiver « Utiliser l’audio pour la synchronisation » lorsque cette option n’est pas nécessaire. Par exemple, si le timecode exact est enregistré dans chaque plan, Final Cut Pro peut créer votre plan multicam automatiquement sans passer par la fonctionnalité de synchronisation audio.
Création automatique d’un plan multicam
1 Dans le navigateur d’événements, sélectionnez les plans à inclure dans le plan multicam.
2 Procédez de l’une des manières suivantes :
••
Choisissez Fichier > Nouveau plan multicam.
••
Cliquez sur la sélection tout en maintenant la touche ctrl enfoncée, puis choisissez Nouveau plan multicam dans le menu contextuel.
3 Dans la fenêtre qui s’affiche, attribuez un nom au plan multicam dans le champ Nom.
4 Si les réglages multicam automatiques ne sont pas affichés, cliquez sur « Utiliser les réglages automatiques ».
Les réglages multicam automatiques s’affichent.
Remarque : Les réglages automatiques sont affichés par défaut, sauf si le dernier plan multicam créé comportait des réglages personnalisés.
Chapitre 11 Montage avancé 325
5 Pour synchroniser automatiquement les angles grâce aux données de forme d’onde audio, sélectionnez « Utiliser l’audio pour la synchronisation ».
Cette option permet des ajustements de synchronisation précis en s’appuyant sur les formes d’onde audio de chaque angle. Cette technologie est identique à celle de synchronisation audio utilisable pour synchroniser automatiquement les plans en un plan composé.
Point de synchronisation
Remarque : certains enregistrements audio ne sont pas adaptés à l’usage de cette fonctionnalité. Cette option peut entraîner des temps de traitement longs pendant lesquels Final Cut Pro est indisponible et bloque ainsi le montage.
6 Cliquez sur OK.
Final Cut Pro crée un plan multicam dans l’événement et place des copies des plans sélectionnés dans le nouveau plan multicam.
icône Plan multicam
Création d’un plan multicam à l’aide de réglages personnalisés
1 Dans le navigateur d’événements, sélectionnez les plans à inclure dans le plan multicam.
2 Procédez de l’une des manières suivantes :
••
Choisissez Fichier > Nouveau plan multicam.
••
Cliquez sur la sélection tout en maintenant la touche ctrl enfoncée, puis choisissez Nouveau plan multicam dans le menu contextuel.
3 Dans la fenêtre qui s’affiche, attribuez un nom au plan multicam dans le champ Nom.
4 Si les réglages multicam personnalisés ne sont pas affichés, cliquez sur « Utiliser les réglages personnalisés ».
Les réglages personnalisés s’affichent.
Chapitre 11 Montage avancé 326
Remarque : Les réglages automatiques sont affichés par défaut, sauf si le dernier plan multicam créé comportait des réglages personnalisés.
5 Dans le menu local Assembler les angles, choisissez le mode de création des angles dans le plan multicam :
••
Automatique : Final Cut Pro crée les angles automatiquement.
••
Angle de caméra : Final Cut Pro crée les angles dans le plan multicam en fonction de la propriété Angle de caméra des plans sélectionnés.
••
Nom de la caméra : Final Cut Pro crée les angles dans le plan multicam en fonction de la propriété Nom de caméra des plans sélectionnés.
••
Plans : Final Cut Pro crée un angle pour chaque plan sélectionné à l’aide de leur propriété Nom afin d’attribuer un nom à l’angle.
6 Dans le menu local « Classement des angles du plan », choisissez le mode de tri des angles dans le plan multicam :
••
Automatique : Final Cut Pro trie les plans dans chaque angle automatiquement. S’il existe plusieurs plans par angle, Final Cut Pro insère plans vides entre les plans, le cas échéant, pour obtenir le contrôle du temps et l’espacement adéquats.
••
Timecode : Final Cut Pro organise dans chaque angle les plans à l’aide de leur timecode. Si vous avez enregistré le timecode dans vos plans, choisissez donc cette option. Elle s’avère plus rapide et plus précise en termes d’images pour l’agencement des plans.
••
Contenu créé : Final Cut Pro trie les plans dans chaque angle à l’aide des informations de date et d’heure enregistrées par votre caméscope ou équipement d’enregistrement vidéo.
La fonctionnalité Contenu créé peut positionner les plans avec une précision d’une seconde (sachant que, dans la plupart des caméscopes, l’unité la plus petite inscrite dans les informations de date et d’heure correspond à la seconde). Si vous choisissez cette commande de tri des plans, vous aurez probablement besoin de synchroniser manuellement vos angles dans l’éditeur d’angles pour que votre plan multicam adopte une précision par image.
Remarque : vous pouvez à tout moment modifier la date et l’heure de la propriété « Contenu créé » relative à vos plans source dans le navigateur d’événements. Pour ce faire, sélectionnez simplement des plans, puis choisissez Modifier > Régler la date et l’heure de création du contenu.
7 Dans le menu local Synchronisation des angles, choisissez le mode de synchronisation des angles dans le plan multicam :
••
Automatique : Final Cut Pro synchronise automatiquement les angles (par le biais d’une ou plusieurs des méthodes suivantes).
••
Timecode : Final Cut Pro synchronise les angles en fonction du timecode enregistré dans les plans. Pour en savoir plus sur l’enregistrement du timecode, consultez Flux de production de montage multicam à la page 321.
01:00:00:0001:00:00:00 01:00:00:0001:00:00:00Point de synchronisation
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•• Contenu créé : Final Cut Pro synchronise les angles à l’aide des informations de date et d’heure
enregistrées par votre caméscope ou équipement d’enregistrement vidéo.
Remarque : vous pouvez à tout moment modifier la date et l’heure de la propriété « Contenu
créé » relative à vos plans source dans le navigateur d’événements. Pour ce faire, sélectionnez
simplement des plans, puis choisissez Modifier > Régler la date et l’heure de création
du contenu.
12 h 59
12 h 59
12 h 59
12 h 59
Point de synchronisation
•• Début du premier plan : Final Cut Pro utilise la première image de chaque angle comme point
de synchronisation
Point de synchronisation
Conseil : la méthode de « Début du premier plan » s’avère utile pour exploiter uniquement
des sélections sur des plages précises de vos plans source. Dans le navigateur d’événements,
ajoutez des mots-clés ou le classement Favori à des sélections de plages à utiliser, afin de filtrer
ou rechercher des plans ultérieurement. Si vous créez votre plan multicam, Final Cut Pro n’utilise
que le média affiché dans la présentation filtrée.
•• Premier marqueur sur l’angle : Final Cut Pro utilise le premier marqueur de chaque angle
comme point de synchronisation
Point de synchronisation
Conseil : cette méthode vous permet d’utiliser le premier marqueur pour définir une région
pouvant être affinée par le biais de l’option « Utiliser l’audio pour la synchronisation » (décrite
ci-dessous). En d’autres termes, vous n’avez pas besoin de placer le marqueur avec précision,
seulement suffisamment près de l’endroit voulu pour que la fonctionnalité de synchronisation
audio automatique puisse synchroniser les angles suivants.
8 Pour synchroniser automatiquement les angles grâce aux données de forme d’onde audio, sélectionnez
« Utiliser l’audio pour la synchronisation ».
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Cette option permet des ajustements de synchronisation précis en s’appuyant sur les formes d’onde audio de chaque angle. Cette technologie est identique à celle de synchronisation audio utilisable pour synchroniser automatiquement les plans en un plan composé.
Point de synchronisation
Remarque : certains enregistrements audio ne sont pas adaptés à l’usage de cette fonctionnalité. Cette option peut entraîner des temps de traitement longs pendant lesquels Final Cut Pro est indisponible et bloque ainsi le montage.
9 Si vous voulez que le timecode du plan multicam commence à une valeur autre que la valeur la plus faible dans les plans sélectionnés (ce qui est le comportement par défaut), saisissez une valeur de timecode dans le champ Timecode de début.
10 Si vous cherchez à modifier les réglages des propriétés vidéo, sélectionnez Personnalisé dans la section Propriétés vidéo, puis adaptez les réglages à vos besoins.
Remarque : Par défaut, Final Cut Pro analyse les plans sélectionnés et configure ces réglages d’après les propriétés de plan les plus courantes parmi ces plans.
11 Si vous cherchez à modifier les réglages audio ou de rendu, sélectionnez Personnalisé dans la section « Propriétés audio et de rendu », puis adaptez les réglages à vos besoins.
12 Cliquez sur OK.
Final Cut Pro crée un plan multicam dans l’événement et place des copies des plans sélectionnés dans le nouveau plan multicam.
icône Plan multicam
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Coupe et passage d’un angle à l’autre dans le visualiseur d’angle
Après avoir créé un plan multicam, il vous est possible de visionner simultanément tous les angles dans le visualiseur d’angle tout en passant ou en coupant en temps réel entre les différents angles. Cela vous permet de couper un film entier comme s’il était diffusé en direct, puis d’apporter des réglages plus fins dans la timeline comme vous le feriez pour toute autre projet.
Le visualiseur d’angle constitue aussi bien un écran qu’une interface interactive pour effectuer des choix rapides de coupe et de permutation au fur et à mesure de la reproduction de vos plans multicam et de vos projets. Angles apparaissant dans les groupes des angles 2, 4, 9 ou 16.
Visualiseur d’angle
Lecture d’un plan multicam dans le visualiseur d’angle
1 Pour ouvrir le visualiseur d’angle, procédez de l’une des manières suivantes :
••
Choisissez Fenêtre > Affichage du visualiseur > Afficher les angles (ou appuyez sur Commande + Maj + 7).
••
Choisissez « Afficher les angles » dans le menu local des options d’affichage du visualiseur situé dans le coin supérieur droit du visualiseur.
Si vous visualisez un plan multicam dans le navigateur d’événements, vous avez l’option d’afficher le visualiseur d’événements en regard du visualiseur. Pour afficher des angles multicam dans le visualiseur d’événements, procédez de l’une des manières suivantes :
••
Choisissez Fenêtre > Affichage du visualiseur d’événements > Afficher les angles.
••
Choisissez « Afficher les angles » dans le menu local des options d’affichage du visualiseur situé dans le coin supérieur droit du visualiseur d’événements.
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2 Utilisez le skimmer ou la tête de lecture pour lire un plan multicam dans le navigateur d’événements ou dans la timeline.
Le visualiseur d’angle apparaît dans le coin supérieur de la fenêtre de Final Cut Pro.
Lire un plan multicam dans le navigateur d’événements ou dans la timeline.Les angles du plan multicam s’affichent dans le visualiseur d’angles.Angle actif
Coupe et passage d’un angle à l’autre dans le visualiseur d’angle
Vous pouvez couper et passer d’un angle à l’autre « à la volée » (pendant la lecture de votre projet) ou survoler des points précis sur la timeline puis couper et basculer entre les éléments. Vous pouvez aussi utiliser une combinaison des deux méthodes.
1 Pour ouvrir le visualiseur d’angle, choisissez Fenêtre > Afficher le visualiseur > Afficher les angles (ou appuyez sur cmd + Maj + 7).
2 Ajoutez à la timeline le plan multicam à couper et y passer.
Remarque : la fonctionnalité de coupage et passage ne fonctionne que pour les plans présents dans la timeline.
3 Procédez de l’une des manières suivantes :
••
Positionnez la tête de lecture et appuyez sur la barre d’espace pour reproduire le plan multicam.
••
Effectuez le survol de la timeline jusqu’à l’image où vous voulez couper et passer à un autre angle.
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4 Dans le visualiseur d’angle, placez le pointeur sur l’angle auquel passer.
Au fur et à mesure que vous déplacez le pointeur sur les angles du visualiseur, le pointeur s’adapte en lame de rasoir, ce qui indique qu’une coupe (et un changement d’angle) doit se produire à l’endroit où vous cliquez.
Le pointeur devient un outil de lame.L’angle actif est en surbrillance.
5 Procédez de l’une des manières suivantes :
••
Pour couper et passer à un angle : cliquez sur l’angle auquel passer. (Vous pouvez aussi appuyer sur la touche d’un chiffre quelconque pour couper et passer à l’angle correspondant du groupe actif. Par exemple, appuyez sur 5 pour couper et passer à l’angle 5 du groupe.)
Sur la timeline, le plan multicam actif est alors coupé au niveau de la tête de lecture. La section du plan situé à droite de la tête de lecture se voit remplacée par une nouvelle copie du plan, avec l’angle sur lequel vous avez cliquez comme angle actif. Une coupe apparaît alors sur la timeline au niveau de la tête de lecture. Pour en savoir plus, consultez Montage de plans multicam sur la timeline et l’inspecteur à la page 344.
••
Pour y passer : tout en maintenant la touche Option enfoncée, cliquez sur l’angle auquel passer. (Vous pouvez aussi maintenir la touche Option enfoncée et appuyez sur un chiffre pour passer à l’angle correspondant du groupe actif. Par exemple, appuyez sur Option + 5 pour passer à l’angle 5 du groupe.)
Remarque : le pointeur se change alors en une main lorsque vous maintenez la touche Option enfoncée, indiquant une simple opération de passage.
Sur la timeline, le plan multicam au niveau de la tête de lecture change et affiche l’angle devenu actif.
Dans un cas ou l’autre, le visualiseur passe à l’angle que vous avez sélectionné. L’angle actif est mis en surbrillance jaune, bleu ou vert, selon le mode de passage que vous utilisez. Pour en savoir plus, consultez « Permutation indépendante de la vidéo ou de l’audio » ci-après.
Permutation indépendante de la vidéo ou de l’audio
Par défaut dans un plan multicam, Final Cut Pro change d’angle vidéo et audio en même temps. Vous pouvez cependant configurer Final Cut Pro pour ne changer que la vidéo ou l’audio indépendamment.
1 Pour ouvrir le visualiseur d’angle, choisissez Fenêtre > Afficher le visualiseur > Afficher les angles (ou appuyez sur cmd + Maj + 7).
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2 Pour définir le mode de passage, effectuez l’une des opérations suivantes :
••
Activer la permutation audio et vidéo : cliquez sur le bouton de mode de passage de gauche, situé dans l’angle supérieur gauche du visualiseur d’angle. Il s’agit du réglage par défaut.
Cliquez pour autoriser le passage de la vidéo à l’audio.Une surbrillance en jaune indique que la vidéo et l’audio actifs sont contenus dans un seul plan.Le permutateur d’angles affiche l’angle actif.
••
Pour activer le passage à la vidéo uniquement : cliquez sur le bouton de mode de passage central. Seule la vidéo change. L’audio de l’angle d’origine reste actif.
Cliquez pour autoriser le passage à la vidéo uniquement.
••
Pour activer le passage à l’audio uniquement : cliquez sur le bouton de mode de passage de droite. Seul l’audio change. La vidéo de l’angle d’origine reste active.
Cliquez pour autoriser le passage à l’audio uniquement.
3 Procédez de l’une des manières suivantes :
••
Pour couper et passer à un angle : cliquez sur un angle dans le visualiseur d’angle.
••
Pour y passer : tout en maintenant la touche Option enfoncée, cliquez sur un angle dans le visualiseur d’angle.
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Si vous avez sélectionné le mode de passage limité à la vidéo ou à l’audio uniquement, un cadre bleu indique alors l’angle vidéo actif, tandis qu’un cadre vert indique l’angle audio actif.
Bouton Activer uniquement la vidéoBouton Activer uniquement l’audioL’angle vidéo actif est mis en surbrillance en bleu.L’angle audio actif est mis en surbrillance en vert.Le permutateur d’angles affiche les angles actifs.
Conseil : Après avoir activé la fonction limitée à l’audio, il vous est possible d’ajouter à l’angle actif des composants audio à partir d’angles inactifs, ou de supprimer des composants audio de l’angle actif. Maintenez simplement appuyées les touches Commande + Option et cliquez sur un angle inactif pour ajouter son audio à l’angle actif. Vous pouvez également maintenir appuyées les touches Commande + Option et cliquer sur un angle actif pour supprimer son audio. Pour en savoir plus, consultez l’exemple « Ajout ou suppression des composants audio d’un plan multicam » dans Exemples de montage audio multicanal à la page 187.
Visionnage et accès aux groupes d’angles
Selon le réglage d’affichage du visualiseur d’angle choisi, vous pouvez afficher 2, 4, 9 ou 16 angles simultanément. Ces ensembles d’angles sont connus sous le nom de groupes. Le sélecteur de groupe de Final Cut Pro constitue un outil performant pour l’affichage des groupes d’angles et la navigation entre ceux-ci dans un plan multicam.
1 Pour ouvrir le visualiseur d’angle, choisissez Fenêtre > Afficher le visualiseur > Afficher les angles (ou appuyez sur cmd + Maj + 7).
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2 Placez le skimmer ou la tête de lecture pour lire un plan multicam dans le navigateur d’événements ou dans la timeline.
Le sélecteur de groupe apparaît alors sous forme de grille en bas du visualiseur d’angle. L’angle actif est indiqué en jaune, en bleu ou en vert.
Le permutateur de groupe affiche le nombre d’angles et ceux qui sont actifs.
3 Dans le menu local Réglages (dans le coin supérieur droit du visualiseur d’angle), choisissez le nombre d’angles à afficher dans chaque groupe.
Menu local Réglages dans l’angle supérieur droit du visualiser d’angles.
Si le nombre d’angles de votre plan multicam dépasse la valeur du réglage d’affichage du visualiseur d’angle, Final Cut Pro crée des groupes supplémentaires et les affiche sous forme de grilles distinctes.
Voici quelques exemples de combinaisons de groupes d’angles :
••
Trois groupes de 4 angles chacun, avec le dernier angle actif situé dans le troisième groupe, ce dernier étant affiché :
••
Un groupe de 16 angles, avec le dernier angle actif :
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••
Un groupe de 9 angles et un autre de 7 angles avec le premier groupe affiché :
4 Pour parcourir les groupes d’angles, procédez de l’une des manières suivantes :
••
Pour afficher les angles d’un groupe dans le visualiseur d’angles : cliquez sur le sélecteur de groupe pour le groupe.
••
Pour afficher le groupe précédent : Appuyez sur les touches Maj + Option + Point-virgule (;).
••
Pour afficher le groupe suivant : Appuyez sur les touches Maj + Option + Apostrophe (’).
Incrustations dans le visualiseur d’angle
Pour chaque angle qui figure dans le visualiseur d’angle, vous pouvez afficher les superpositions vidéo avec le timecode et soit le nom du plan, soit celui de l’angle.
Nom de l’angleTimecode
1 Pour ouvrir le visualiseur d’angle, choisissez Fenêtre > Afficher le visualiseur > Afficher les angles (ou appuyez sur cmd + Maj + 7).
2 Pour choisir une option d’affichage, procédez de l’une des manières suivantes :
••
Pour afficher le timecode pour les plans de chaque angle : choisissez Timecode dans le menu local Réglages situé dans le coin supérieur droit du visualiseur d’angle. (Choisissez Timecode à nouveau pour désactiver l’affichage du timecode.)
Menu local Réglages dans l’angle supérieur droit du visualiser d’angles.
••
Pour afficher le nom des plans de chaque angle : dans le menu local Réglages, choisissez Pseudonyme > Plan.
••
Pour afficher le nom de chaque angle : dans le menu local Réglages, choisissez
Pseudonyme > Angle.
••
Pour désactiver les pseudonymes : dans le menu local Réglages, choisissez
Pseudonyme > Aucun.
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Ajustement de l’affichage du visualiseur d’angle
Vous pouvez adapter l’affichage du visualiseur d’angle selon vos besoins.
mm
Pour régler le nombre d’angles dans le visualiseur d’angle : dans le menu local Réglages situé dans le coin supérieur droit du visualiseur d’angle, choisissez 2 angles, 4 angles, 9 angles ou 16 angles.
Visualiseur d’angles dans le réglage d’affichage 9 anglesMenu local Réglages
mm
Pour adapter la taille du visualiseur d’angle et du visualiseur principal : faites glisser la séparation entre eux.
Faites glisser la limite vers la droite.
Faites glisser la limite vers la gauche.
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mm
Pour organiser le visualiseur d’angle en une colonne : faites glisser la séparation vers la gauche, puis la barre d’outils de Final Cut Pro vers le bas pour agrandir verticalement la zone du visualiseur. (Cette présentation en colonne n’est disponible que dans les présentations de 2 angles et de 4 angles.)
Faites glisser la limite vers la gauche.Faites glisser la barre d’outils vers le bas.
Synchronisation et ajustement des angles et des plans dans l’éditeur d’angles
Vous pouvez ouvrir à tout moment des plans multicam dans l’éditeur d’angles pour adapter la synchronisation et l’ordre des angles, pour définir l’angle de contrôle ou pour en ajouter ou en supprimer.
Remarque : si vous ouvrez un plan multicam dans l’éditeur d’angles (que ce soit depuis le navigateur d’événements ou depuis la timeline), il s’agit en fait du plan multicam parent qui s’ouvre. Toute modification réalisée dans l’éditeur d’angles est transmise à l’intégralité des plans enfants du plan multicam en question pour chaque projet. Pour en savoir plus, consultez Création de plans multicam dans le navigateur d’événements à la page 324.
L’éditeur d’angles vous permet de monter plusieurs plans en un même plan multicam (un peu comme pour un plan composé). Les nombreuses modifications que vous pouvez apporter dans l’éditeur d’angles comprennent les montages élémentaires et le trim ainsi que les effets que vous devez ajouter habituellement dans la timeline, par exemple les étalonnages et les transitions.
Vous pouvez copier et coller les plans dans l’Éditeur d’angles. Les plans sont collés de manière séquentielle comme montages par écrasement et seulement dans l’angle de contrôle.
Conseil : avant de pouvoir monter des plans multicam dans l’éditeur d’angles, sauvegardez-les dans le navigateur d’événements pour conserver des copies de sauvegarde non altérées.
Vous ne pouvez pas couper et passer d’un angle à l’autre depuis l’éditeur d’angles. Vous ne pouvez pas non plus connecter de plans, en reproduire en solo, utiliser l’éditeur de précision, effectuer des suppressions Ripple ou encore faire appel aux commandes « Détacher l’audio » et « Scinder les éléments de plan ».
Ouverture d’un plan multicam dans l’éditeur d’angles
Procédez de l’une des manières suivantes :
mm
Double-cliquez sur un plan multicam dans le navigateur d’événements.
mm
Tout en maintenant la touche ctrl enfoncée, cliquez sur un plan multicam dans le navigateur d’événements ou sur la timeline, puis choisissez « Ouvrir dans l’éditeur d’angles » dans le menu contextuel.
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L’éditeur d’angles s’ouvre sur la zone de la timeline, en bas de la fenêtre de Final Cut Pro. Bien que semblable à la timeline, l’éditeur d’angles propose une interface à part dédiée au montage des angles et des plans au sein des plans multicam. Chaque angle dans le plan multicam se présente sur une rangée propre dans l’éditeur d’angles.
L’éditeur d’angle s’affiche dans la zone de la timeline.
Configuration du contrôle vidéo et audio dans l’éditeur d’angles
Dans l’éditeur d’angles, il vous est possible de définir n’importe quel angle comme angle de contrôle. Il s’agit de l’angle qui se trouve dans le visualiseur lorsque le plan multicam est lu dans l’éditeur d’angles. Vous avez également la possibilité de contrôler l’audio d’un nombre d’angles quelconque simultanément.
L’angle de contrôle permet de synchroniser ceux repris dans l’éditeur d’angles. Il n’est cependant pas identique à l’angle actif (celui affiché dans la timeline). Vous ne pouvez pas couper et passer d’un angle à l’autre depuis l’éditeur d’angles.
Remarque : le réglage du bon angle de contrôle s’avère important pour les deux commandes de synchronisation décrites plus loin dans cette section : « Synchroniser avec l’angle de contrôle » et « Synchronisation de l’angle avec l’angle de contrôle à l’aide de l’audio ».
1 Pour ouvrir l’éditeur d’angles, procédez de l’une des manières suivantes :
••
Double-cliquez sur un plan multicam dans le navigateur d’événements.
••
Tout en maintenant la touche enfoncée, cliquez sur un plan multicam dans le navigateur d’événements ou sur la timeline, puis choisissez « Ouvrir dans l’éditeur d’angles » dans le menu contextuel.
2 Pour définir un angle comme angle de contrôle, effectuez l’une des opérations suivantes :
••
Cliquez sur l’icône Contrôle vidéo, qui se trouve à gauche de l’angle.
••
Choisissez « Définir l’angle de contrôle » à partir du menu local en regard du nom de l’angle.
••
Appuyez sur Maj + V lors du survol de l’angle.
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L’icône Contrôle vidéo devient alors blanche et l’angle tout entier se voit encadré en gris clair. L’angle se lit dans le visualiseur lorsque vous reproduisez le plan multicam dans l’éditeur d’angles. Vous ne pouvez définir qu’un seul angle vidéo de contrôle à la fois.
Cliquez pour définir l’angle de contrôle.
3 Pour activer le contrôle audio pour un angle, procédez de l’une des manières suivantes :
••
Cliquez une fois sur l’icône Contrôle audio. (Pour désactiver le contrôle audio, cliquez à nouveau dessus.)
••
Choisissez Contrôler l’audio à partir du menu local en regard du nom de l’angle. (Pour désactiver le contrôle audio, choisissez à nouveau Contrôler l’audio.)
••
Appuyez sur Maj + A lors du survol de l’angle. (Pour désactiver le contrôle audio, appuyez à nouveau sur Maj + A.)
Contrôle audio activéContrôle audio désactivé
Les réglages du contrôle n’influent sur aucun angle actif. Ils modifient simplement ce qui est reproduit dans le visualiseur lorsque vous travaillez dans l’éditeur d’angles.
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Conseil : vous pouvez faire appel au contrôle audio pour vérifier la synchronisation des différents angles dans un plan multicam. Ouvrez le plan dans l’éditeur d’angles, puis activez le contrôle audio pour plusieurs angles. Vous pouvez dès lors entendre si les angles sont synchronisés ou si vous devez les ajuster davantage.
Réglage manuel de la synchronisation d’un plan multicam
Une fonction principale de l’éditeur d’angles est d’assurer un moyen simple de corriger les angles désynchronisés de vos plans multicam. Les instructions ci-dessous décrivent comment synchroniser les angles en localisant les points de synchronisation puis en les faisant glisser manuellement pour les aligner.
1 Pour ouvrir l’éditeur d’angles, procédez de l’une des manières suivantes :
••
Double-cliquez sur un plan multicam dans le navigateur d’événements.
••
Tout en maintenant la touche ctrl enfoncée, cliquez sur un plan multicam dans le navigateur d’événements ou sur la timeline, puis choisissez « Ouvrir dans l’éditeur d’angles » dans le menu contextuel.
2 Accédez à un point de synchronisation dans l’un des angles désynchronisés en effectuant le survol de l’angle dans l’éditeur d’angles.
Au fur et à mesure du survol, l’angle s’affiche dans le côté gauche du visualiseur (au lieu du visualiseur d’angle). Les points de synchronisation peuvent correspondre à des signaux vidéo ou audio (tels qu’un clap de fin ou le claquement d’une porte).
3 Retrouvez le point de synchronisation correspondant dans les angles à synchroniser sur l’angle d’origine.
Pour simplifier ce processus, vous pouvez ajouter des marqueurs aux points de synchronisation pour vous guider sur le plan visuel et indiquer des points d’alignement.
4 Faites glisser les plans horizontalement sur les rangées de l’éditeur d’angles pour aligner verticalement les points de synchronisation.
Point de synchronisationPoint de synchronisationFaites glisser le plan pour aligner les points de synchronisation.
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Si un angle contient plusieurs plans, vous pouvez facilement sélectionner tous les plans de l’angle afin de les déplacer tous à la fois. Pour ce faire, choisissez « Sélectionner les plans dans l’angle » à partir du menu local en regard du nom de l’angle.
Pour sélectionner tous les plans dans un angle, choisissez « Sélectionnez les plans dans l’angle »
Vous pouvez faire glisser les plans horizontalement pour les déplacer ensemble.
Lorsque tous les plans de l’angle sont sélectionnés, vous pouvez tous les faire glisser ensemble.
Réglage automatique de la synchronisation d’un plan multicam
Les instructions ci-dessous décrivent deux méthodes automatiques de synchronisation des angles dans un plan multicam.
1 Pour ouvrir l’éditeur d’angles, procédez de l’une des manières suivantes :
••
Double-cliquez sur un plan multicam dans le navigateur d’événements.
••
Tout en maintenant la touche ctrl enfoncée, cliquez sur un plan multicam dans le navigateur d’événements ou sur la timeline, puis choisissez « Ouvrir dans l’éditeur d’angles » dans le menu contextuel.
2 Dans l’angle désynchronisé, cliquez sur le menu local situé à droite du nom de l’angle, puis choisissez l’une des options suivantes :
••
Synchroniser avec l’angle de contrôle : cette option entraîne l’ouverture d’un double affichage dans le visualiseur, reprenant l’image au niveau du skimmer à gauche et celle au niveau de la tête de lecture de l’angle de contrôle à droite. Dans l’angle désynchronisé, effectuez un survol jusqu’à une image, puis cliquez pour synchroniser l’angle au niveau de la tête de lecture. Tous les plans dans l’angle se déplacent ensemble pour aligner l’image sur laquelle vous avez cliquée avec la tête de lecture. Pour fermer le double affichage du visualiseur, cliquez sur Terminé.
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••
Synchroniser l’angle avec l’angle de contrôle : cette option compare les formes d’onde audio dans l’angle sélectionné aux formes d’onde dans l’angle de contrôle, puis déplace les plans dans l’angle sélectionné pour les synchroniser avec celles de l’angle de contrôle. Cette technologie est identique à celle de synchronisation audio utilisable pour analyser et synchroniser automatiquement les plans en un plan composé.
Si vous sélectionnez des plans dans un ou plusieurs angles avant de choisir cette option, le nom de la commande dans le menu local devient « Synchroniser la sélection avec l’angle de contrôle ». Lorsque vous choisissez cette option, Final Cut Pro déplace tous les plans sélectionnés pour les synchroniser avec ceux de l’angle de contrôle. S’il existe une sélection dans l’angle de contrôle, cette option n’est pas disponible.
AVERTISSEMENT : Cette option n’effectue pas de Ripple des plans vers l’avant. Si les plans sont déplacés vers un emplacement de la timeline déjà occupé par des plans, les plans déplacés écrasent les anciens.
Remarque : certains enregistrements audio ne sont pas adaptés à l’usage de cette fonctionnalité. Cette option peut entraîner des temps de traitement longs pendant lesquels Final Cut Pro est indisponible et bloque ainsi le montage.
Tri des angles dans un plan multicam
Vous pouvez modifier l’ordre dans lequel les angles apparaissent dans le visualiseur d’angle et l’éditeur d’angles.
Remarque : Si vous avez déjà commencé un montage multicam sur un plan multicam dans la timeline, changer l’ordre des angles n’influe en rien sur l’angle choisi pour chaque montage et effectuer des coupes et des passages.
1 Pour ouvrir l’éditeur d’angles, procédez de l’une des manières suivantes :
••
Double-cliquez sur un plan multicam dans le navigateur d’événements.
••
Tout en maintenant la touche ctrl enfoncée, cliquez sur un plan multicam dans le navigateur d’événements ou sur la timeline, puis choisissez « Ouvrir dans l’éditeur d’angles » dans le menu contextuel.
Chapitre 11 Montage avancé 343
2 À droite de l’éditeur d’angles, faites glisser les rangées d’angles verticalement à l’aide des poignées de glissement pour les réorganiser.
Utilisez les poignées pour réorganiser les angles.
Les angles présents dans l’éditeur et le visualiseur adoptent le nouveau tri.
Ajout, suppression ou renommage d’angles dans un plan multicam
1 Pour ouvrir l’éditeur d’angles, procédez de l’une des manières suivantes :
••
Double-cliquez sur un plan multicam dans le navigateur d’événements.
••
Tout en maintenant la touche ctrl enfoncée, cliquez sur un plan multicam dans le navigateur d’événements ou sur la timeline, puis choisissez « Ouvrir dans l’éditeur d’angles » dans le menu contextuel.
2 Procédez de l’une des façons suivantes :
••
Pour supprimer un angle : choisissez Supprimer l’angle dans le menu local situé à droite du nom de l’angle.
L’angle est alors supprimé de l’éditeur d’angles, du visualiseur d’angle et de tous les plans enfants du plan multicam.
Important : la suppression d’un angle actif influe sur les montages de votre projet. L’angle supprimé est remplacé par un vide noir dans tous les projets.
••
Pour ajouter un angle : choisissez Ajouter un angle dans le menu local situé à droite du nom de l’angle.
Un nouvel angle vide apparaît dans l’éditeur d’angles et dans le visualiseur d’angle.
••
Pour renommer un angle : sur la partie de gauche de l’éditeur d’angles, cliquez sur le nom de l’angle à renommer. Lorsque le texte apparaît en surbrillance, attribuez le nouveau nom.
Ce dernier s’affiche dans l’éditeur d’angles et, si les superpositions sont activées, dans le visualiseur d’angle.
Chapitre 11 Montage avancé 344
Montage de plans multicam sur la timeline et l’inspecteur
Vous pouvez passer directement à des angles de plan multicam sur la timeline ou dans l’inspecteur d’informations, sans ouvrir le visualiseur d’angle.
Les plans multicam fonctionnent en règle générale dans la timeline comme tout autre plan standard. Vous pouvez ajouter des effets vidéo et audio, des transitions et des marqueurs, attacher des plans connectés et appliquer des effets de resynchronisation. Vous pouvez appliquer des montages scindés aux plans multicam et les monter dans l’éditeur de précision. Vous avez la possibilité d’imbriquer des plans multicam en plans composés et dans des scénarios.
Les plans multicam présentent cependant des caractéristiques uniques dans la timeline :
••
Vous pouvez afficher le nom des angles vidéo et audio actifs dans le plan multicam repris sur la timeline.
••
Les points de montage de coupe et de passage apparaissent sous forme de lignes en pointillé sur la timeline. Il s’agit de coupes (dans lesquelles le contenu vidéo ou audio d’un côté ou d’un autre du point de montage est continu). Dans un montage multicam, les coupes indiquent que le contenu d’un côté ou de l’autre du point de montage provient du même plan multicam. Une ligne en pointillé noire indique que différents angles du même plan multicam se trouvent d’un côté ou d’un autre du point de montage.
Avant la coupe, l’angle est « voiture à gauche »
Point de montage standardAprès la coupe, l’angle est « voiture à droite »Un point de montage de transit s’affiche à l’emplacement de la tête de lecture.
Chapitre 11 Montage avancé 345
Dans le cas de coupes et passages de vidéo seule ou d’audio seul, le point de montage peut être mixte (lignes noire et blanche en pointillé). Par exemple, si vous effectuez une coupe et un passage de vidéo seule, une ligne en pointillé noire apparaît pour la vidéo et une blanche s’affiche pour l’audio.
Les lignes noires en pointillé indiquent que les angles de par et d’autre du point de montage sont différents mais proviennent du même plan multicam.Une ligne blanche en pointillé indique que l’angle est le même de par et d’autre du point de montage.
••
Lorsque vous placez le pointeur sur une coupe multicam, le pointeur se transforme en outil Trim, indiquant que la coupe sera un montage roll (car tout autre type de montage rompt la relation entre les plans de chaque côté du point de montage de coupe et de passage sur la timeline).
••
De nombreux montages (tels que les montages scindés, les marqueurs, les plans connectés et les effets de resynchronisation) conservent leur place dans un plan multicam sur la timeline, même après un changement d’angle. Certaines opérations de montage sont cependant associées directement à l’angle actif et ne sont pas conservées si vous le modifier. Il s’agit :
••
des effets vidéo et audio,
••
des animations avec des images clés (avec volume et balance),
••
des attributions de rôles.
Passage d’angles sur la timeline
1 Sur la timeline, tout en maintenant la touche ctrl enfoncée, cliquez sur le plan multicam sur lequel passer.
2 Procédez de l’une des manières suivantes :
••
Pour changer d’angle vidéo : choisissez « Activer l’angle vidéo » dans le menu contextuel, puis dans le sous-menu l’angle auquel vous voulez passer.
••
Pour changer d’angle audio : choisissez « Activer l’angle audio » dans le menu contextuel, puis dans le sous-menu l’angle auquel vous voulez passer.
Le plan passe donc à l’angle vidéo ou audio sélectionné.
Chapitre 11 Montage avancé 346
Passage d’angles dans l’inspecteur
Le changement d’angles dans l’inspecteur vous permet de passer d’un angle à l’autre pour plusieurs plans multicam sélectionnés simultanément.
1 Sélectionnez le ou les plans multicam pour lesquels changer l’angle.
2 Ouvrir l’inspecteur d’informations.
3 Dans l’inspecteur d’informations, procédez de l’une des manières suivantes :
••
Pour changer d’angle vidéo : dans le menu local « Activer l’angle vidéo », choisissez l’angle auquel passer.
••
Pour changer d’angle audio : dans le menu local « Activer l’angle audio », choisissez l’angle auquel passer.
Affichage du nom des angles vidéo et audio actifs sur la timeline
Vous pouvez indiquer à Final Cut Pro d’afficher le nom des angles vidéo et audio actifs dans le plan multicam sur la timeline au format suivant : V : nom de l’angle vidéo | A : nom de l’angle audio.
Angle vidéo actifAngle audio actif
mm
cliquez sur le bouton Apparence du plan situé dans le coin inférieur droit de la timeline, puis choisissez « Noms ou angles du plan » dans le menu local Afficher.
Conseils et astuces applicables aux montages multicam
Les conseils suivants contribuent à optimiser votre flux de production multicam :
••
Réglez la date, l’heure et le fuseau horaire sur votre caméscope ou équipement d’enregistrement avant le tournage destiné à votre projet multicam. Cela fournit des informations utiles à Final Cut Pro lors du processus de création automatique des plans multicam.
Remarque : vous pouvez à tout moment modifier la date et l’heure de la propriété « Contenu créé » relative à vos plans source dans le navigateur d’événements. Pour ce faire, sélectionnez simplement des plans, puis choisissez Modifier > Régler la date et l’heure de création du contenu.
••
Dans la mesure où vous pouvez vous servir de la fonctionnalité sophistiquée de synchronisation audio automatique de Final Cut Pro pour vous apporter toute la précision nécessaire à la synchronisation multicam, il convient d’enregistrer l’audio sur chaque caméscope et équipement d’enregistrement utilisés dans votre production multicam. (À noter que des enregistrements audio nets produisent les meilleurs résultats.)
••
Avant de pouvoir monter des plans multicam dans l’éditeur d’angles, sauvegardez-les dans le navigateur d’événements pour conserver des copies de sauvegarde non altérées.
••
Pour vérifier la synchronisation d’angles précis dans un plan multicam, ouvrez le plan dans l’éditeur d’angles, puis activez le contrôle audio pour plusieurs angles. Vous pouvez dès lors entendre si les angles sont synchronisés ou si vous devez les ajuster davantage.
Chapitre 11 Montage avancé 347
••
Si les performances s’amenuisent grandement lorsque vous travaillez sur un projet multicam, effectuez l’une des opérations suivantes :
••
Indiquez à Final Cut Pro de procéder à la lecture proxy en sélectionnant l’option « Utiliser un média proxy » dans les Préférences Lecture. La lecture proxy vous permet de reproduire simultanément un nombre plus important d’angles. Pour utiliser la lecture proxy, vous devez posséder des versions proxy de votre média ou en créer. Pour en savoir plus sur la création de versions proxy, consultez la section Transcodage des fichiers de média à la page 415.
••
Assurez-vous que l’option « Créer des médias optimisés pour des plan multicam » est sélectionnée dans les préférences Lecture. Pour en savoir plus, consultez Préférences de lecture à la page 438. Cette option transcode la vidéo au format du codec Apple ProRes 422, ce qui assure de meilleures performances lors du montage multicam. Cette option est activée par défaut. Si le format original de la caméra peut être monté en offrant de bons résultats, vous pouvez alors décocher cette case.
••
Assurez-vous que le disque dur hébergeant vos plans source multicam est suffisamment rapide pour reproduire l’intégralité de votre média en une seule fois. Il vous est possible de vérifier les performances du disque dur en choisissant Final Cut Pro > Préférences, puis en sélectionnant « Avertir lors de l’omission d’images à cause d’une mauvaise performance du disque dur ». Pour savoir si quelque chose d’autre provoque des problèmes de lecture, sélectionnez « Avertir lors de l’omission d’images durant la lecture ».
••
Vous pouvez exploiter des photos (tirées d’un appareil photo) dans un plan multicam. Si les informations de date et heure (Contenu créé) correspondent au contenu des autres angles, les photos sont automatiquement ajustées sur la durée de sorte à « remplir » l’angle.
12
348
Incrustation
Présentation de l’incrustation
Il arrive que vous deviez combiner deux plans pour créer une image comportant des parties de chacun d’eux. Une méthode courante pour combiner deux plans consiste à utiliser un traitement d’incrustation, dans lequel la vidéo du plan supérieur (premier plan) est traitée pour éliminer une couleur ou une valeur de luminance donnée dans certaines zones, puis combinée à celle du plan inférieur (arrière-plan).
L’incrustation vous permet, par exemple, de prendre un plan vidéo d’une personne se tenant devant un fond vert et de remplacer ce dernier par une scène de rue pour donner l’impression que la personne se trouve dans la rue.
Ce type d’incrustation s’obtient à l’aide de l’un des deux effets d’incrustateur disponibles dans Final Cut Pro :
••
Incrustateur : cet effet d’incrustation chromatique général est optimisé pour l’incrustation sur fond vert ou bleu mais peut être utilisé avec n’importe quelle couleur. Consultez Utilisation des incrustations chromatiques à la page 348.
••
Incrustateur en luminance : cet effet est conçu pour générer des caches basés sur la luminosité de l’image : vous choisissez de supprimer les zones blanches ou noires et indiquez si les zones grises doivent être partiellement transparentes. Consultez Utilisation des incrustations en luminance à la page 359.
En plus de ces effets d’incrustation, vous pouvez avoir besoin de recourir à un cache, à un effet de positionnement et à un étalonnage pour vous assurer que la vidéo du premier plan reste naturelle après son incrustation sur l’arrière-plan. Pour en savoir plus, consultez Finalisation de l’incrustation à la page 364.
Un autre moyen de combiner deux plans consiste à utiliser pour le plan de premier plan un canal alpha ou de cache définissant les parties du plan à conserver et celles à remplacer par le plan d’arrière-plan. Ce procédé est courant lors de l’utilisation d’animations ou de logos générés sur ordinateur. Pour en savoir plus, consultez Présentation du compositing à la page 367.
Utilisation des incrustations chromatiques
Pour créer une bonne incrustation chromatique, le plus délicat est de tourner la vidéo à incruster, et en particulier d’utiliser un fond adapté et bien éclairé offrant une couleur uniforme à supprimer. Il existe de nombreuses options spécialisées pour le fond d’incrustation chromatique, de la peinture contenant des additifs hautement réfléchissants aux vêtements ou feuilles de papier spécialement conçus à cet effet. Il est en outre important d’utiliser la meilleure caméra dont vous disposez et d’éviter d’avoir recours à un format vidéo hautement compressé tel que DV ou MPEG-2.
Incrustation et compositing
Chapitre 12 Incrustation et compositing 349
Dans les exemples ci-dessous, la femme va être incrustée sur une scène de rue. Les pieds de projecteur
seront abordés à la section Finalisation de l’incrustation à la page 364.
Application de l’effet d’incrustation chromatique
1 Sur la timeline, ajoutez le plan de premier plan (plan d’incrustation chromatique contenant la
couleur à supprimer) au scénario principal.
2 Faites glisser le plan d’arrière-plan (plan sur lequel vous voulez superposer le plan à incruster en
chrominance) de sorte qu’il soit connecté sous le plan de premier plan dans le scénario principal.
Avant-plan
Arrière-plan
attaché sous
forme de plan
connecté
Pour plus d’informations sur les plans connectés, consultez Connexion de plans pour ajouter des
prises, des titres et des effets de son synchronisés à la page 110.
3 Sélectionnez le plan de premier plan dans la timeline, puis cliquez sur le bouton Effets de la barre
d’outils.
Conseil : pour obtenir les meilleurs résultats possibles, positionnez également la tête de lecture
sur un point du plan de premier plan affichant la quantité maximale de la couleur à incruster.
4 Dans le navigateur d’effets, sélectionnez l’effet Incrustateur.
Conseil : Saisissez « incrustateur » dans le champ de recherche du navigateur d’effets pour trouver
rapidement l’effet Incrustateur.
Chapitre 12 Incrustation et compositing 350
5 Procédez de l’une des manières suivantes :
••
Faites glisser l’effet sur le plan de premier plan de la timeline auquel vous voulez l’appliquer.
••
Double-cliquez sur la vignette de l’effet pour l’appliquer au plan sélectionné.
L’effet Incrustateur analyse automatiquement la vidéo pour détecter une couleur dominante bleue ou verte, puis se configure pour supprimer la couleur. Si l’incrustation obtenue n’est pas correcte ou si vous voulez l’améliorer, vous pouvez ajuster l’effet d’incrustation chromatique.
Ajustement de l’effet d’incrustation chromatique
Dans la procédure suivante, on considère que vous avez déjà appliqué l’effet d’incrustation chromatique.
1 Dans la timeline, sélectionnez le plan de premier plan auquel l’effet Incrustateur a été appliqué, puis ouvrez l’inspecteur vidéo.
Des commandes permettant de modifier et d’améliorer l’effet Incrustateur apparaissent.
2 Si l’outil Sélectionner n’est pas actif, choisissez-le dans le menu local Outils de la barre d’outils (ou appuyez sur la touche A).
3 Pour améliorer l’incrustation à l’aide des commandes disponibles dans le visualiseur, effectuez l’une des opérations suivantes en utilisant les commandes Affiner la tonalité et Force :
••
Pour identifier des zones du plan de premier plan dans lesquelles la couleur d’incrustation chromatique apparaît toujours : cliquez sur la vignette Exemple de couleur dans l’inspecteur vidéo, puis tracez un rectangle dans le visualiseur sur la zone où la couleur d’incrustation chromatique doit être supprimée.
Chapitre 12 Incrustation et compositing 351
Remarque : Par défaut, l’effet Incrustateur applique un élagage qui affiche en gris tout restant de frange de la couleur d’arrière-plan (fond bleu ou vert) à laquelle vous appliquez la transparence. Pour voir la couleur d’origine, définissez le paramètre Niveau de débordement sur 0 %.
Faites glisser sur une zone où la couleur de colorimétrie n’est pas entièrement retirée.
Pour améliorer l’incrustation, vous pouvez faire glisser le rectangle afin d’ajuster sa position ou ses coins pour adapter sa taille. Vous pouvez ensuite faire glisser d’autres rectangles sur n’importe quelle zone où la couleur d’incrustation chromatique apparaît toujours.
Conseil : Sélectionnez Cache (bouton central) dans la zone Afficher de l’inspecteur vidéo pour afficher le cache créé par l’incrustateur chromatique. Cela peut permettre de détecter plus facilement les zones qui ne sont pas correctement incrustées.
••
Pour ajuster avec précision des zones difficiles, telles que les cheveux ou des reflets : cliquez sur la vignette Rechercher les bords dans l’inspecteur vidéo, tracez une ligne sur la zone difficile dans le visualiseur (avec une extrémité dans la zone à conserver et l’autre dans la zone à supprimer), puis faites glisser la poignée de la ligne pour affiner l’adoucissement du contour.
Faites glisser pour régler la frange de l’adoucissement.
Les raccourcis clavier suivants vous permettent d’effectuer vos manipulations directement dans le visualiseur :
••
Pour procéder au réglage de l’exemple de couleur : tracez un rectangle tout en maintenant la touche Maj enfoncée.
••
Pour procéder au réglage des bords (contour) : tracez une ligne tout en maintenant la touche Commande enfoncée.
••
Pour supprimer le réglage Exemple de couleur ou Bords : cliquez sur un rectangle Exemple de couleur ou sur une ligne Bords tout en maintenant la touche Option enfoncée, ou sélectionnez la commande et appuyez sur la touche Supprimer.
Chapitre 12 Incrustation et compositing 352
••
Pour choisir une autre couleur si l’effet d’incrustation n’a pas pris la bonne : réglez le paramètre Force sur 0 (pour remplacer l’échantillonnage de couleurs initial et automatique). Utilisez ensuite Exemple de couleur pour indiquer la couleur à supprimer. Sélectionnez Composite (bouton gauche) dans la zone Afficher pour afficher le plan de premier plan combiné au plan d’arrière-plan.
••
Pour adapter le degré de similitude, déterminé par l’incrustation, entre une couleur sur l’image en premier plan et celle de l’incrustation chromatique par défaut : utilisez le curseur Force pour régler la tolérance (transparence principal) de l’échantillonnage automatique de l’effet d’incrustation. La valeur par défaut est égale à 100 %. La réduction de cette valeur réduit la gamme de couleur échantillonnée, provoquant ainsi une transparence moindre dans l’image incrustée. À l’inverse, l’augmentation de la valeur Force étend la gamme de couleurs échantillonnée, permettant ainsi une transparence plus poussée dans l’image incrustée. Le paramètre Force s’avère utile pour récupérer les zones semi-transparentes telles que les cheveux, la fumée ou les reflets.
4 Pour un ajustement précis de l’incrustation, utilisez les options de présentation :
Original (premier plan non traité)Cache (signal alpha basé sur le premier plan créé par l’incrustateur)Nom du bouton Présentation sélectionnéMontage composite (premier plan combiné à l’arrière-plan)
••
Composite : affiche l’image composite finale, avec le sujet de premier plan incrusté sur le plan d’arrière-plan. Il s’agit de la présentation par défaut.
••
Cache : affiche le cache en niveaux de gris, ou canal alpha, généré par l’opération d’incrustation. Les zones blanches sont opaques (la vidéo de premier plan est opaque), les zones noires sont transparentes (le premier plan est totalement invisible) et les différentes nuances de gris représentent les différents niveaux de transparence (la vidéo de l’arrière-plan est combinée avec celle du premier plan). L’affichage du cache permet de détecter plus facilement les espaces indésirables dans l’incrustation ou les zones qui ne sont pas assez transparentes.
••
Original : affiche l’image de premier plan d’origine non incrustée.
5 Pour affiner le cache, utilisez les commandes suivantes :
••
Remplir les espaces : l’augmentation de la valeur de ce paramètre permet d’accroître l’opacité des régions présentant une transparence marginale au sein de l’incrustation. Cette commande est utile lorsque vous êtes satisfait des bords de votre incrustation mais qu’il reste au sein de celle-ci des espaces indésirables que vous ne parvenez pas à éliminer à l’aide du paramètre Force sans affecter les bords.
Chapitre 12 Incrustation et compositing 353
••
Distance des bords : permet d’ajuster la distance du bord du sujet incrusté jusqu’à laquelle l’effet Remplir les espaces peut s’étendre. La réduction de la valeur du paramètre rapproche la zone remplie du cache du contour du sujet, aux dépens de la translucidité au niveau du contour. L’augmentation de sa valeur écarte du contour la zone remplie du cache. Une trop grande distance des contours peut entraîner un effet de translucidité indésirable au sein de parties du sujet censées être opaques.
6 Pour supprimer une couleur quelconque en arrière-plan apparaissant (effet de débordement) sur l’image de premier plan, ajustez le Niveau de débordement.
7 Pour inverser l’opération d’incrustation, en conservant la couleur d’arrière-plan et en supprimant l’image de premier plan, sélectionnez Inverser.
8 Pour mélanger l’effet d’incrustation avec la version sans incrustation, ajustez la commande Mixage.
Pour en savoir plus sur les ajustements avancés de l’incrustation chromatique, reportez-vous aux instructions suivantes.
Ajustements avancés de l’incrustation chromatique
Les commandes suivantes sont proposées dans les cas d’incrustation qui s’avèrent difficiles ou pour la correction fine de problèmes spécifiques :
••
Appliquer une couleur à la sélection : ces commandes sont prévues pour être utilisées après avoir commencé une incrustation à l’aide de l’échantillonnage automatique ou des outils Exemple de couleur et Bords. (Vous pouvez cependant ignorer ces outils et créer une incrustation par le biais du mode Manuel décrit ci-dessous.) Les commandes graphiques Colorimétrie et Luminance fournissent un moyen d’affiner avec précision la gamme des teintes, la saturation et la luminosité de l’image définissant le cache incrusté.
••
Outils Cache : ces commandes permettent d’affiner le cache de transparence généré par les paramètres précédemment définis. Ces paramètres ne modifient pas la plage de valeurs échantillonnées pour créer un cache incrusté. Ils altèrent en fait le cache généré par les commandes de base et avancées de l’effet d’incrustation, vous permettant ainsi de réduire, d’agrandir, d’adoucir ou d’inverser le cache pour obtenir un meilleur composite.
••
Enveloppe de lumière : ces commandes sont prévues pour la fusion des valeurs de couleur et de luminosité à partir de la couche de l’arrière-plan de votre composite et la couche du premier plan incrusté. Elles vous permettent de simuler l’interaction de l’éclairage de l’environnement avec le sujet incrusté, donnant ainsi l’impression que la lumière à l’arrière-plan enveloppe un sujet.
Dans la procédure suivante, on considère que vous avez déjà appliqué l’effet d’incrustation chromatique.
1 Dans la timeline, sélectionnez le plan de premier plan auquel l’effet Incrustateur a été appliqué, puis ouvrez l’inspecteur vidéo.
Des commandes permettant de modifier et d’améliorer l’effet Incrustateur apparaissent.
Chapitre 12 Incrustation et compositing 354
2 Cliquez sur « Appliquer une couleur à la sélection » pour révéler les commandes suivantes :
••
Graphique : propose deux options pour définir l’usage des graphiques réglables des commandes Colorimétrie et Luminance pour affiner une incrustation :
••
Boîtes de défilement : sélectionnez cette option pour limiter les commandes Colorimétrie et Luminance afin d’ajuster l’adoucissement (la transparence des contours) dans le cache que vous créez. Dans ce mode, il vous est impossible d’adapter manuellement la tolérance (la transparence principale), laquelle se détermine par l’échantillonnage automatique de l’effet d’incrustation et par tout rectangle Exemple de couleur ajouté dans le visualiseur. Pour augmenter la tolérance du cache, ajoutez d’autres rectangles Exemple de couleur ou réglez le curseur Force.)
••
Manuel : sélectionnez cette option pour limiter les commandes Colorimétrie et Luminance afin d’ajuster l’adoucissement (la transparence des contours) et la tolérance (la transparence principale) dans le cache que vous créez. Assurez-vous que le curseur Force est défini sur une valeur supérieure à 0 avant de passer en mode Manuel ; dans le cas contraire, les commandes Colorimétrie et Luminance se trouvent désactivées. Lorsque vous passez en mode Manuel, les outils Affiner la tonalité et le curseur Force se désactivent, mais les échantillons que vous avez réalisés à l’aide de ces commandes contribuent toujours au cache.
Important : en passant en mode Manuel, il est conseillé de ne pas revenir au mode Boîtes de défilement. Pour obtenir les meilleurs résultats possibles, commencez l’incrustation d’une image par le biais des outils Exemple de couleur et Bords en mode Boîtes de défilement. Activez par la suite le mode Manuel s’il vous semble nécessaire d’affiner votre cache à l’aide des commandes Colorimétrie et Luminance. Cependant, si vous revenez au mode Boîtes de défilement, vous êtes susceptible de constater des associations inattendues de valeurs échantillonnées en plus et animées avec des images clés, ce qui peut s’avérer difficile à contrôler.
Chapitre 12 Incrustation et compositing 355
••
Colorimétrie : faites glisser les deux graphiques sur la roue des couleurs en question pour régler la gamme isolée des teintes et de saturations contribuant à définir le cache incrusté. Le mode sélectionné contrôle quels graphiques présents dans la roue des couleurs sont réglables. Le graphique extérieur contrôle l’adoucissement (la transparence des contours) du cache que vous créez et peut être réglé en mode Boîtes de défilement ou en mode Manuel. Le graphique intérieur contrôle la tolérance (la transparence principale) et n’est ajustable qu’en mode Manuel. Faites glisser un des côtés de l’un des deux graphiques pour développer ou contracter la bordure du graphique en question, ce qui respectivement ajoute ou soustrait de la gamme des teintes et des saturations contribuant à l’incrustation. En mode Manuel, il vous est également possible de faire glisser le graphique de tolérance vers l’intérieur pour adapter sa position générale dans la roue des couleurs. À gauche de la roue des couleurs se trouve un petit graphique affichant la pente de la rotation chromatique, à savoir l’adoucissement relatif du contour du cache dans les régions les plus affectées par la commande Colorimétrie. Le glissement du curseur Rotation chromatique (décrit ci-dessous) influe sur la forme de la pente.
Conseil : il est possible d’effectuer un zoom avant et d’adapter la balance autour de la commande Colorimétrie afin d’ajuster les graphiques avec plus de précision. Pour agrandir la commande Colorimétrie, placez le pointeur sur la roue des couleurs, puis faites glisser, tout en maintenant la touche Z enfoncée, à gauche pour effectuer un zoom arrière ou à droite pour un zoom avant. Pour effectuer la balance dans la commande Colorimétrie, maintenez la touche H enfoncée tout en faisant glisser le pointeur de la souris dans la roue des couleurs dans le sens voulu. Pour rétablir le zoom et recentrer la commande Colorimétrie, placez le pointeur sur la commande Colorimétrie et appuyez sur Maj + Z.
••
Luminance : faites glisser les poignées réglables dans le dégradé de gris pour modifier la gamme isolée du canal de luminance (la gamme de luminosité et celle d’obscurité) qui contribue également à définir le cache incrusté. Les poignées supérieures (qui n’apparaissent qu’en mode Manuel) permettent de régler la tolérance (la transparence principale) de la contribution du canal de luminance à l’incrustation. Les poignées inférieures ajustent l’adoucissement (la transparence des contours) de la contribution du canal de luminance à l’incrustation. Le mode Graphique régit quelles poignées sont réglables. En mode Boîtes de défilement, vous avez la possibilité de n’ajuster que les poignées inférieures d’adoucissement, ce qui influe sur les gammes de luminosité et d’obscurité et, par conséquent, sur la transparence des contours du cache. En mode Manuel, il vous est également possible de régler les poignées de tolérance supérieures, ce qui modifie la transparence principale dans le canal de luminance du cache. Par défaut, la pente des côtés gauche et droit de la représentation graphique de la luminance marque une légère courbe en « S ». Vous pouvez modifier la forme de la courbe en ajustant le curseur « Rotation de la luminance » (décrit ci-dessous).
Remarque : les poignées d’adoucissement de luminance peuvent s’étendre au-delà des limites extérieures de la commande Luminance. Ce comportement, dû à la précision en virgule flottante de l’effet d’incrustation, est parfaitement normal. Pour révéler et déplacer les poignées au-delà des limites, faites glisser la courbe de la pente sur la représentation graphique de la luminance.
••
Rotation chromatique : ce curseur vous permet d’adapter la linéarité de la pente de la rotation chromatique (dans la petite représentation graphique à gauche de la commande Colorimétrie). La rotation chromatique modifie l’adoucissement du cache aux contours des régions que la commande Colorimétrie affecte le plus. Réduire cette valeur accroît la linéarité de la pente de la représentation graphique, ce qui adoucit le contour du cache. À l’inverse, augmenter cette valeur accentue la pente, ce qui renforce le contour du cache.
Chapitre 12 Incrustation et compositing 356
••
Rotation de la luminance : ce curseur vous permet d’adapter la linéarité de la pente de rotation de la luminance (les extrémités de la courbe de luminance en forme de cloche reprise dans la commande Luminance). La rotation de luminance modifie l’adoucissement du cache aux contours des régions que la commande Luminance affecte le plus. Réduire cette valeur accroît la linéarité de la pente située entre les poignées supérieures et inférieures de la commande Luminance, ce qui adoucit le contour du cache. À l’inverse, l’augmentation cette valeur accroît les variations de la courbe, accentuant et rendant ainsi le contour du cache plus abrupt.
••
Corriger la vidéo : cochez cette case pour appliquer le lissage au niveau des sous-pixels aux composantes de colorimétrie de l’image, réduisant les contours en dents de scie résultant de l’incrustation de média comprimé par le biais de la méthode du sous-échantillonnage chromatique 4:2:0, 4:1:1 ou 4:2:2. Bien que cochée par défaut, cette option peut être désactivée si le lissage au niveau des sous-pixels dégrade la qualité de vos incrustations.
3 Cliquez sur Outils Cache pour révéler les commandes suivantes :
••
Niveaux : utilisez cette commande de dégradé de gris pour adapter le contraste du cache incrusté, en faisant glisser les trois poignées prévues pour définir le point noir, le point blanc et la pondération (la répartition des valeurs de gris entre le point noir et le point blanc). Le réglage du contraste d’un cache peut s’avérer utile pour manipuler les zones translucides de l’incrustation afin de les rendre plus opaques (en réduisant le point blanc) ou plus translucides (en augmentant le point noir). Faire glisser la poignée Pondération vers la droite entraîne le rognage des régions translucides de l’incrustation, tandis que la faire glisser vers la gauche rend les régions translucides de l’incrustation plus opaques.
••
Noir, Blanc, Pondération : cliquez sur le triangle d’affichage situé dans la rangée Niveaux pour révéler les curseurs des paramètres Noir, Blanc et Pondération. Ceux-ci reflètent les réglages des poignées Niveaux décrites ci-dessus et vous permettent d’animer avec des images clés les trois paramètres Niveaux (via le bouton « Ajouter une image clé » situé à droite de chaque curseur). Animer avec des images clés les paramètres Noir, Blanc et Pondération contribue à atteindre une meilleure incrustation pouvant s’adapter à des conditions d’écran bleu ou vert changeantes.
••
Condenser/Développer : faites appel à ce curseur pour manipuler le contraste du cache et influer ainsi simultanément sur la translucidité et sur la taille du cache. Faites glisser le curseur vers la gauche pour marquer plus encore les régions translucides tout en réduisant le cache. À l’inverse, faites glisser le curseur vers la droite pour rendre les régions translucides plus opaques tout en développant le cache.
••
Adoucir : utilisez ce curseur pour rendre le cache incrusté flou, en adoucissant d’une même amplitude le contour.
••
Érosion : faites glisser ce curseur vers la droite pour augmenter progressivement la transparence du contour de la partie opaque de l’incrustation en partant de l’intérieur.
Chapitre 12 Incrustation et compositing 357
4 Cliquez sur Élagage pour révéler les commandes suivantes :
••
Contraste du débordement : utilisez cette commande de dégradé de gris pour adapter le contraste de la couleur à supprimer, à l’aide des poignées Point noir et Point blanc (et de leur curseur correspondant). La modification du contraste du débordement peut réduire la frange grise autour d’un sujet au premier plan. La poignée Point noir (à gauche de la commande du dégradé) éclaire la frange des bords trop sombre pour obtenir une vidéo composite réussie. La poignée Point blanc (située à droite de la commande du dégradé) obscurcit la frange des bords s’avérant trop claire. En fonction du degré de neutralisation du débordement par le curseur Niveau de débordement, ces commandes peuvent avoir un effet plus ou moins marqué sur le sujet.
••
Noir, Blanc : cliquez sur le triangle d’affichage situé dans la rangée Contraste du débordement pour révéler les curseurs pour les paramètres des Point noir et Point blanc. Ces curseurs, qui reflètent les réglages des poignées Contraste du débordement décrites ci-dessus, vous permettent d’animer avec des images clés les paramètres Point noir et Point blanc (via le bouton « Ajouter une image clé » situé à droite de chaque curseur).
••
Nuance : ce curseur permet de restaurer la couleur naturelle du sujet incrusté au premier plan. Dans la mesure où les commandes Élagage éliminent le débordement bleu ou vert en désaturant les franges subtiles bleues ou vertes et les reflets sur le sujet, le curseur Nuance vous permet d’ajouter des teintes afin de rétablir la couleur naturelle du sujet. Une utilisation excessive de ce paramètre provoque un surnuançage du sujet par la complémentaire de la teinte à supprimer (magenta en cas d’usage de fond vert, orange en cas de fond bleu).
••
Saturation : faites appel à ce curseur pour modifier la gamme des teintes introduite par le curseur Nuance (lorsque ce dernier est utilisé à des niveaux modérés).
5 Cliquez sur Enveloppe de lumière pour révéler les commandes suivantes :
••
Grandeur : utilisez ce curseur pour contrôler l’effet global d’enveloppe de lumière, en réglant la profondeur à laquelle l’enveloppe de lumière doit s’étendre sur le premier plan.
••
Intensité : permet d’ajuster les niveaux gamma pour éclaircir ou obscurcir l’interaction du contour enveloppé par le sujet incrusté au premier plan.
••
Opacité : passez par ce curseur pour effectuer un fondu plus ou moins prononcé de l’effet d’enveloppe de lumière.
Chapitre 12 Incrustation et compositing 358
••
Mode : utilisez ce menu local pour choisir la méthode de compositing chargée de fusionner les valeurs de l’arrière-plan échantillonné et le contour du sujet incrusté. Cinq modes vous sont proposés :
••
Normale : fusionne de façon uniforme les valeurs claires et sombres sur la couche de l’arrière-plan d’une part, et les contours de la couche du premier plan incrusté d’autre part.
••
Éclaircissement : compare les pixels qui se chevauchent entre les couches du premier plan et de l’arrière-plan, puis conserve les plus clairs. Cette option est pratique pour créer un effet d’enveloppe de lumière sélectif.
••
Superposition : superpose les parties les plus claires de la couche de l’arrière-plan sur les zones enveloppées de la couche du premier plan incrusté. Cette option est adaptée à un effet d’enveloppe de lumière agressif.
••
Incrustation : associe la couche de l’arrière-plan et les zones enveloppées de la couche du premier plan incrusté de sorte que les parties sombres chevauchantes deviennent plus sombres, les zones claires deviennent plus claires et les couleurs s’intensifient.
••
Lumière crue : semblable au mode de compositing Incrustation, à la différence que les couleurs sont désactivées.
Animation de l’effet d’incrustation chromatique
Pour compenser les variations des conditions dans le plan de premier plan, vous pouvez effectuer des ajustements Exemple de couleur et Rechercher les bords en plusieurs endroits du plan.
Dans la procédure suivante, on considère que vous avez déjà appliqué l’effet d’incrustation chromatique.
1 Positionnez la tête de lecture de la timeline au début du plan.
2 Utilisez les outils Exemple de couleur et Rechercher les bords (décrits plus haut) pour créer une bonne incrustation chromatique.
3 Placez la tête de lecture de la timeline sur un point ultérieur du plan où les conditions d’éclairage ou de l’arrière-plan changent, rendant l’incrustation chromatique inacceptable.
4 Utilisez à nouveau les outils Exemple de couleur et Rechercher les bords pour créer une bonne incrustation chromatique.
5 Pour effectuer des ajustements en d’autres endroits, recommencez les étapes 3 et 4 autant de fois que nécessaire.
6 Pour déplacer la tête de lecture d’un point d’ajustement à un autre, utilisez les flèches « Aller à l’échantillon ».
Lors de la lecture du plan, les réglages Exemple de couleur et Rechercher les bords varient de façon fluide d’un point d’échantillon à un autre. Pour un plus grand contrôle, vous pouvez ajouter des images clés pour la plupart des autres réglages de la section Incrustateur de l’inspecteur vidéo. Pour en savoir plus sur l’utilisation d’images clés, consultez la section Présentation de l’animation vidéo à la page 256.
Remarque : les images clés pour les graphiques de colorimétrie et luminance dans les commandes « Appliquer une couleur à la sélection » n’apparaissent que dans l’inspecteur vidéo et non dans l’éditeur d’animation vidéo sur la timeline.
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Utilisation des incrustations en luminance
Les incrustations en luminance permettent de réaliser un compositing d’un plan de premier plan sur un plan d’arrière-plan en fonction des niveaux de luminance de la vidéo. Ce type d’incrustation est particulièrement utile pour les images fixes, telles que l’image d’un logo sur un arrière-plan noir ou des graphismes générés par ordinateur.
Dans les exemples ci-dessous, cette image de compteur de vitesse va être incrustée sur une scène de voiture en extérieur pour créer un effet de réflexion.
Application de l’effet d’incrustation en luminance
1 Dans la timeline, placez la tête de lecture sur le point du plan d’arrière-plan (plan sur lequel vous voulez superposer le plan à incruster en luminance) où vous voulez que l’incrustation commence.
2 Dans le navigateur d’événements, sélectionnez la partie du plan de premier plan (plan à incruster en luminance contenant la couleur noire ou blanche à supprimer) que vous voulez incruster sur l’arrière-plan, puis choisissez Édition > Connecter au scénario principal (ou appuyez sur la touche Q).
Plan de premier planPlan d’arrière-plan
Pour en savoir plus sur cette façon de connecter des plans, consultez la section Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés à la page 110.
Chapitre 12 Incrustation et compositing 360
3 Sélectionnez le plan de premier plan dans la timeline, puis cliquez sur le bouton Effets de la barre
d’outils.
4 Dans le navigateur d’effets, sélectionnez l’effet Incrustateur en luminance.
Conseil : Saisissez « incrustateur » dans le champ de recherche du navigateur d’effets pour trouver
rapidement l’effet Incrustateur en luminance.
5 Procédez de l’une des manières suivantes :
•• Faites glisser l’effet sur le plan de premier plan de la timeline auquel vous voulez l’appliquer.
•• Double-cliquez sur la vignette de l’effet pour l’appliquer au plan sélectionné.
L’effet Incrustateur en luminance se configure automatiquement pour supprimer la vidéo noire.
Si l’incrustation obtenue n’est pas correcte ou si vous voulez l’améliorer, vous pouvez ajuster
l’effet d’incrustation en luminance.
Ajustement de l’effet d’incrustation en luminance
Dans la procédure suivante, on considère que vous avez déjà appliqué l’effet d’incrustation
en luminance.
1 Dans la timeline, sélectionnez le plan auquel l’effet Incrustateur en luminance a été appliqué.
2 Ouvrez l’inspecteur vidéo.
La section Effets de l’inspecteur vidéo propose des paramètres permettant d’ajuster l’effet
Incrustateur en luminance.
3 Pour inverser l’incrustation et supprimer les zones blanches au lieu des zones noires du plan de
premier plan, sélectionnez Inverser.
4 Pour ajuster les valeurs de blanc et de noir du plan, faites glisser les poignées situées aux extrémités
de la vignette de dégradé.
Par défaut, ces poignées sont réglées de façon à fournir une incrustation linéaire dans laquelle le
niveau de luminance contrôle de façon linéaire la transparence du premier plan, où 100 % blanc
représente une opacité totale et 0 % noir une transparence totale, et 25 % gris conserve 25 pour
cent de l’image de premier plan. Faites glisser les commandes de blanc et de noir pour modifier
les valeurs auxquelles la vidéo de premier plan est totalement opaque ou transparente.
Chapitre 12 Incrustation et compositing 361
5 Pour ajuster l’adoucissement des bords, réglez la commande « Rotation de la luminance ».
Plus la valeur est élevée, plus les bords sont prononcés, ce qui élimine toute transparence partielle, tandis qu’une valeur faible permet de tirer parti de l’éventuel anticrénelage ou adoucissement des bords.
6 Pour un ajustement précis de l’incrustation, utilisez les options de présentation :
Original (premier plan non traité)Cache (signal alpha basé sur le premier plan créé par l’incrustateur)Montage composite (premier plan combiné à l’arrière-plan)Nom du bouton Présentation sélectionné
••
Composite : affiche l’image composite finale, avec le sujet de premier plan incrusté sur le plan d’arrière-plan. Il s’agit de la présentation par défaut.
••
Cache : affiche le cache en niveaux de gris, ou canal alpha, généré par l’opération d’incrustation. Les zones blanches sont opaques, les zones noires sont transparentes et les différentes nuances de gris représentent les différents niveaux de transparence. L’affichage du canal alpha permet de détecter plus facilement les espaces indésirables dans l’incrustation ou les zones qui ne sont pas assez transparentes.
••
Original : affiche l’image d’origine non incrustée.
7 Pour ne pas toucher au texte ou aux graphismes légèrement crénelés de l’image, ce qui peut améliorer les bords, sélectionnez Conserver RVB.
8 Pour mélanger l’effet d’incrustation avec la version sans incrustation, ajustez la commande Mixage.
Pour en savoir plus sur les ajustements avancés de l’incrustation en luminance, reportez-vous aux instructions suivantes.
Ajustements avancés de l’incrustation en luminance
Les commandes suivantes sont proposées dans les cas d’incrustation qui s’avèrent difficiles ou pour la correction fine de problèmes spécifiques :
••
Outils Cache : ces commandes permettent d’affiner le cache de transparence généré par les paramètres précédemment définis. Ces paramètres ne modifient pas la plage de valeurs échantillonnées pour créer un cache incrusté. Ils altèrent en fait le cache généré par les commandes de base et avancées de l’effet d’incrustation, vous permettant ainsi de réduire, d’agrandir, d’adoucir ou d’inverser le cache pour obtenir un meilleur composite.
••
Enveloppe de lumière : ces commandes sont prévues pour la fusion des valeurs de couleur et de luminosité à partir de la couche de l’arrière-plan de votre composite et la couche du premier plan incrusté. Elles vous permettent de simuler l’interaction de l’éclairage de l’environnement avec le sujet incrusté, donnant ainsi l’impression que la lumière à l’arrière-plan enveloppe un sujet.
Dans la procédure suivante, on considère que vous avez déjà appliqué l’effet d’incrustation en luminance.
Chapitre 12 Incrustation et compositing 362
1 Dans la timeline, sélectionnez le plan auquel l’effet Incrustateur en luminance a été appliqué.
2 Ouvrez l’inspecteur vidéo.
La section Effets de l’inspecteur vidéo propose des paramètres permettant d’ajuster l’effet Incrustateur en luminance.
3 Cliquez sur Outils Cache pour révéler les commandes suivantes :
••
Remplir les espaces : l’augmentation de la valeur de ce paramètre permet d’accroître l’opacité des régions présentant une transparence marginale au sein de l’incrustation. Cette commande est utile lorsque vous êtes satisfait des bords de votre incrustation mais qu’il reste au sein de celle-ci des espaces indésirables que vous ne parvenez pas à éliminer à l’aide du paramètre « Rotation de la luminance » sans affecter les bords.
••
Distance des bords : permet d’ajuster la distance du bord du sujet incrusté jusqu’à laquelle l’effet Remplir les espaces peut s’étendre. La réduction de la valeur du paramètre rapproche la zone remplie du cache du contour du sujet, aux dépens de la translucidité au niveau du contour. L’augmentation de la valeur de ce paramètre éloigne la zone remplie du cache du contour, ce qui peut faire apparaître des régions de translucidité indésirable au sein de parties du sujet censées être opaques.
••
Niveaux : utilisez cette commande de dégradé de gris pour adapter le contraste du cache incrusté, en faisant glisser les trois poignées prévues pour définir le point noir, le point blanc et la pondération (la répartition des valeurs de gris entre le point noir et le point blanc). Le réglage du contraste d’un cache peut s’avérer utile pour manipuler les zones translucides de l’incrustation afin de les rendre plus opaques (en réduisant le point blanc) ou plus translucides (en augmentant le point noir). Faire glisser la poignée Pondération vers la droite entraîne le rognage des régions translucides de l’incrustation, tandis que la faire glisser vers la gauche rend les régions translucides de l’incrustation plus opaques.
Chapitre 12 Incrustation et compositing 363
••
Noir, Blanc, Pondération : cliquez sur le triangle d’affichage situé dans la rangée Niveaux pour révéler les curseurs des paramètres Noir, Blanc et Pondération. Ceux-ci reflètent les réglages des poignées Niveaux décrites ci-dessus et vous permettent d’animer avec des images clés les trois paramètres Niveaux (via le bouton « Ajouter une image clé » situé à droite de chaque curseur). Animer avec des images clés les paramètres Noir, Blanc et Pondération contribue à atteindre une meilleure incrustation pouvant s’adapter à des conditions d’écran bleu ou vert changeantes.
••
Condenser/Développer : faites appel à ce curseur pour manipuler le contraste du cache et influer ainsi simultanément sur la translucidité et sur la taille du cache. Faites glisser le curseur vers la gauche pour marquer plus encore les régions translucides tout en réduisant le cache. À l’inverse, faites glisser le curseur vers la droite pour rendre les régions translucides plus opaques tout en développant le cache.
••
Adoucir : utilisez ce curseur pour rendre le cache incrusté flou, en adoucissant d’une même amplitude le contour.
••
Érosion : faites glisser ce curseur vers la droite pour augmenter progressivement la transparence du contour de la partie opaque de l’incrustation en partant de l’intérieur.
4 Cliquez sur Enveloppe de lumière pour révéler les commandes suivantes :
••
Grandeur : utilisez ce curseur pour contrôler l’effet global d’enveloppe de lumière, en réglant la profondeur à laquelle l’enveloppe de lumière doit s’étendre sur le premier plan.
••
Intensité : permet d’ajuster les niveaux gamma pour éclaircir ou obscurcir l’interaction du contour enveloppé par le sujet incrusté au premier plan.
••
Opacité : passez par ce curseur pour effectuer un fondu plus ou moins prononcé de l’effet d’enveloppe de lumière.
••
Mode : utilisez ce menu local pour choisir la méthode de compositing chargée de fusionner les valeurs de l’arrière-plan échantillonné et le contour du sujet incrusté. Cinq modes vous sont proposés :
••
Normale : fusionne de façon uniforme les valeurs claires et sombres sur la couche de l’arrière-plan d’une part, et les contours de la couche du premier plan incrusté d’autre part.
••
Éclaircissement : compare les pixels qui se chevauchent entre les couches du premier plan et de l’arrière-plan, puis conserve les plus clairs. Cette option est pratique pour créer un effet d’enveloppe de lumière sélectif.
••
Superposition : superpose les parties les plus claires de la couche de l’arrière-plan sur les zones enveloppées de la couche du premier plan incrusté. Cette option est adaptée à un effet d’enveloppe de lumière agressif.
••
Incrustation : associe la couche de l’arrière-plan et les zones enveloppées de la couche du premier plan incrusté de sorte que les parties sombres chevauchantes deviennent plus sombres, les zones claires deviennent plus claires et les couleurs s’intensifient.
••
Lumière crue : semblable au mode de compositing Incrustation, à la différence que les couleurs sont désactivées.
Chapitre 12 Incrustation et compositing 364
Finalisation de l’incrustation
Il arrive souvent que l’image de premier plan contienne des objets que vous ne voulez pas voir apparaître dans le composite final. Il peut s’agir d’éléments de production tels que des perches de microphone, des pieds de projecteur ou encore les bords de la toile de fond d’incrustation chromatique. Vous pouvez également être amené à redimensionner ou à repositionner l’objet de premier plan pour l’ajuster à l’arrière-plan. Pour finir, vous pouvez utiliser l’outil d’étalonnage pour régler l’aspect du premier plan afin de le faire correspondre à celui de l’arrière-plan.
Final Cut Pro comprend des effets que vous pouvez utiliser à ces fins.
Utilisation de l’effet Masque
1 Dans la timeline, placez la tête de lecture sur le point du plan d’arrière-plan (plan sur lequel vous voulez superposer le plan à incruster en chrominance) où vous voulez que l’incrustation commence.
2 Dans le navigateur d’événements, sélectionnez la partie du plan de premier plan (plan à incruster en chrominance contenant la couleur à supprimer) que vous voulez incruster sur l’arrière-plan, puis choisissez Édition > Connecter au scénario principal (ou appuyez sur la touche Q).
Avant-planArrière-plan attaché sous forme de plan connecté
Pour en savoir plus sur cette façon de connecter des plans, consultez la section Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés à la page 110.
3 Sélectionnez le plan de premier plan.
Dans l’exemple ci-dessus, les pieds de projecteur doivent être supprimés.
Chapitre 12 Incrustation et compositing 365
4 Dans la barre d’outils, cliquez sur le bouton Effets.
5 Dans le navigateur d’effets, double-cliquez sur l’effet Masque pour l’appliquer au plan de premier
plan sélectionné.
Conseil : Saisissez « masque » dans le champ de recherche du navigateur d’effets pour trouver
rapidement l’effet Masque.
6 Ajustez les quatre coins du masque pour rogner les objets à supprimer, à savoir les pieds de projecteur
dans notre cas.
Lors de l’ajustement du masque, veillez à laisser les ombres et autres détails qui permettront de
rendre l’incrustation plus réaliste par la suite.
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7 Appliquez l’effet d’incrustation approprié au plan de premier plan.
Le compositing du premier plan sur l’arrière-plan est terminé.
Utilisation de l’outil Transformation pour positionner l’image de premier plan
Dans la procédure suivante, on considère que vous avez déjà configuré une incrustation mais que vous devez repositionner l’image de premier plan.
1 Sélectionnez le plan de premier plan dans la timeline.
2 Dans le coin inférieur gauche du visualiseur, choisissez Transformer dans le menu local, puis déplacez l’image à l’emplacement souhaité. Dans l’exemple ci-dessus, il peut être intéressant de déplacer la femme vers la gauche.
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Vous pouvez également redimensionner l’image.
3 Cliquez sur Terminé dans le visualiseur une fois que vous avez terminé de repositionner l’image de premier plan.
Compositing
Présentation du compositing
Le compositing consiste à combiner des parties d’au moins deux plans vidéo en une seule image. Il existe différentes façons de combiner des images vidéo dans Final Cut Pro :
••
Transitions : toutes les transitions vidéo consistent à combiner la fin d’un plan avec le début du plan suivant, les deux plans apparaissant donc en même temps pendant la transition.
••
Incrustation : toutes les incrustations consistent à réaliser un compositing d’une image de premier plan sur une image d’arrière-plan.
••
Canaux alpha : de nombreux plans vidéo générés par ordinateur présentent un canal alpha (masque intégré) définissant avec précision les zones du plan faisant l’objet d’un compositing sur un plan d’arrière-plan. Ces canaux ne nécessitent aucune configuration d’incrustation et fonctionnent en général automatiquement. De nombreux effets (tels que Transformation et Distorsion), générateurs (tels que Formes et Timecode) et titres utilisent les canaux alpha.
••
Compositing : chaque plan vidéo de la timeline possède un ensemble de réglages Compositing que vous pouvez utiliser pour combiner des plans sans avoir recours aux effets d’incrustation.
Utilisation des canaux alpha
Les canaux alpha permettent de réaliser facilement un compositing d’une image sur une autre. À l’aide d’une application comme Motion, logiciel Apple conçu pour fonctionner avec Final Cut Pro, vous pouvez créer des images fixes et des plans vidéo possédant des canaux alpha. Les canaux alpha peuvent être considérés comme ayant un incrustateur intégré : en effet, lorsque vous utilisez les effets d’incrustation, vous créez un masque qui est utilisé de la même manière qu’un plan ayant un canal alpha est utilisé pour le compositing.
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Vous trouverez ci-dessous un exemple de plan avec canal alpha montrant l’image qui remplit le canal alpha.
Ci-dessous l’image du canal alpha : les zones blanches définissent les zones de la vidéo faisant l’objet d’un compositing sur l’arrière-plan. Les zones grises (qui correspondent à l’ombre dans cet exemple) définissent les parties partiellement transparentes de l’image.
Voici comment se présente le composite final sur un plan d’arrière-plan.
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Utilisation d’un plan avec un canal alpha
1 Positionnez la tête de lecture dans la timeline à l’endroit où vous voulez ajouter le plan avec canal alpha.
2 Sélectionnez le plan ayant un canal alpha dans le navigateur d’événements, puis choisissez Édition > Connecter au scénario principal (ou appuyez sur la touche Q).
3 Pour voir les plans composites, placez la tête de lecture au sein du plan que vous venez d’ajouter au-dessus du scénario principal.
Plan connecté (premier plan du montage composite)Plan du scénario principal (arrière-plan du montage composite)
Le plan est monté en composite au-dessus du plan vidéo du scénario principal, avec le canal alpha contrôlant l’opacité de son plan.
Vous pouvez également utiliser les poignées de fondu du réglage Opacité pour ajuster l’opacité du plan de premier plan.
Utilisation des réglages de compositing
Les réglages Compositing offrent de nombreuses options pour combiner deux images. Vous pouvez effectuer un simple ajustement pour combiner uniformément deux images ou choisir des réglages utilisant le contenu vidéo pour déterminer la façon dont les images doivent être combinées.
Utilisation du réglage Opacité
1 Positionnez la tête de lecture dans la timeline à l’endroit où vous voulez ajouter un plan au-dessus du scénario principal.
2 Sélectionnez le plan à ajouter dans le navigateur d’événements, puis choisissez Édition > Connecter au scénario principal (ou appuyez sur la touche Q).
3 Pour voir les plans composites, placez la tête de lecture au sein du plan que vous venez d’ajouter.
Par défaut, le nouveau plan masque complètement le plan du scénario principal.
4 Pour rendre le nouveau plan partiellement transparent, sélectionnez-le dans la timeline, puis ajustez la commande Opacité dans la section Compositing de l’inspecteur vidéo.
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Plus la valeur Opacité est proche de 0 pour cent, plus le plan situé au-dessus du scénario principal est transparent. Vous pouvez également utiliser les poignées de fondu Opacité de l’éditeur d’animation vidéo pour ajuster l’opacité du plan composite, ou ajouter des images clés pour que la valeur d’opacité change en des points précis.
Choix d’un mode de fusion
1 Positionnez la tête de lecture dans la timeline à l’endroit où vous voulez ajouter un plan au-dessus du scénario principal.
2 Sélectionnez le plan à ajouter dans le navigateur d’événements, puis choisissez Édition > Connecter au scénario principal (ou appuyez sur la touche Q).
3 Pour voir les plans composites, placez la tête de lecture au sein du plan que vous venez d’ajouter.
Par défaut, le nouveau plan masque complètement le plan du scénario principal.
4 Sélectionnez une option dans le menu local Mode de fusion de la section Compositing de l’inspecteur vidéo.
De nombreux réglages de mode de fusion sont disponibles ; celui que vous devez utiliser dépend du contenu vidéo et de l’apparence que vous voulez obtenir. Vous pouvez par ailleurs ajuster la commande Opacité pour rendre le réglage de mode de fusion plus subtil.
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Présentation de l’étalonnage
Dans tout travail de postproduction, l’étalonnage constitue généralement l’une des dernières étapes de finalisation d’un programme monté. Vous pouvez réaliser l’étalonnage de votre métrage pour de nombreuses raisons :
••
pour vous assurer que les éléments clés de votre programme (comme les tons de peau) présentent l’apparence souhaitée ;
••
pour harmoniser les couleurs tous les plans d’une scène ;
••
pour corriger des erreurs de balance de couleurs et d’exposition ;
••
pour donner une tonalité particulière, comme pour rendre les scènes plus chaudes ou au contraire plus froides ;
••
pour créer un contraste ou des effets spéciaux en manipulant les couleurs et l’exposition.
Les outils d’étalonnage de Final Cut Pro permettent de contrôler avec précision l’apparence de chaque plan de votre projet, y compris les images fixes, grâce au réglage de la balance des couleurs, ainsi que des niveaux d’ombres, de tons intermédiaires et de hautes lumières de chaque plan. Final Cut Pro inclut également plusieurs outils automatisés vous permettant de modifier la balance et d’étalonner rapidement la couleur dans des plans. Dans Final Cut Pro, vous pouvez :
••
équilibrer automatiquement les couleurs : d’un simple clic, neutralisez toute dominante de couleur et augmentez le contraste de l’image Consultez Présentation de la balance des couleurs à la page 372.
••
harmoniser automatiquement la couleur et l’apparence d’un plan : en deux clics, harmonisez les couleurs d’un ou de plusieurs plans avec celles d’un autre plan de votre choix Consultez Correspondance automatique des couleurs entre les plans à la page 374.
••
ajuster manuellement les couleurs, la saturation et l’exposition : corrigez manuellement la couleur d’ensemble du plan ou utilisez des masques de couleur ou de forme pour limiter l’étalonnage à une gamme de couleurs ou à une zone de l’image – vous pouvez même ajouter plusieurs étalonnages manuels à un plan Consultez Présentation de l’étalonnage manuel à la page 375.
••
enregistrer les réglages d’étalonnage et les appliquer à d’autres plans : enregistrez les réglages d’étalonnage d’un plan et appliquez-les à d’autres plans dans le projet ou issus d’autres projets Consultez Enregistrement et application de préréglages d’étalonnage à la page 385.
Bien que ces fonctionnalités soient indépendantes les unes des autres, vous pouvez désactiver puis activer l’une ou l’autre pour voir quel effet elle a, car l’ordre dans lequel vous les utilisez est important. Généralement, il est recommandé d’utiliser ces fonctionnalités dans l’ordre suivant : balance des couleurs, correspondance des couleurs, et (le cas échéant) étalonnage manuel.
Final Cut Pro inclut également plusieurs instruments vidéo que vous pouvez utiliser lorsque vous étalonnez manuellement votre vidéo. Les instruments permettent de contrôler avec précision les niveaux de luminance et de colorimétrie de vos plans vidéo.
Étalonnage
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Analyse et balance automatique des couleurs
Présentation de la balance des couleurs
Final Cut Pro prévoie une fonctionnalité de balance automatique des couleurs. Cette fonctionnalité de Final Cut Pro échantillonne les zones les plus sombres et les claires du canal de luminance de l’image et ajuste celles-ci afin de neutraliser toute dominante de couleur dans l’image. De plus, Final Cut Pro ajuste l’image pour augmenter le contraste, de telle façon que la prise de vue occupe la gamme de luminance la plus large possible.
L’image vidéo utilisée comme image référence dépend du fait que le plan a déjà subi une analyse des couleurs ou pas :
••
Si le plan a subi une analyse des couleurs, soit pendant l’importation soit dans le navigateur d’événements : Le processus d’analyse extrait les informations de balance des couleurs pour l’ensemble du plan. Si vous ajoutez une partie du plan ou l’ensemble du plan à un projet, la fonctionnalité de balance des couleurs choisit l’image dans le plan du projet qui est la plus proche d’un équilibre adéquat. Ceci signifie que si vous ajoutez plusieurs plans partiels à partir du même plan dans le navigateur d’événements du projet, chaque plan se voit alors équilibré d’après les informations d’analyse pour sa propre section de média.
••
Si le plan n’a pas subi d’analyse de couleurs et si vous équilibrez ses couleurs : Vous pouvez définir l’image de référence d’un plan sélectionné dans la timeline en plaçant la tête de lecture sur cette image dans le plan. Si la tête de lecture se trouve sur un autre plan ou si vous avez sélectionné un plan dans le navigateur d’événements, l’image du milieu du plan est utilisée.
Analyse de la balance des couleurs d’un plan
Pour équilibrer automatiquement les couleurs d’un plan, Final Cut Pro utilise une seule image du plan comme image de référence et calcule la correction nécessaire avant de l’appliquer à l’ensemble du plan. Analyser la balance des couleurs d’un plan permet à Final Cut Pro de choisir une image représentative comme image de référence de la balance des couleurs du plan.
Vous pouvez analyser la balance des couleurs d’un plan lors de son importation, que vous l’importiez depuis une caméra ou un fichier, ou que vous le fassiez glisser directement sur la timeline depuis une fenêtre du Finder. Vous pouvez également analyser sa balance des couleurs à tout moment dans le navigateur d’événements.
L’analyse de la balance des couleurs d’un plan peut prendre de plusieurs secondes pour les plans les plus courts à plusieurs minutes pour les plus longs. Le processus d’analyse prend en outre plus de temps si vous analysez les personnes et les problèmes de stabilisation.
Une fois la balance des couleurs d’un plan analysée, vous pouvez activer ou désactiver la correction de la balance des couleurs à tout moment. Par défaut, cette correction est désactivée pour les plans figurant dans le navigateur d’événements et activés pour ceux figurant dans la timeline, s’ils ont été analysés. Pour en savoir plus sur l’activation et la désactivation de la correction de la balance des couleurs, que ce soit dans le navigateur d’événements ou dans la timeline, consultez la section Équilibrage des couleurs d’un plan à la page 373.
Analyse de la balance des couleurs pendant l’importation de fichiers
1 Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I).
2 Sélectionnez les fichiers à importer, puis « Analyser la balance des couleurs » dans la section Vidéo de la fenêtre.
3 Cliquez sur Importer.
Les fichiers sont importés et analysés en vue de détecter les problèmes de balance des couleurs.
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Analyse de la balance des couleurs pour les plans glissés depuis le Finder sur la timeline
1 Sélectionnez Final Cut Pro > Préférences (ou appuyez sur les touches Commande + virgule).
2 Dans la fenêtre Préférences de Final Cut Pro, cliquez sur le bouton Importer et sélectionnez
« Analyser la balance des couleurs » dans la section Vidéo.
Tous les plans que vous faites glisser directement sur la timeline à partir du Finder sont analysés.
Remarque : Lorsque vous modifiez ce réglage dans la fenêtre Préférences, le réglage est également
modifié dans toutes les autres fenêtres incluant l’option « Analyser la balance des
couleurs ».
Analyse de la balance des couleurs pour les plans dans le navigateur d’événements
Lorsque vous analysez la balance des couleurs des plans dans le navigateur d’événements, tous
les plans qui ont été analysés pendant l’importation sont ignorés.
1 Sélectionnez un ou plusieurs plans dans le navigateur d’événements.
2 Procédez de l’une des manières suivantes :
•• Choisissez Modifier > Analyser et corriger.
•• Cliquez sur l’un des plans sélectionnés en maintenant la touche Contrôle enfoncée, puis choisissez
Analyser et corriger dans le menu contextuel.
3 Dans la fenêtre qui apparaît, sélectionnez « Analyser la balance des couleurs » dans la section
Vidéo, puis cliquez sur OK.
Équilibrage des couleurs d’un plan
Le réglage de balance des plans dans Final Cut Pro active et désactive automatiquement la correction
de la balance des couleurs, que le plan se trouve dans le navigateur d’événements ou
dans la timeline. L’image utilisée comme image de référence correspond soit à une image choisie
pendant l’analyse de la balance des couleurs, soit à l’image sur laquelle se trouve la tête de lecture
dans la timeline, soit à l’image du milieu du plan. Pour en savoir plus, consultez Présentation
de la balance des couleurs à la page 372.
Activation ou désactivation de la correction de la balance des couleurs d’un plan
1 Sélectionnez un ou plusieurs plans dans la timeline ou le navigateur.
2 Procédez de l’une des manières suivantes :
•• Choisissez Modifier > Couleur de balance (ou appuyez sur Commande + Option + B).
•• Choisissez Couleur de balance dans le menu local Améliorations de la barre d’outils.
•• Dans la section Couleur de l’inspecteur vidéo, cochez ou décochez la case Balance.
Cliquez ici pour activer ou désactiver la balance.
État d’analyse de
la balance
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Correspondance automatique des couleurs entre les plans
Votre projet utilise certainement de la vidéo provenant de nombreuses sources. La fonctionnalité
Correspondance des couleurs permet de s’assurer que toutes les scènes prises dans un même
lieu présentent le même aspect.
Correspondance des couleurs entre les plans
1 Sélectionnez dans la timeline un ou plusieurs plans que vous voulez ajuster.
2 Procédez de l’une des manières suivantes :
•• Choisissez Modifier > Correspondance des couleurs (ou appuyez sur
Commande + Option + M).
•• Choisissez Correspondance des couleurs dans le menu local Améliorations de la barre d’outils.
•• Dans la section Couleur de l’inspecteur vidéo, cliquez sur le bouton Choisir en regard de
Correspondance des couleurs.
Le visualiseur s’adapte pour afficher l’image sur laquelle se trouve la tête de lecture de la timeline
à droite et l’image sur laquelle se trouve le pointeur à gauche.
Le plan sur lequel se trouve le pointeur représente la
source de concordance des couleurs. Cliquer pour
effectuer le preview de la concordance des couleurs.
Le plan sélectionné sur la
timeline correspond à la cible
de concordance des couleurs.
3 Faites défiler des plans de la timeline ou du navigateur d’événements afin de trouver une image
avec l’aspect de couleur que vous voulez respecter, puis cliquez pour prévisualiser cet aspect une
fois appliqué au plan sélectionné.
Vous pouvez cliquer sur une variété de plans jusqu’à ce que vous trouviez l’aspect que
vous voulez.
Conseil : Vous pouvez importer une image fixe ayant l’aspect que vous voulez, même si elle n’est
pas liée à votre projet, pour pouvoir reprendre l’aspect de ses couleurs.
4 Pour accepter l’aspect actuel, cliquez sur Appliquer la correspondance dans la fenêtre
Correspondance des couleurs.
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Le visualiseur revient à sa configuration normale et les plans de la timeline sélectionnés adoptent le nouvel aspect.
Activation ou désactivation des corrections de correspondance des couleurs
Vous pouvez désactiver les corrections de correspondance des couleurs qui ont été appliquées à un plan. Cette opération peut être utile pour voir la différence entre le plan original et le plan corrigé.
1 Dans la timeline, sélectionnez un plan pour lequel les corrections de correspondance des couleurs ont été appliquées.
2 Cliquez sur la case Correspondance des couleurs dans la section Couleur de l’inspecteur vidéo.
Ajustement manuel des couleurs
Présentation de l’étalonnage manuel
Final Cut Pro inclut un outil d’étalonnage manuel que vous pouvez utiliser pour accomplir une large variété d’effets d’étalonnage et d’amélioration des couleurs :
••
Appliquez un étalonnage à l’ensemble de l’image : ajustez la teinte de la couleur, la saturation et l’exposition pour l’ensemble de l’image du plan. Consultez Étalonnage sur toute l’image à la page 375.
••
Choisissez une couleur dans l’image à étalonner : par exemple, choisissez un objet de couleur claire, comme une chemise ou une voiture, puis utilisez les réglages d’étalonnage pour annuler ou modifier la couleur. Consultez Choix d’une couleur spécifique comme cible à l’aide d’un masque de couleur à la page 378.
••
Choisissez une zone de l’image à étalonner : tracez un ou plusieurs masques de forme, puis appliquez l’étalonnage à l’intérieur ou à l’extérieur des masques. Vous pouvez en outre faire changer la position des masques au fil de la lecture du plan. Consultez Ciblage de zones spécifiques à l’aide de masques de forme à la page 380.
Vous pouvez également appliquer plusieurs étalonnages à un seul plan et utiliser les masques de formes associés un masque de couleur. Par exemple, il vous est possible d’utiliser un étalonnage pour définir l’aspect général de couleur du plan, un deuxième étalonnage pour cibler et changer une couleur donnée et un troisième pour cibler une autre couleur ou une zone définie par un masque de forme. Consultez les sections Application de plusieurs étalonnages à la page 384 et Ajout de masques de formes à un masque de couleur à la page 383.
Vous pouvez effectuer des ajustements manuels de couleur par le biais de la carte accélératrice.
Étalonnage sur toute l’image
Faites appel à la carte accélératrice pour ajuster manuellement la couleur, la saturation et l’exposition d’un plan.
Étalonnage manuel de toute l’image d’un plan
1 Sélectionnez un plan dans la timeline, puis procédez de l’une des façons suivantes :
••
Choisissez Fenêtre > Aller à > Afficher le réglage colorimétrique (ou appuyez sur les touches Commande + 6).
••
Choisissez « Afficher le réglage colorimétrique » dans le menu local Améliorations de la barre d’outils.
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••
Cliquez sur le bouton Réglage colorimétrique dans la section Couleur de l’inspecteur vidéo. (Lorsque vous avez effectué des ajustements du réglage colorimétrique, le bouton change de couleur.)
••
Cliquez sur le coin supérieur gauche d’un plan dans la timeline et choisissez « Réglage de la couleur » dans le menu local.
Cliquez sur cette icône pour revenir à l’inspecteur vidéo.Cliquez sur le bouton Réinitialiser pour annuler les ajustements opérés dans la fenêtre.Sélectionnez l’étalonnage à utiliser.Faites glisser les commandes pour modifier les valeurs.Utilisez les curseurs pour modifier les valeurs.Passez par le menu local Action pour créer ou choisir un préréglage d’étalonnage.
2 Si le plan contient plusieurs étalonnages appliqués, choisissez l’étalonnage à ajuster dans le menu local Correction dans le coin supérieur droit de la carte accélératrice.
3 Pour ajouter ou supprimer une teinte de couleur, cliquez sur Couleur (ou appuyez sur Commande + Contrôle + C), puis faites glisser les commandes sur la fenêtre Couleur.
••
Pour ajuster la teinte pour l’ensemble de l’image : faites glisser la commande Global (la grande commande grise).
••
Pour ajuster la teinte dans les zones les plus sombres de l’image : faites glisser la commande Ombres (la commande noire).
••
Pour ajuster la teinte dans les tons intermédiaires : faites glisser la commande Tons intermédiaires (la petite commande grise).
••
Pour ajuster la teinte dans les zones les plus claires de l’image : faites glisser la commande Hautes lumières (la commande blanche).
En faisant glisser les commandes vers le haut, vous ajoutez de la couleur à la vidéo ; à l’inverse, en les faisant glisser vers le bas, vous retirez la couleur (en y ajoutant la couleur opposée). Pour choisir la couleur à ajouter ou à retirer, faites glisser les commandes horizontalement.
Vous pouvez également sélectionner la commande et saisir les valeurs numériques à l’aide des curseurs correspondants.
Conseil : Pour déplacer verticalement la commande Carte accélératrice sélectionnée, appuyez sur les touches Flèche vers le haut ou Flèche vers le bas. Dans la fenêtre Couleur, vous pouvez également utiliser la touche Flèche vers la gauche ou Flèche vers la droite pour déplacer la commande sélectionnée horizontalement.
Chapitre 13 Étalonnage 377
4 Pour ajuster le niveau de colorimétrie du plan, cliquez sur Saturation (ou appuyez sur Commande + Contrôle + S), puis faites glisser les commandes sur la fenêtre Saturation.
••
Pour ajuster la saturation pour l’ensemble de l’image : faites glisser la commande Global vers la gauche.
••
Pour ajuster la saturation dans les zones les plus sombres de l’image : faites glisser la commande Ombres.
••
Pour ajuster la saturation dans les tons intermédiaires : faites glisser la commande Tons intermédiaires.
••
Pour ajuster la saturation dans les zones les plus claires de l’image : faites glisser la commande Hautes lumières.
Faites glisser les commandes vers le haut pour augmenter le niveau de colorimétrie ou vers le bas pour le réduire. Ces commandes ne se déplacent pas horizontalement.
Vous pouvez également sélectionner la commande et saisir les valeurs numériques à l’aide des cases de valeur correspondantes.
5 Pour ajuster le niveau de luminance du plan, cliquez sur Exposition (ou appuyez sur Commande + Contrôle + E), puis faites glisser les commandes sur la fenêtre Exposition.
••
Pour ajuster l’exposition pour l’ensemble de l’image : faites glisser la commande Global vers la gauche.
••
Pour ajuster l’exposition dans les zones les plus sombres de l’image : faites glisser la commande Ombres.
••
Pour ajuster l’exposition dans les tons intermédiaires (similaire à une commande gamma) : faites glisser la commande Tons intermédiaires.
••
Pour ajuster l’exposition dans les zones les plus claires de l’image : faites glisser la commande Hautes lumières.
Faites glisser les commandes vers le haut pour augmenter le niveau de luminance ou vers le bas pour le réduire. Ces commandes ne se déplacent pas horizontalement.
Vous pouvez également sélectionner la commande et saisir les valeurs numériques à l’aide des cases de valeur correspondantes.
Vous pouvez utiliser l’éditeur de commandes afin d’affecter un raccourci clavier pour activer ou désactiver les étalonnages lorsque vous ajustez le réglage colorimétrique, et pour attribuer des raccourcis clavier à de nombreuses autres fonctions de réglage colorimétrique. Pour en savoir plus, consultez Affichage des raccourcis clavier dans l’éditeur de commandes à la page 474.
Réinitialisation et désactivation de l’étalonnage par la carte accélératrice
1 Dans la timeline, sélectionnez un plan dont vous voulez supprimer les étalonnages.
2 Dans le réglage colorimétrique, effectuez l’une des opérations suivantes :
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Pour réinitialiser la commande sélectionnée à sa position neutre : Appuyez sur la touche Supprimer.
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Pour réinitialiser toutes les commandes d’une fenêtre à leur position neutre : cliquez sur le bouton Réinitialiser dans le coin supérieur droit de la fenêtre.
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Pour réinitialiser les trois fenêtres Carte accélératrice à leur position neutre : dans la section Couleur de l’inspecteur vidéo, cliquez sur le bouton Réinitialiser à droite du réglage Correction.
Cliquez sur cette case pour activer ou désactiver l’étalonnage.Bouton de réinitialisation des réglages colorimétriques
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Pour désactiver les corrections de la carte accélératrice sans les réinitialiser : dans la section Couleur de l’inspecteur vidéo, décochez la case de la correction.
L’activation et la désactivation des corrections permettent de voir plus rapidement et plus facilement l’effet de vos ajustements.
Choix d’une couleur spécifique comme cible à l’aide d’un masque de couleur
Un masque de couleur permet d’isoler une couleur particulière de l’image. Vous pouvez appliquer un masque de couleur à un plan pour corriger une couleur spécifique, pour exclure cette couleur des corrections du reste de l’image, ou les deux. Par exemple, vous pouvez masquer une chemise de couleur claire en arrière-plan qui distrait l’attention du sujet principal d’un plan.
L’utilisation d’un masque de couleur pour contrôler l’étalonnage vous permet de sélectionner une couleur, puis d’ajuster cette couleur individuellement (réduction, amélioration ou changement) ou d’ajuster tout sauf cette couleur (par exemple, ajouter une teinte ou réduire les niveaux de luminosité ou de colorimétrie).
Ajout d’un masque de couleur à un étalonnage
1 Dans la timeline, sélectionnez un plan avec une couleur que vous voulez désactiver ou améliorer.
2 Cliquez sur le bouton « Ajouter un masque de couleur » dans la section Couleur de l’inspecteur vidéo.
Cliquez sur l’icône pour ajouter un masque de couleur.
La section Masque de couleur apparaît.
Couleur sélectionnée du masqueLorsque le bouton est en surbrillance, utilisez la pipette pour sélectionner la couleur du masque dans le visualiseur.Définit l’adoucissement du contour
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3 Dans le visualiseur, placez la pipette sur une couleur que vous voulez isoler dans l’image, puis faites glisser la souris pour sélectionner la couleur.
Faites glisser le point actif pour sélectionner la couleur à masquer.
Lorsque vous faites glisser la pipette, deux cercles concentriques apparaissent. La taille du cercle extérieur détermine la gamme des variations de la couleur sélectionnée qui sont incluses dans le masque de couleur. Lorsque vous modifiez la taille du cercle extérieur, l’image devient monochrome, à l’exception de la couleur que vous sélectionnez. Vous pouvez faire glisser un nouveau cercle de sélection autant de fois que vous le voulez, pour obtenir de meilleurs résultats.
Remarque : Lorsque vous cessez de faire glisser la souris, l’image reprend son aspect d’origine, mais les effets du masque de couleur que vous avez créé deviennent visibles dès que vous commencez à ajuster le réglage colorimétrique. Vous pouvez ensuite revenir à l’inspecteur vidéo et utiliser la pipette pour ajuster le masque de couleur, si nécessaire.
4 Pour modifier la gamme de variations de couleur incluse dans le masque, procédez de l’une des façons suivantes :
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Pour ajouter des nuances de couleur : maintenez la touche Maj enfoncée, placez la pipette sur une couleur que vous voulez ajouter au masque, puis faites glisser pour sélectionner la couleur.
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Pour retirer des nuances de couleur : maintenez la touche Option enfoncée, placez la pipette sur une couleur que vous voulez retirer du masque, puis faites glisser pour sélectionner la couleur.
5 Pour ajuster le contour du masque de couleur, faites glisser le curseur Adoucissement.
Pour que le visualiseur affiche temporairement le masque de couleur, maintenez la touche Option enfoncée puis faites glisser la commande Adoucissement : la couleur blanche indique les zones entièrement opaques du masque, la couleur noire les zones situées à l’extérieur du masque, et les niveaux de gris les zones transparentes du masque.
6 Pour ajuster les réglages d’étalonnage du masque de couleur, cliquez sur le bouton Réglage colorimétrique dans l’inspecteur vidéo. (Une fois que vous avez ajusté le réglage colorimétrique, le bouton change de couleur.)
7 Procédez de l’une des manières suivantes :
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Pour appliquer un étalonnage à la couleur sélectionnée : cliquez sur « Inscrit dans le masque ».
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Pour appliquer un étalonnage à tout sauf la couleur sélectionnée : cliquez sur Masque extérieur.
Vous pouvez étalonner les zones situées à l’intérieur et à l’extérieur du masque, chaque zone possédant son propre ensemble de commandes de réglage colorimétrique. Par exemple, vous pouvez sélectionner « Inscrit dans le masque » pour améliorer la couleur ciblée, puis sélectionner « Masque extérieur » pour assombrir tout le reste.
8 Ajustez les commandes de la carte accélératrice pour créer l’effet recherché.
Pour en savoir plus sur l’utilisation de la carte accélératrice, consultez la section Étalonnage sur toute l’image à la page 375.
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Pour limiter la zone de l’image affectée par un masque de couleur, vous pouvez ajouter un masque de forme. Pour en savoir plus, consultez Ajout de masques de formes à un masque de couleur à la page 383.
Ciblage de zones spécifiques à l’aide de masques de forme
Un masque de forme définit une zone dans l’image pour que vous puissiez appliquer les étalonnages soit à l’intérieur, soit à l’extérieur de cette zone. Par exemple, vous pouvez être amené à accentuer le visage d’un sujet en assombrissant la zone qui l’entoure.
Vous pouvez ajouter plusieurs masques de forme pour définir différentes zones. Il vous est également possible d’animer les formes pour qu’elles suivent une zone lors d’un panoramique de la caméra ou un objet qui se déplace pendant la lecture du plan.
Ajout d’un masque de forme
1 Dans la timeline, sélectionnez un plan contenant une zone dont vous voulez désactiver ou améliorer la couleur.
2 Cliquez sur le bouton « Ajouter un masque de forme » dans la section Couleur de l’inspecteur vidéo.
Cliquez sur l’icône pour ajouter un masque de forme.
Une zone Masque de forme apparaît.
Cliquez sur ce bouton pour afficher ou masquer les commandes de masque de forme à l’écran.
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3 Pour ajuster la forme par défaut qui apparaît dans le visualiseur, procédez de l’une des façons suivantes :
Faites glisser cette poignée pour que la forme adopte une forme rectangulaire.Faites glisser le bord extérieur pour contrôler l’atténuation.Faites glisser l’une de ces poignées pour modifier la largeur ou la hauteur de la forme.Faites glisser le cercle central pour déplacer la forme.Faites glisser cette poignée pour faire pivoter la forme.
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Pour positionner la forme : faites glisser son centre.
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Pour ajuster la largeur ou la hauteur de la forme : faites glisser les poignées situées sur les quatre points à 90 degrés (en haut, en bas, à gauche ou à droite) du cercle intérieur. Vous pouvez maintenir enfoncée la touche Maj pendant que vous faites glisser une poignée pour que tous les côtés soient redimensionnés proportionnellement.
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Pour contrôler la rondeur de la forme : faites glisser la poignée vers la gauche de la poignée supérieure du cercle intérieur.
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Pour faire pivoter la forme : faites glisser la poignée de rotation (à l’opposé du centre).
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Pour contrôler l’atténuation du contour de la forme : faites glisser le cercle extérieur. Lorsque le cercle extérieur est à proximité du cercle intérieur, le contour est prononcé et la transition vers les étalonnages que vous appliquez est brutale ; lorsque le cercle extérieur est à distance du cercle intérieur, le contour s’adoucit et la transition est plus progressive.
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Pour masquer les commandes du masque : dans la section Couleur de l’inspecteur vidéo, cliquez sur le bouton des commandes à l’écran Masque de forme de la zone Masque de forme.
4 Pour ajuster les réglages d’étalonnage du masque de forme, cliquez sur le bouton Réglage colorimétrique dans l’inspecteur vidéo. (Une fois que vous avez ajusté le réglage colorimétrique, le bouton change de couleur.)
5 Procédez de l’une des manières suivantes :
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Pour appliquer un étalonnage à la zone de forme : cliquez sur « Inscrit dans le masque ».
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Pour appliquer un étalonnage à tout, à l’exception de la zone de forme : cliquez sur Masque extérieur.
Vous pouvez étalonner les zones situées à l’intérieur et à l’extérieur du masque, chaque zone possédant son propre ensemble de commandes de réglage colorimétrique. Par exemple, vous pouvez sélectionner « Inscrit dans le masque » pour améliorer la zone de la forme, puis sélectionner « Masque extérieur » pour assombrir tout le reste.
6 Ajustez les commandes de la carte accélératrice pour créer l’effet recherché.
Pour en savoir plus sur l’utilisation de la carte accélératrice, consultez la section Étalonnage sur toute l’image à la page 375.
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7 Pour ajouter des formes à l’étalonnage, cliquez à nouveau sur le bouton « Ajouter un masque de forme » dans la zone de l’étalonnage de l’inspecteur vidéo.
Une autre forme par défaut apparaît dans le visualiseur et la forme d’origine est estompée. Vous pouvez sélectionner et continuer à configurer la forme d’origine en cliquant sur son centre.
Suppression d’un masque de forme
1 Dans l’inspecteur vidéo, sélectionnez l’élément Masque de forme à supprimer.
Sélectionnez un élément de masque de forme et appuyez sur suppr.
2 Appuyez sur la touche Supprimer.
Remarque : Si tous les masques de forme de l’étalonnage sont supprimés, les étalonnages « Inscrit dans le masque » sont appliqués à l’ensemble de l’image.
Animation d’un masque de forme
Vous pouvez utiliser des images clés pour animer un masque de forme afin qu’il suive le mouvement d’un objet à l’écran.
1 Pour ajouter un masque de forme, suivez les instructions de la rubrique « Ajout d’un masque de forme » ci-dessus.
2 Dans la timeline, placez la tête de lecture sur le plan contenant le masque de forme, au niveau de l’image où vous voulez que la forme commence à bouger.
3 Positionnez le masque de forme dans sa position de départ dans le visualiseur.
4 Dans l’inspecteur vidéo, cliquez sur le bouton Image clé.
Cliquez ici pour ajouter une image clé.
Une image clé est ajoutée au niveau de la tête de lecture. Vous pouvez le voir dans la timeline en appuyant sur les touches Contrôle + V pour ouvrir l’éditeur Animation vidéo. L’image clé s’affiche dans la section Couleur sous la forme d’un losange au niveau de la tête de lecture.
Indicateur d’image clé
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5 Placez la tête de lecture sur le point suivant dans le plan, à l’endroit où vous voulez définir la position du masque de forme, repositionner le masque de forme et ajouter la seconde image clé.
6 Pour repositionner le masque de forme dans le plan, continuez d’ajouter des images clés jusqu’à ce que vous ayez défini le mouvement voulu de la forme.
Après avoir ajouté toutes les images clés, vous pouvez lancer la lecture du plan et voir le masque de forme se déplacer entre elles. Pour en savoir plus sur l’utilisation d’images clés, consultez la section Présentation de l’animation vidéo à la page 256.
Ajout de masques de formes à un masque de couleur
Souvent, lorsque vous créez un masque de couleur, davantage de zones de la vidéo sont affectées par celui-ci que nécessaire. Par exemple, supposons que vous vouliez étalonner une voiture rouge sur le côté gauche de l’écran et ne pas toucher à un panneau de stop rouge à droite. Dans ce cas, vous pouvez ajouter un ou plusieurs masques de forme pour limiter le masque de couleur aux zones définies par les masques de forme.
Ajout d’un masque de forme à un masque de couleur
1 Sélectionnez un plan dans la timeline et utilisez l’inspecteur vidéo pour y ajouter un masque de couleur.
2 Appliquez un étalonnage à l’aide de la carte accélératrice et notez les zones de la vidéo que vous ne voulez pas que le masque de couleur modifie.
Pour en savoir plus sur l’utilisation de la carte accélératrice, consultez la section Étalonnage sur toute l’image à la page 375.
3 Dans l’inspecteur vidéo, cliquez sur le bouton « Ajouter un masque de forme » dans l’étalonnage contenant le masque de couleur.
Cliquez sur l’icône pour ajouter un masque de forme à l’étalonnage.
4 Ajustez le masque de forme de sorte qu’il chevauche la partie du masque de couleur que vous voulez utiliser.
5 Pour ajuster les réglages d’étalonnage, cliquez sur le bouton Réglage colorimétrique dans l’inspecteur vidéo. (Une fois que vous avez ajusté le réglage colorimétrique, le bouton change de couleur.)
6 Effectuez l’une des opérations suivantes :
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Pour n’appliquer des retouches d’étalonnage qu’aux zones dans lesquelles le masque de couleur et le masque de forme se chevauchent : Sélectionnez « Inscrit dans le masque » au bas du réglage colorimétrique.
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Pour appliquer des retouches d’étalonnage à l’extérieur des zones dans lesquelles le masque de couleur et le masque de forme se chevauchent : sélectionnez Masque extérieur.
Si nécessaire, vous pouvez ajouter des masques de forme, voire les animer.
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Application de plusieurs étalonnages
Vous pouvez appliquer plusieurs étalonnages à un plan pour cibler des problèmes spécifiques. Il est par exemple possible d’utiliser un étalonnage pour masquer une chemise orange clair et un autre pour améliorer la couleur verte de la pelouse.
Les masques de couleur sont créés en fonction des couleurs originales du plan. Par exemple, si le premier étalonnage supprime toute la colorimétrie du plan, le second étalonnage peut créer un masque de couleur selon une couleur d’origine du plan.
Application de plusieurs étalonnages à un plan
1 Sélectionnez un plan dans la timeline.
2 Pour ajouter un élément d’étalonnage supplémentaire, cliquez sur le bouton Ajouter une connexion dans l’inspecteur vidéo.
Cliquez sur ce bouton pour ajouter un étalonnage.
Par défaut, la section Couleur contient le premier élément d’étalonnage manuel (Correction 1) ainsi que les éléments Balance et Correspondance des couleurs. Les éléments d’étalonnage que vous ajoutez s’intitulent Correction 2, Correction 3, etc. Chaque élément d’étalonnage possède son propre bouton Réglage colorimétrique. Lorsque vous cliquez sur l’un d’eux, le réglage colorimétrique s’ouvre avec les réglages de l’étalonnage en question. Vous pouvez également choisir un étalonnage dans le réglage colorimétrique à l’aide du menu local situé dans le coin supérieur droit.
Remarque : Si vous avez appliqué plusieurs corrections à un plan, vous pouvez les faire glisser dans l’inspecteur vidéo pour modifier leur ordre. La modification de l’ordre de traitement peut offrir différents résultats.
Affichage des images clés d’étalonnage dans la timeline
Si un plan contient plusieurs étalonnages avec des masques de forme animés, vous pouvez afficher les images clés du ou des masques de forme d’un étalonnage dans l’éditeur d’animation vidéo au-dessus du plan dans la timeline.
1 Dans la timeline, sélectionnez un plan auquel ont été appliqués plusieurs étalonnages avec des masques de forme animés.
2 Choisissez Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle + V).
3 Dans le menu local Couleur, choisissez l’étalonnage que vous voulez voir :
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Pour afficher un composite d’images clés à partir de tous les étalonnages : choisissez l’étalonnage voulu et, si le plan contient plusieurs masques de forme, choisissez celui que vous voulez afficher.
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Pour afficher les images clés à partir d’un masque de forme spécifique dans un étalonnage : choisissez l’étalonnage voulu et, si le plan contient plusieurs masques de forme, choisissez celui que vous voulez afficher.
Lorsque vous choisissez une correction donnée, Correction 2 par exemple, ses images clés s’affichent en blanc et les images clés des autres corrections en gris foncé.
Ajout d’une transition entre des étalonnages
Vous pouvez utiliser une transition pour qu’un plan vidéo passe d’un étalonnage à un autre. Par exemple, si vous voulez qu’une scène mette progressivement en valeur les deux personnages principaux, vous pouvez utiliser une transition pour passer en fondu du plan normal au plan avec masques de forme et appliquer un étalonnage pour assombrir l’image en dehors des masques.
Important : Assurez-vous que l’option Données disponibles est sélectionnée dans le menu local « Appliquer les transitions utilisant » de la fenêtre Montage des préférences de Final Cut Pro. Pour en savoir plus sur ce réglage, consultez la section Création des transitions à la page 213.
Configuration d’un plan pour changer de transition
1 Passez temporairement à l’outil Lame de rasoir en maintenant la touche B enfoncée.
2 Dans la timeline, cliquez sur un plan vidéo à l’endroit où vous voulez passer d’un étalonnage à un autre.
Le plan se divise en deux.
3 Appliquez un étalonnage différent à chaque plan.
Vous pouvez aussi laisser un plan sans étalonnage et en appliquer un à l’autre. L’étalonnage peut représenter une teinte franche, un changement d’exposition ou tout autre ajustement visible.
4 Sélectionnez le point de montage entre les deux plans et appuyez sur les touches Commande + T pour insérer un fondu enchaîné.
Pendant la lecture du plan, le premier étalonnage laisse progressivement la place au second au passage du point de montage.
Enregistrement et application de préréglages d’étalonnage
Final Cut Pro vous permet d’enregistrer les réglages d’étalonnage d’un plan sous un préréglage, ce qui facilite son application à d’autres plans du même projet ou d’un autre.
Final Cut Pro inclut plusieurs préréglages que vous pouvez utiliser en plus de ceux que vous créez.
Remarque : Les préréglages d’étalonnage enregistrent uniquement les réglages de Couleur, de Saturation et d’Exposition. Ils ne permettent pas d’enregistrer les réglages du masque, notamment si les options « Inscrit dans le masque » ou Masque extérieur sont sélectionnées.
Enregistrement d’un préréglage d’étalonnage
1 Dans la timeline, sélectionnez un plan comportant l’aspect d’étalonnage que vous voulez enregistrer et ouvrez la carte accélératrice.
2 Dans le menu local Action situé dans le coin inférieur droit de la carte accélératrice, choisissez Enregistrer.
3 Attribuez un nom au préréglage, puis cliquez sur OK.
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Application d’un préréglage d’étalonnage
1 Sélectionnez un plan dans la timeline et ouvrez la carte accélératrice.
2 Dans le menu local Action situé dans le coin inférieur droit de la carte accélératrice, choisissez un préréglage.
Les ajustements du préréglage s’appliquent à la sélection. Une fois le préréglage appliqué, vous pouvez modifier les réglages à l’aide de la carte accélératrice.
Activation et désactivation des ajustements iMovie
Lors du montage d’un projet dans iMovie, vous pouvez ajuster différents attributs vidéo, comme l’exposition, la luminosité et la saturation, dans le navigateur de projets. Si vous importez un projet iMovie contenant ces ajustements dans Final Cut Pro, les ajustements sont conservés et apparaissent dans la zone Couleur de l’inspecteur vidéo sous la forme d’un élément iMovie.
Bien que vous ne puissiez pas modifier les ajustements ajoutés dans iMovie, vous pouvez choisir de les appliquer au plan ou pas.
Remarque : Les ajustements vidéo que vous effectuez sur les plans dans le navigateur d’événements d’iMovie ne sont pas conservés et n’apparaissent pas dans Final Cut Pro.
Activation ou désactivation des ajustements iMovie d’un plan
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Dans la timeline, sélectionnez un plan pour lequel les ajustements iMovie sont appliqués, et cochez ou décochez la case iMovie dans la zone Couleur de l’inspecteur vidéo.
Cliquez sur cette case pour activer ou désactiver les ajustements iMovie.
Remarque : Les ajustements iMovie apparaissent uniquement dans la timeline mais pas dans le navigateur d’événements.
Pour en savoir plus sur l’importation de projets iMovie, consultez la section Importation à partir d’iMovie à la page 35.
Mesure de niveaux vidéo
Présentation des instruments vidéo
Les studios de télédiffusion fixent des valeurs maximales de luminance et de colorimétrie autorisées pour la diffusion. Si un programme vidéo dépasse ces limites, une distorsion de l’image risque de se produire : couleurs débordant les unes sur les autres, blancs et noirs ternis ou encore signal vidéo empiétant sur l’audio et entraînant une distorsion perceptible du son. Dans tous ces cas, le dépassement des niveaux standard entraîne une qualité de transmission inacceptable. Lors de l’étalonnage des plans de votre projet, vous pouvez utiliser les instruments vidéo de Final Cut Pro pour vous assurer que les niveaux de luminance et de colorimétrie de votre vidéo sont compris dans la plage des paramètres considérés comme adaptés à la télédiffusion ou acceptables.
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Même si votre projet n’est pas destiné à la diffusion, l’utilisation des instruments vidéo constitue une étape importante de votre flux de production. Si les moniteurs que vous utilisez n’affichent pas les couleurs de façon cohérente ou si vous travaillez sur les mêmes plans depuis un moment, il se peut que vous vous soyez habitué à voir une dominante de couleur ou des niveaux de noir légèrement incorrects. Les instruments vous fournissent une mesure exacte des niveaux de luminance et de colorimétrie de vos plans pour que vous puissiez ajuster de façon plus pertinente vos réglages d’étalonnage de Final Cut Pro.
Final Cut Pro propose les vidéoscopes suivants :
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oscilloscope,
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vecteurscope,
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histogramme.
Utilisation des instruments vidéo
Par défaut, les vidéoscopes s’affichent à gauche de l’image vidéo dans le visualiseur et dans le visualiseur d’événements. Chaque visualiseur n’affiche qu’un instrument à la fois.
Ouverture d’un instrument
1 Procédez de l’une des manières suivantes :
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Pour ouvrir un instrument vidéo dans le visualiseur : Choisissez Fenêtre > Affichage du visualiseur > Afficher les instruments vidéo (ou appuyez sur Commande + 7).
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Pour ouvrir un instrument vidéo dans le visualiseur d’événements : choisissez Fenêtre > Affichage du visualiseur d’événements > Afficher les instruments vidéo.
Que ce soit dans le visualiseur comme dans le visualiseur d’événements, vous pouvez aussi « Afficher les instruments vidéo » à partir du menu local des options du visualiseur qui se trouve dans le coin supérieur droit.
Vous pouvez utiliser les mêmes commandes pour fermer l’instrument vidéo.
2 Choisissez l’instrument pour afficher la section supérieure du menu local Réglages.
Choisissez dans le menu local Réglages l’instrument à utiliser.Menu local des options du visualiseur
3 Après avoir choisi un instrument, sélectionnez les options d’affichage dans la section inférieure du menu local Réglages.
Remarque : Il peut s’avérer pratique d’afficher les instruments sous l’image vidéo dans le visualiseur d’événements. Pour ce faire, choisissez Présenter verticalement dans le menu local Réglages du visualiseur d’événements. Pour en savoir plus, consultez Lecture et survol du média dans le visualiseur d’événements à la page 83.
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Options d’affichage de l’oscilloscope
L’oscilloscope indique les niveaux relatifs de luminance et de colorimétrie du plan en cours d’étude. Ces valeurs s’affichent de gauche à droite et reflètent la répartition relative de ces niveaux de gauche à droite dans l’image. Les crêtes et creux des formes d’onde affichées correspondent aux tâches lumineuses et aux zones sombres de votre image. Les formes d’onde sont également de couleur afin d’identifier facilement les éléments de la vidéo.
Le menu local Réglages dans le coin supérieur droit de l’oscilloscope fournit de nombreuses options d’affichage :
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Parade RVB : se présente sous la forme de trois oscilloscopes simultanés affichant respectivement les composantes rouge, vert et bleu de la vidéo. Les formes d’onde sont de couleur rouge, verte et bleue afin d’être facilement identifiables.
L’instrument Parade RVB est utile pour comparer les niveaux relatifs de rouge, de vert et de bleu de deux plans. Si un plan comporte plus de bleu qu’un autre, l’oscilloscope affiche une forme d’onde bleue élevée pour le plan contenant plus de bleu et une forme d’onde bleue en creux pour l’autre plan.
Chapitre 13 Étalonnage 389
••
Incrustation RVB : associe les formes d’onde pour les composantes de couleur rouge, verte et bleue d’un affichage.
••
Rouge : affiche uniquement le canal de couleur rouge.
••
Vert : affiche uniquement le canal de couleur verte.
••
Bleu : affiche uniquement le canal de couleur bleue.
••
Luminance : affiche uniquement la composante de luminance de la vidéo.
••
Colorimétrie : affiche uniquement la composante de colorimétrie de la vidéo et affiche des couleurs correspondant à celles de la vidéo.
Chapitre 13 Étalonnage 390
••
Parade Y’CbCr : présente trois affichage de forme d’onde l’un à côté de l’autre pour la luminance, le Cb (le canal de différence de couleur des nuances bleues) et le Cr (le canal de différence de couleur des nuances rouges). Les formes d’onde sont teintées en blanc (luminance), en magenta (pour le Cb) et en jaune (pour le Cr) afin d’identifier facilement chaque composant.
••
IRE : affiche la plage du signal vidéo en unités IRE.
••
Millivolts : affiche la plage du signal vidéo en millivolts.
••
Guides : active ou désactive la grille de l’oscilloscope et les valeurs numériques.
••
Monochrome : réduit l’intensité et désature l’affichage de l’instrument pour empêcher les distractions visuelles et les problèmes de perception des couleurs dans votre suite de finalisation des couleurs.
••
Luminosité : définit la luminosité ou l’obscurité relative de l’affichage de l’instrument.
Options d’affichage du vecteurscope
Le vecteurscope indique la distribution de la couleur dans votre image sur une échelle circulaire. La couleur de votre vidéo est représentée par un ensemble de points reliés qui se trouvent dans cette échelle. L’angle autour de l’échelle correspond à la teinte affichée, tandis que les cibles indiquent les couleurs primaires (rouge, vert et bleu) et secondaires (jaune, cyan et magenta). La distance entre le centre de l’échelle et l’anneau externe représente la saturation de la couleur affichée. Le centre de l’échelle correspond à une saturation nulle, l’anneau externe à une saturation maximale.
Chapitre 13 Étalonnage 391
Le vecteurscope permet de connaître la teinte et l’intensité des différentes couleurs de l’image. Lorsque vous saurez identifier les couleurs de vos plans sur le vecteurscope, vous serez en mesure d’identifier les points de divergence de deux images et de les corriger afin de les harmoniser autant que possible.
Le menu local Réglages dans le coin supérieur droit du vecteurscope fournit de nombreuses options d’affichage :
••
100 % : définit le niveau de colorimétrie de référence pour les cibles des mires (les carrés représentant chaque couleur dans un signal de test de couleur standard) sur une colorimétrie saturée à 100 %. Utilisez cette option lorsque votre média source utilise des mires de 100 pour cent comme référence.
••
133% : définit le niveau de colorimétrie de référence pour les cibles des mires sur une colorimétrie saturée à 75 %. Utilisez cette option lorsque votre média source utilise des mires de 75 pour cent comme référence.
••
Vecteur : utilise un niveau de teinte de colorimétrie normal, le rouge étant situé dans la partie supérieure.
••
Mark3 : utilise un niveau de teinte de colorimétrie à 90 degrés, le rouge étant situé sur le côté droit.
••
Afficher/masquer l’indicateur de teinte de peau : affiche ou masque la diagonale qui représente la colorimétrie de teinte de la peau humaine, qui se situe entre les cibles de mires jaune et rouge.
••
Monochrome : réduit l’intensité et désature l’affichage de l’instrument pour empêcher les distractions visuelles et les problèmes de perception des couleurs dans votre suite de finalisation des couleurs.
••
Luminosité : définit la luminosité ou l’obscurité relative de l’affichage de l’instrument.
Options d’affichage de l’histogramme
L’histogramme fournit une analyse statistique de l’image en calculant le nombre total de pixels de chaque couleur ou le niveau de luminance, et en créant un graphique qui reprend le nombre de pixels à chaque pourcentage de luminance ou de couleur. Chaque unité incrémentielle de l’échelle de gauche à droite représente un pourcentage de luminance ou de couleur, et la hauteur de chaque segment du graphique de l’histogramme indique le nombre de pixels correspondant à ce pourcentage.
Chapitre 13 Étalonnage 392
Le menu local Réglages dans le coin supérieur droit de l’histogramme fournit de nombreuses options d’affichage :
••
Luminance : affiche uniquement la composante de luminance de la vidéo. La hauteur du graphique de chaque degré de l’échelle représente le nombre de pixels de l’image pour ce pourcentage de luminance, par rapport à toutes les autres valeurs. Par exemple, si une image comporte peu de tons clairs, l’histogramme affiche un grand groupe de valeurs dans les tons intermédiaires.
À l’aide de l’histogramme de luminance, vous pouvez rapidement comparer la luminance de deux plans afin d’harmoniser les noirs, les tons intermédiaires et les blancs.
La forme de l’histogramme permet également de déterminer le contraste dans une image. Une image à faible contraste affiche un groupe de valeurs concentré sur le centre du graphique. À titre de comparaison, une image au contraste extrêmement élevé affiche une distribution plus répartie des valeurs sur toute la largeur du graphique.
••
Incrustation RVB : associe les formes d’onde pour les composantes de couleur rouge, verte et bleue d’un affichage. Si l’image étudiée présente des niveaux équivalents de deux couleurs ou plus, la couleur associée apparaît :
••
Des niveaux équivalents de vert et de bleu apparaissent comme du cyan.
••
Des niveaux équivalents de vert et de rouge apparaissent comme du jaune.
••
Des niveaux équivalents de rouge et de bleu apparaissent comme du magenta.
••
Des niveaux équivalents de rouge, de vert et de bleu apparaissent comme du gris.
Chapitre 13 Étalonnage 393
••
Parade RVB : Présente trois graphiques qui affichent votre vidéo sous la forme de composantes séparées de rouge, de vert et de bleu. Les formes d’onde sont de couleur rouge, verte et bleue afin d’être facilement identifiables.
Vous pouvez utiliser la présentation Parade RVB pour comparer la répartition relative de chaque canal de couleur sur la plage de couleurs globale de l’image. Par exemple, les images avec une dominante de couleur rouge présente soit un graphique rouge largement plus élevé, soit des graphiques vert et bleu plus faibles.
••
Rouge : affiche uniquement le canal de couleur rouge.
••
Vert : affiche uniquement le canal de couleur verte.
••
Bleu : affiche uniquement le canal de couleur bleue.
••
Luminosité : définit la luminosité ou l’obscurité relative de l’affichage de l’instrument.
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394
Présentation du partage de projets
Final Cut Pro fournit un grand nombre de destinations, c’est-à-dire de réglages d’exportation préconfigurés, que vous pouvez utiliser pour générer la sortie de votre projet ou plan. Par exemple, vous pouvez exporter un projet ou un plan sous forme de séquence QuickTime, l’exporter en vue de son visionnage sur des dispositifs Apple tels que l’iPhone et l’iPad, le publier sur des sites web comme Facebook et YouTube, ou encore le graver sur disque. Chacune de ces options fait appel à une destination différente.
Lorsque vous ouvrez Final Cut Pro pour la première fois, un ensemble de destinations par défaut apparaît dans le sous-menu Partager du menu Fichier et dans le menu local Partager.
Les détails sur chaque destination de l’ensemble par défaut sont répertoriés dans le tableau ci-dessous.
Destination
Permet de
DVD
Graver votre projet sur un DVD en définition standard.
Fichier original (par défaut)
Exporter un projet en tant que fichier de séquence QuickTime.
La destination du fichier original est celle par défaut. Vous pouvez l’ouvrir en appuyant sur Commande + E.
YouTube
Vimeo
Facebook
Publier le projet à travers un compte sur un de ces sites web.
Partage de votre projet
Chapitre 14 Partage de votre projet 395
Destination
Permet de
Dispositifs Apple 720p
Exporter des fichiers pour l’iPhone et l’iPod.
Dispositifs Apple 1080p
Exporter des fichiers pour l’iPad.
Vous avez la possibilité de remplacer en toute simplicité l’ensemble par défaut de destinations par vos propres destinations personnalisées. Pour modifier des destinations et en créer, utilisez la fenêtre Destinations des préférences de Final Cut Pro. Il vous est également possible de créer un lot de destinations pour exporter plusieurs types de sortie en une seule fois. Pour en savoir plus, consultez Utilisation de destinations à la page 447.
Pour personnaliser davantage votre sortie, vous pouvez faire appel à Compressor, l’application professionnelle de transcodage. Pour en savoir plus, consultez Exportation d’un projet par le biais de Compressor à la page 403.
Partage de projets, de plans et de plages
Vous pouvez partager un projet ou un plan, en entier ou en partie (dans ce dernier cas, la section est indiquée par une sélection de plage). Il vous est également possible de partager les rôles d’un projet, en exportant chaque rôle sous forme de stem à part. Si vous comptez par la suite exporter les mêmes rôles d’un projet ou plan à un autre, vous pouvez enregistrer vos réglages sous forme de préréglage.
Dans la mesure où le transcodage nécessaire pour créer le fichier partagé se réalise en arrière-plan, vous pouvez continuer à travailler sur vos projets dans Final Cut Pro après le partage. (N’oubliez pas que les modifications que vous apportez à un projet après que le processus de transcodage a commencé ne sont pas prises en compte dans les fichiers en sortie.)
Partage d’un projet, d’un plan ou d'une plage
1 Procédez de l’une des manières suivantes :
••
Sélectionnez un projet dans la bibliothèque de projets.
••
Sélectionnez un plan dans le navigateur d’événements.
••
Sélectionnez une plage dans un projet dans la timeline ou dans un plan situé dans le navigateur d’événements.
2 Procédez de l’une des manières suivantes :
••
Choisissez Fichier > Partager, puis une destination dans le sous-menu.
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••
Cliquez sur le bouton Partager dans la barre d’outils, puis choisissez une destination dans le menu local.
3 Dans la fenêtre qui s’affiche, procédez comme suit :
Placez le pointeur sur l’image pour survoler la vidéo.Attributs du projetInformations sur le fichier
••
Placez le pointeur sur l’image pour survoler la vidéo.
••
Dans la fenêtre Infos de droite, visualisez et modifiez les attributs du projet ou du plan, tels que le titre et la description.
Important : Par défaut, le champ de titre répertorie le nom du projet ou du plan. La modification du titre n’entraîne pas celle du nom du projet ou du plan correspondant, qui reste celui utilisé pour le fichier exporté.
Tous les attributs associés au projet ou au plan sont ainsi inclus dans le fichier généré en sortie. Vous pouvez modifier les attributs qui apparaissent dans la fenêtre Infos. Pour en savoir plus, consultez Modification des attributs de partage à la page 400.
••
Les informations relatives au fichier à exporter sont reprises en bas de la fenêtre et mentionnent notamment la taille d’image et la fréquence d’images, les canaux audio et l’échantillonnage, le type de fichier en sortie et la taille du fichier.
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Pour certaines destinations, vous pouvez afficher la liste des appareils capables de reproduire le fichier exporté. Pour afficher les appareils compatibles, placez le pointeur sur l’icône Compatibilité située dans le coin inférieur droit.
Placez le pointeur sur l’icône pour afficher les appareils compatibles.
4 Pour afficher les réglages de la destination, cliquez sur Réglages.
Ceux-ci s’affichent dans la fenêtre homonyme. Au besoin, modifiez les réglages de la destination.
Remarque : Si vous modifiez les réglages de la destination, les modifications sont alors enregistrées comme réglages par défaut pour la destination. Pour en savoir plus, consultez Préférences de destinations à la page 441.
5 Cliquez sur Partager ou sur Suivant.
Le bouton qui s’affiche s’adapte en fonction de la destination choisie. Si vous cliquez sur Suivant, attribuez un nom au fichier, choisissez un emplacement où l’enregistrer, puis cliquez sur Enregistrer.
Il vous est possible de contrôler la progression du transcodage dans la fenêtre Tâches en arrière-plan, puis continuer à travailler dans Final Cut Pro pendant le transcodage du fichier.
Une fois le transcodage terminé, le fichier résultant s’ouvre dans l’application indiquée dans le menu local « Ouvrir avec » de la fenêtre Réglages, est enregistré à l’emplacement choisi ou, si vous avez utilisé une destination web, est téléchargé sur le site web. Vous pouvez afficher et retrouver les projets partagés dans l’inspecteur de partage. Pour en savoir plus, consultez Accès, annonce et affichage de l’emplacement des projets partagés à la page 405.
Remarque : Si vous avez ajouté des marqueurs de chapitre à votre projet, leurs vignettes sont alors placées à l’emplacement qui convient au moment du partage sur disque (DVD et Blu-ray) et aux formats M4V, QuickTime et MP4 (en cas de lecture dans iTunes, QuickTime Player et sur des dispositifs Apple). Pour en savoir plus, consultez Gestion des marqueurs de chapitre et de leur vignette à la page 160 et , à l'adresse http://help.apple.com/compressor.
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Partage des rôles sous forme de fichiers à part
Vous pouvez exporter un ou plusieurs rôles d’un projet ou d’un plan sous forme de stems. Par exemple, vous pouvez exporter les effets de dialogue, de musique et sonores à partir d’un projet sous forme de fichiers de média distincts en attribuant des rôles aux effets de dialogue, de musique et sonores puis en exportant ces rôles. Vous pouvez exporter des rôles sous forme soit d’un fichier QuickTime multipiste combiné, soit de fichiers audio ou vidéo séparés. Vous pouvez en outre attribuer une sortie mono, stéréo ou Surround à vos canaux audio. Pour en savoir plus, consultez Présentation des rôles à la page 310.
1 Procédez de l’une des manières suivantes :
••
Sélectionnez un projet dans la bibliothèque de projets.
••
Sélectionnez un plan dans le navigateur d’événements.
••
Sélectionnez une plage dans un projet dans la timeline ou dans un plan situé dans le navigateur d’événements.
2 Choisissez Fichier > Fichier master (ou cliquez sur le bouton Partager dans la barre d’outils, puis choisissez Fichier master dans le menu local).
Remarque : Vous pouvez également choisir une autre destination que vous avez créée en fonction du fichier master ou de la destination Exporter le fichier.
3 Cliquez sur le bouton Réglages, puis indiquer les réglages suivants :
••
Format : Choisissez un format de masterisation (Vidéo et audio, Vidéo seulement, Audio seulement).
••
Codec vidéo : le codec source est repris par défaut. En fonction de votre média source, il vous est possible de choisir un autre codec.
••
Résolution : la résolution (d’après le métrage source) est fournie. En fonction de votre média source, il vous est possible de choisir une autre résolution.
••
Formats de fichiers audio : le format source est répertorié par défaut. En fonction de votre média source, il vous est possible de choisir un autre format audio.
••
Inclure les marqueurs de chapitre : cochez la case pour inclure les marqueurs de chapitre avec le ou les fichiers exportés.
••
Ouvrir avec : choisissez l’opération que vous souhaitez voir s’exécuter une fois l’exportation terminée.
4 Dans le menu local « Rôles en tant que », choisissez les rôles à exporter.
Remarque : Les options proposées dans ce menu local s’adaptent en fonction de votre sélection dans les menus locaux Format et Format de fichier audio.
••
Séquence QuickTime : exporte l’intégralité des rôles inclus dans le projet sous forme de séquence QuickTime unique.
Si vous choisissez cette option, ignorez l’étape 5.
••
Rôles en tant que séquence QuickTime multipiste : exporte les rôles précisés sous forme de séquence QuickTime unique.
••
Rôles en tant que fichiers séparés : exporte chacun des rôles vidéo et audio indiqués en tant que fichiers séparés.
••
Rôles vidéo uniquement en tant que fichiers séparés : exporte chacun des rôles vidéo indiqués en tant que fichiers séparés.
••
Rôles audio uniquement en tant que fichiers séparés : exporte chacun des rôles audio indiqués en tant que fichiers séparés.
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5 Pour spécifier les rôles à exporter, effectuez l’une des opérations suivantes :
••
Pour ajouter un rôle aux fichiers à exporter : cliquez sur Ajouter un fichier vidéo ou Ajouter un fichier audio, puis choisissez un rôle dans le menu local.
Si vous ajoutez un rôle audio, vous pouvez également choisir le format de canaux à donner au rôle (Mono, Stéréo ou Surround). Pour en savoir plus, consultez Configuration des canaux audio à la page 176.
Si vous avez choisi « Rôles en tant que séquence QuickTime multi-pistes » dans le menu local « Rôles en tant que », le bouton « Ajouter un fichier vidéo » est estompé.
••
Pour supprimer un rôle des fichiers à exporter : placez le pointeur sur le rôle à supprimer, puis cliquez sur le bouton Supprimer (–) affiché à droite du menu local.
Ces rôles seront exportés.
6 Cliquez sur Suivant, attribuez un nom au fichier, choisissez un emplacement où l’enregistrer, puis cliquez sur Enregistrer.
Il vous est possible de contrôler la progression du transcodage dans la fenêtre Tâches en arrière-plan, puis continuer à travailler dans Final Cut Pro pendant le transcodage du fichier.
Une fois le transcodage terminé, le fichier résultant s’ouvre dans l’application indiquée dans le menu local « Ouvrir avec » de la fenêtre Réglages ou est enregistré à l’emplacement choisi. Vous pouvez afficher et retrouver les projets partagés dans l’inspecteur de partage. Pour en savoir plus, consultez Accès, annonce et affichage de l’emplacement des projets partagés à la page 405.
Enregistrement d’un préréglage personnalisé
Après avoir créé une liste personnalisée de rôles à partager, vous pouvez l’enregistrer en tant que préréglage personnalisé.
1 Configurez vos options de partage en suivant les instructions reprises ci-dessus dans la section « Partage des rôles sous forme de fichiers à part ».
2 Dans le menu local « Rôles en tant que », effectuez l’une des opérations suivantes :
••
Pour enregistrer un nouveau préréglage : choisissez Enregistrer sous, attribuez un nom au préréglage, puis cliquez sur Enregistrer.
Chapitre 14 Partage de votre projet 400
••
Pour enregistrer un préréglage que vous avez modifié : choisissez Enregistrer.
••
Pour enregistrer un préréglage en tant que nouveau préréglage : choisissez Enregistrer sous, attribuez un nom au préréglage, puis cliquez sur Enregistrer.
••
Pour renommer un préréglage : choisissez Renommer, attribuez un nouveau nom au préréglage, puis cliquez sur Enregistrer.
Remarque : Le mot « modifié » apparaît à la suite des noms des préréglages personnalisés que vous avez modifiés.
Les préréglages personnalisés que vous créez apparaissent en bas du menu local « Rôles en tant que ».
Les préréglages personnalisés sont enregistrés dans le dossier /Utilisateurs/nom_utilisateur/Séquences/Final Cut Events/Export Presets/.
Suppression d’un préréglage personnalisé
Vous pouvez supprimer les préréglages personnalisés que vous avez créés.
1 Sélectionnez un projet ou plan, cliquez sur le bouton Partager dans la barre d’outils, puis choisissez Fichier master dans le menu local.
2 Dans la fenêtre Partager, cliquez sur le bouton Réglages et, dans le menu local « Rôles en tant que », choisissez le préréglage personnalisé à supprimer.
Les préréglages personnalisés sont répertoriés en bas du menu local.
Après avoir choisi un préréglage, une coche apparaît en regard de son nom.
3 Dans le menu local « Rôles en tant que », choisissez Supprimer.
Modification des attributs de partage
Les attributs de partage représentent des métadonnées de projet et de plan, inclus avec les fichiers exportés. Vous pouvez afficher et modifier les attributs partagés dans l’inspecteur de partage.
Champs d’attributs
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Affichage et modification des attributs de partage pour un plan ou un projet
1 Sélectionnez un plan ou un projet.
2 Pour ouvrir l’inspecteur de partage, cliquez sur le bouton Inspecteur de la barre d’outils (illustré
ci-dessous), puis cliquez sur le bouton Partage situé en haut de la fenêtre qui s’affiche.
3 Si les attributs de la sélection ne s’affichent pas, placez le pointeur sur Attributs, puis cliquez sur
Afficher.
Cliquez sur
Afficher.
4 Saisissez le nouveau texte dans le champ d’un attribut.
Si vous saisissez un mot ou une expression ayant été défini en tant qu’attribut, ce dernier (un
mot ou une expression dans une bulle bleue) apparaît après la fin de la saisie.
Champs d’attributs
Modification des champs d’attribut affichés dans l’inspecteur de partage
1 Sélectionnez un plan ou un projet.
2 Ouvrez l’inspecteur de partage.
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L’inspecteur de partage contient un menu local vous permettant de personnaliser les champs d’attributs.
Cliquez pour afficher les options permettant la personnalisation des champs d’attributs.
3 À l’aide du menu local Attributs, effectuez l’une des opérations suivantes :
••
Pour ajouter un champ d’attribut : cochez la case du nom de champ.
Les champs portant une coche s’affichent dans l’inspecteur de partage et sont exportés avec votre plan ou projet.
Les champs qui s’affichent dans l’inspecteur de partage présentent une coche.
••
Pour supprimer un champ d’attribut : décochez la case du nom de champ.
••
Pour n’afficher que les champs d’attributs Final Cut Pro par défaut : choisissez Afficher les champs par défaut.
Choisir cette option entraîne l’affichage des seuls champs Titre, Description, Créateur et Mots-clés.
Important : Les champs par défaut ne peuvent pas être supprimés.
••
Pour enregistrer les champs d’attributs sélectionnés comme ensemble par défaut : choisissez Enregistrer comme réglages par défaut.
••
Pour afficher votre ensemble par défaut de champs d’attributs : choisissez Mettre à jour aux valeurs par défaut.
Modification automatique des attributs affichés dans un champ de l’inspecteur de partage
Vous pouvez définir les attributs qui apparaissent automatiquement dans un champ d’attribut.
1 Dans l’inspecteur de partage, choisissez « Modifier les champs de partage » dans le menu local Attributs.
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2 Dans la fenêtre qui s’affiche, sélectionnez un champ d’attribut dans la liste de gauche.
Les attributs affectés au champ sélectionné s’affichent dans le champ Format.
Sélectionnez un champ d’attribut.Champ FormatLes options pour le champ apparaissent au milieu de la fenêtre.
3 Pour modifier le champ d’attribut sélectionné, effectuez l’une des opérations suivantes :
••
Pour ajouter un attribut : faites glisser un attribut (un mot ou une expression dans une bulle bleue) du milieu de la fenêtre sur le champ Format. Vous avez également la possibilité de saisir le nom de l’attribut dans le champ.
••
Pour ajouter du texte : saisissez un mot ou une expression dans le champ Format situé dans la partie supérieure de la fenêtre.
••
Pour créer un attribut de nom personnalisé : saisissez un mot ou une expression dans le champ Nom personnalisé en bas de la fenêtre, puis faites glisser l’attribut Nom personnalisé sur le champ Format.
Conseil : Dans la mesure où l’attribut de nom personnalisé apparaît dans le champ Format sous l’appellation « Nom personnalisé », vous pouvez l’utiliser pour des expressions ou des phrases longues tout en pouvant consulter facilement les autres attributs et texte dans le champ Format.
••
Pour supprimer un attribut ou texte : sélectionnez l’attribut ou texte et appuyez sur Supprimer.
Lors de l’ajout et de la suppression des attributs, l’exemple (repris sous le champ Format) s’actualise d’après vos modifications.
4 Lorsque vous avez fini, cliquez sur OK.
Exportation d’un projet par le biais de Compressor
Les destinations proposées dans Final Cut Pro offrent de nombreuses options pour l’exportation de projets et de plans. Si vous avez besoin de plus amples options, vous pouvez faire appel à Compressor, l’application professionnelle de transcodage conçue pour fonctionner directement avec Final Cut Pro, pour créer des réglages d’exportation hautement personnalisés. Par exemple, les commandes de redimensionnement et de resynchronisation de Compressor vous permettent de procéder à des réglages très fins de la taille d’image et de la fréquence d’images dans vos fichiers de sortie.
Chapitre 14 Partage de votre projet 404
Envoi d’un projet à Compressor
1 Sélectionnez un projet dans la bibliothèque de projets, un plan dans le navigateur d’événements ou une plage dans un projet ou plan.
2 Choisissez Fichier > Envoyer à Compressor.
Remarque : La commande Envoyer à Compressor est estompée si Compressor n’est pas installé sur le même ordinateur que Final Cut Pro.
Compressor s’ouvre sur un nouveau lot contenant une tâche avec le média du projet ou du plan.
3 Configurez la tâche en ajoutant les réglages nécessaires, puis cliquez sur Soumettre.
Pour en savoir plus sur la configuration des tâches et des réglages, consultez l’. Aide Compressor à l'adresse http://help.apple.com/compressor.
État des projets partagés
Présentation de l’état de projets partagés
Lorsque vous publiez ou partagez votre projet par le biais de l’une des options de partage, une icône de partage apparaît dans la timeline et dans la bibliothèque de projets pour indiquer que le projet est publié.
Icône de partage
Icône de partage
Vous pouvez cliquer sur l’icône reprise dans la bibliothèque de projets pour ouvrir l’inspecteur de partage. L’inspecteur de partage affiche où et quand le projet est publié, et prévoit également un menu local composé de commandes complémentaires pour les options de partage prenant en charge ces commandes.
Cliquez sur cette flèche pour ouvrir le menu local de l’élément partagé.
Chapitre 14 Partage de votre projet 405
Si vous apportez des modifications au projet, un symbole apparaît en regard de l’icône de partage, ce qui indique que le projet a été modifié depuis son dernier partage.
L’icône indique que le projet a été modifié après sa dernière publication.
Accès, annonce et affichage de l’emplacement des projets partagés
Vous pouvez passer par les options présentes dans l’inspecteur de partage pour ouvrir un projet partagé sur une destination web ou pour envoyer un courrier électronique annonçant la mise en ligne du projet. Il vous est également possible de localiser le fichier d’un projet partagé dans le Finder.
Cliquez sur cette flèche pour ouvrir le menu local de l’élément partagé.
Ouverture de l’inspecteur de partage
mm
Cliquer sur l’icône de partage relative au projet, présente dans la bibliothèque de projets.
Icône de partage
Affichage du projet à son emplacement de partage
mm
Dans l’inspecteur de partage, choisissez Visiter dans le menu local de l’élément partagé.
Remarque : Tous les éléments partagés ne disposent pas d’un menu local.
Création d’un courrier électronique pour annoncer le partage d’un projet
1 Dans l’inspecteur de partage, choisissez « Recommander à un ami » dans le menu local de l’élément partagé.
Remarque : Tous les éléments partagés ne disposent pas d’un menu local.
2 Dans Mail, adaptez le courrier électronique généré selon vos besoins, puis cliquez sur Envoyer.
Celui-ci mentionne un lien vers le projet publié et un titre.
Chapitre 14 Partage de votre projet 406
Localisation d’un projet partagé dans le Finder
Dans l’inspecteur de partage, procédez de l’une des manières suivantes :
mm
Si le projet a été partagé une fois et qu’un seul élément partagé s’affiche : Cliquez sur l’icône de loupe.
mm
Si le projet a été partagé plusieurs fois : cliquez sur Afficher pour visualiser les éléments partagés, puis sur l’icône de la loupe pour l’élément à retrouver.
Remarque : Tous les éléments partagés ne disposent pas d’une icône représentant une loupe.
Pour en savoir plus sur les fichiers partagés, consultez Emplacement de vos fichiers de média et de projet à la page 407.
Suppression de projets partagés
Il se peut que vous soyez amené à supprimer un projet partagé de son site web ou autre cible finale. Dans certains cas, Final Cut Pro peut être en mesure de le supprimer automatiquement ; dans d’autres, il se peut que vous deviez le faire manuellement. Mais dans tous les cas de figure, le projet doit être mis à jour afin qu’il n’indique plus qu’il est partagé sur la cible.
Suppression d’un film de sa cible
1 Ouvrez l’inspecteur de partage en cliquant sur l’icône de partage du projet, présente dans la bibliothèque de projets.
2 Dans l’inspecteur de partage, choisissez Supprimer dans le menu local de l’élément partagé.
Cliquez sur cette flèche pour ouvrir le menu local de l’élément partagé.
Une fenêtre propose alors les options de l’élément partagé en question.
Remarque : Tous les éléments partagés ne disposent pas d’un menu local.
3 En fonction des options présentent dans la fenêtre, procédez de l’une des manières suivantes :
••
Pour que Final Cut Pro supprime le projet de la destination, saisissez votre mot de passe pour le site web que vous avez partagé, puis cliquez sur OK.
••
Supprimez le projet manuellement de la cible, puis cliquez sur Terminé.
Remarque : Pour supprimer un film de CNN iReport, vous devez contacter le site web pour demander la suppression du film.
L’état de publication de l’élément partagé est alors supprimé du projet.
15
407
Présentation de la gestion de média
De manière générale, toute tâche relative au traitement de vos fichiers de média est considérée comme de la gestion de média. La gestion de média comprend les éléments présentés ci-dessous :
••
l’importation de média depuis des caméras, des disques de stockage externe ou tout autre dispositif – Consultez Présentation de l’importation à la page 21.
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Le transcodage de vos fichiers de média source dans des formats, optimisés ou proxy, en haute qualité et pratiques à manipuler. Consultez Transcodage des fichiers de média à la page 415.
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la sauvegarde, la consolidation et le déplacement de projets – Consultez Avant de déplacer ou de copier des événements et des projets à la page 419.
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la création d’archives de caméra – Consultez Création et gestion des archives de caméra à la page 429.
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la reconnexion de plans à des fichiers de média – Consultez Reconnexion de plans à des fichiers de média à la page 410.
Certaines de ces tâches peuvent être accomplies dans Final Cut Pro, d’autres dans le Finder et certaines requièrent des manipulations aussi bien dans Final Cut Pro que dans le Finder.
Emplacement de vos fichiers de média et de projet
Lorsque vous créez un événement ou un projet, les dossiers de ce nouvel élément sont placés dans l’un des deux emplacements détaillés ci-dessous.
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Si le nouvel événement ou le nouveau projet se trouve sur votre système : les dossiers se trouvent dans le dossier Séquences de votre répertoire de départ (/Utilisateurs/nom d’utilisateur/Séquences/). Il s’agit de l’emplacement par défaut pour vos fichiers Final Cut Pro.
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Si le nouvel événement ou le nouveau projet est situé sur un périphérique de stockage externe connecté : les dossiers sont placés au niveau principal, la racine, de votre dispositif.
Gestion des fichiers de média
Chapitre 15 Gestion des fichiers de média 408
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Si le nouvel événement ou le nouveau projet est enregistré sur un périphérique de stockage connecté à un réseau local : les dossiers peuvent se trouver sur n’importe quel dossier que vous avez ajouté à partir d’un réseau de stockage SAN.
Lorsque vous créez un événement sur votre système local, un dossier est créé pour cet événement :
/Utilisateurs/nom d’utilisateur/Séquences/Final Cut Events/nom de l’événement/
Le dossier [nom de l’événement] peut contenir un ou plusieurs des éléments présentés ci-dessous. Le contenu de ces dossiers varie en fonction des options sélectionnées lors de l’importation ou dans les préférences Importation. Ces fichiers sont utilisés et gérés par Final Cut Pro et ne doivent par conséquent pas êtres déplacés, modifiés ou supprimés.
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Fichier d’événement : Les fichiers d’événements de Final Cut Pro portent le nom de CurrentVersion.fcpevent.
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Fichiers d’analyse : ce dossier contient les fichiers d’analyse associés aux fichiers de média.
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Média d’origine : ce dossier contient les fichiers originaux importés depuis votre caméra ou votre disque dur ou les fichiers alias renvoyant vers les fichiers originaux situés à un autre emplacement.
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Fichiers de rendu : ce dossier contient les fichiers de rendu associés aux fichiers de média.
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Média transcodé : si vous choisissez de créer des médias optimisés ou proxy, les fichiers transcodés créés sont placés dans ce dossier.
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Versions précédentes : si vous mettez des événements à jour pour les ouvrir avec une nouvelle version de l’application, Final Cut Pro sauvegarde d’abord des copies des événements originaux dans ce dossier.
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Copies de sauvegarde : ce dossier contient une copie de sauvegarde de chaque événement. Il s’agit uniquement d’une copie de CurrentVersion.fcpevent (le fichier d’événement) et non des fichiers de média source associés. Final Cut Pro met la copie de sauvegarde à jour toutes les 15 minutes (s’il détecte un changement dans l’événement). Cette copie de sauvegarde est automatiquement exploitable par Final Cut Pro en cas de problème, bien qu’improbable, à l’ouverture de l’événement.
Chapitre 15 Gestion des fichiers de média 409
De même, lorsque vous créez un projet Final Cut Pro, un dossier est créé pour ce projet :
/Utilisateurs/nom d’utilisateur/Séquences/Final Cut Projects/nom du projet/
Le dossier [nom du projet] contient les éléments détaillés ci-après. Ces fichiers sont utilisés et gérés par Final Cut Pro et ne doivent par conséquent pas êtres déplacés, modifiés ou supprimés.
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Fichier de projet : les fichiers de projet Final Cut Pro portent le nom de CurrentVersion.fcpproject.
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Fichiers de rendu : ce dossier contient les fichiers de rendu associés au projet.
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Versions précédentes : si vous mettez des projets à jour pour les ouvrir avec une nouvelle version de l’application, Final Cut Pro sauvegarde d’abord des copies des projets originaux dans ce dossier.
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Copies de sauvegarde : ce dossier contient une copie de sauvegarde de chaque projet. Il s’agit uniquement d’une copie de CurrentVersion.fcpproject (le fichier du projet) et non de fichiers de média quelconques. Final Cut Pro met la copie de sauvegarde à jour toutes les 15 minutes (s’il détecte un changement dans le projet). Cette copie de sauvegarde est automatiquement exploitable par Final Cut Pro en cas de problème, bien qu’improbable, à l’ouverture du projet.
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Éléments partagés : ce dossier contient les fichiers du projet.
Conseil : Pour retrouver rapidement le fichier de média source d’un plan, sélectionnez-le puis choisissez Fichier > Afficher dans le Finder (ou appuyez sur Commande + Maj + R).
Gestion de vos fichiers de média
Affichage des informations relatives à un plan
L’inspecteur d’informations fournit un résumé des informations relatives à un plan. Vous pouvez par conséquent y trouver des informations relatives à l’état du fichier de média d’un plan, notamment l’emplacement du fichier, ses représentations du média disponible, l’événement dans lequel le plan est situé et celui auquel il fait référence.
Chapitre 15 Gestion des fichiers de média 410
Affichage des informations relatives à un plan
1 Sélectionnez un plan dans le navigateur d’événements ou dans la timeline.
2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur prévu sur la barre d’outils
(illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui
s’affiche.
3 Choisissez « Afficher l’état du fichier » dans le menu local Action situé dans la partie inférieure
de l’inspecteur d’informations.
Reconnexion de plans à des fichiers de média
Dans Final Cut Pro, les plans représentent votre média mais ne sont pas des fichiers de média
en tant que tels. Final Cut Pro effectue automatiquement le suivi des liens entre les plans et les
fichiers de média. Il se présente cependant des cas où il est nécessaire de reconnecter manuellement
les plans aux fichiers de média.
Des fichiers de média modifiés ou recréés en dehors de Final Cut Pro représentent un cas courant.
C’est le cas par exemple si vous transférez des fichiers à étalonner, que vous recevez ensuite
une nouvelle version de ces fichiers, puis que vous devez reconnecter les plans dans votre événement
ou votre projet à ces nouvelles versions.
La reconnexion manuelle peut aussi s’avérer nécessaire en cas de fichiers de média manquants.
Par exemple, si vous déplacez ou renommez des fichiers dans le Finder, ou si vous déplacez
un événement ou un projet, vous devez reconnecter les plans de l’événement ou du projet
(représentés sous forme de cadres rouges dotés d’un triangle jaune évoquant un signal d’alerte)
aux fichiers.
Dans un cas comme dans l’autre, la reconnexion manuelle permet de pointer les plans dans
Final Cut Pro vers les bons fichiers sur votre disque dur. Les métadonnées dans les plans reconnectés
sont conservées.
Les fichiers ainsi reconnectés peuvent avoir une résolution et un codec différents des fichiers originaux,
mais doivent avoir un type de média identique. (En d’autres termes, vous ne pouvez pas
reconnecter un plan vidéo à un fichier audio.) Les fichiers reconnectés doivent également présenter
la même fréquence d’images et des canaux audio semblables que les fichiers originaux.
Enfin, les nouveaux fichiers (reconnectés) peuvent en outre correspondre à des versions des
fichiers originaux auxquels un trim a été appliqué, mais ils doivent alors avoir une durée suffisante
de sorte à couvrir l’intégralité des plans se référant aux fichiers sous-jacents.
Dans la mesure où la reconnexion des plans d’événements et des plans de projet se caractérise
par des effets différents sur vos événements et vos projets, ceux-ci sont abordés séparément
ci-dessous.
Chapitre 15 Gestion des fichiers de média 411
Reconnexion de plans d’événements à des fichiers de média
Si vous reconnectez des plans d’événements à des fichiers de média sur votre disque dur, tous les plans correspondants (y compris ceux inclus dans d’autres projets ou événements) sont mis à jour pour assurer la connexion avec les nouveaux fichiers de média. En d’autres termes, si vous avez utilisé un plan d’événement dans plusieurs projets (ou événements), chacun de ces projets et événements est reconnecté au nouveau fichier de média. Si les anciens fichiers se trouvent dans le dossier Média d’origine, ils sont alors placés dans la Corbeille. Cette opération est irréversible.
1 Dans le navigateur d’événements, sélectionnez les plans à reconnecter ou sélectionnez un événement entier dans la bibliothèque d’événements.
2 Choisissez Fichier > Relier les fichiers d’événement.
La fenêtre Relier les fichiers s’affiche alors. Par défaut, cette fenêtre ne reprend que les plans ou les événements manquants.
3 Pour recenser tous les éléments de la sélection, sélectionnez Tous.
4 Procédez de l’une des manières suivantes :
••
Pour retrouver tous les fichiers correspondants : cliquez sur Tout localiser.
••
Pour localiser certains fichiers répondant aux critères : sélectionnez les éléments dans la liste, puis cliquez sur Localiser.
5 Dans la fenêtre qui s’affiche, accédez à l’un des fichiers à reconnecter ou au dossier les contenant.
Chapitre 15 Gestion des fichiers de média 412
Le texte repris en bas de la fenêtre indique le nombre d’instances trouvées dans votre liste originale susceptibles de correspondre aux éléments (en s’appuyant uniquement sur le nom des fichiers).
Texte indiquant le nombre de correspondances trouvées.
Remarque : Final Cut Pro identifie les occurrences en fonction de leur proximité dans la structure des répertoires et de leur nom de fichier. Par exemple, si vos fichiers originaux se trouvent dans deux dossiers adjacents, Final Cut Pro recherche dans les dossiers adjacents au fichier choisi et reconnecte tous les fichiers correspondants dans le chemin d’accès relatif. Si vos fichiers originaux s’intitulent « Fichier1 », « Fichier2 », « Fichier3 », etc., et que vous avez choisi de les reconnecter à un fichier appelé « Fichier1_A », Final Cut Pro recherche alors les fichiers nommés « Fichier2_A », « Fichier3_A », etc., pour les reconnecter aux éléments restants mentionnés dans votre liste.
6 Cliquez sur Sélectionner.
Final Cut Pro analyse les fichiers pour confirmer que tous les attributs (en plus du nom de fichier) correspondent à des éléments intégrant la sélection d’origine. Les résultats de l’analyse sont illustrés ci-dessous dans la liste de fichiers originaux, par exemple, « 3 sur 3 fichiers trouvés ».
7 Cliquez sur le triangle d’affichage en regard des résultats de l’analyse pour afficher la liste des fichiers anciens (repris à gauche) et les nouveaux fichiers correspondants (mentionnés à droite).
Si un fichier n’est pas vraiment concordant, sélectionnez-le dans la liste et appuyez sur Supprimer. L’élément est alors replacé dans la liste d’origine en haut de la fenêtre Relier les fichiers.
Chapitre 15 Gestion des fichiers de média 413
Les éléments sans autre résultat sont conservés dans la liste d’origine supérieure. Vous pouvez poursuivre et en rechercher d’autres en les sélectionnant et en répétant les étapes 4 à 6.
8 Si vous voulez dupliquer les fichiers de média correspondants pour les placer dans le dossier Final Cut Events (Événements Final Cut) sur votre ordinateur, cochez la case « Copier les fichiers dans le dossier Final Cut Events ».
9 Pour connecter les plans d’événements aux nouveaux fichiers de média, cliquez sur Relier les fichiers.
Tous les plans correspondants (y compris ceux inclus dans d’autres projets ou événements) sont mis à jour pour assurer la connexion avec les nouveaux fichiers de média.
Reconnexion de plans de projet à des fichiers de média
Contrairement à la reconnexion de plans d’événements, la reconnexion des plans de projet à des fichiers de média sur votre disque dur se limite à la mise à jour des plans dans le projet sélectionné. Les nouveaux plans sont ajoutés à l’événement par défaut du projet en cours. Cette opération est irréversible.
1 Dans la timeline, sélectionnez les plans à reconnecter ou un projet dans la bibliothèque de projets.
2 Choisissez Fichier > Relier les fichiers de projet.
La fenêtre Relier les fichiers s’affiche alors. Par défaut, cette fenêtre ne reprend que les plans manquants.
3 Pour recenser tous les éléments de la sélection, sélectionnez Tous.
4 Procédez de l’une des manières suivantes :
••
Pour retrouver tous les fichiers correspondants : cliquez sur Tout localiser.
••
Pour localiser certains fichiers répondant aux critères : sélectionnez les éléments dans la liste, puis cliquez sur Localiser.
Chapitre 15 Gestion des fichiers de média 414
5 Dans la fenêtre qui s’affiche, accédez à l’un des fichiers à reconnecter ou au dossier les contenant.
Le texte repris en bas de la fenêtre indique le nombre d’instances trouvées dans votre liste originale susceptibles de correspondre aux éléments (en s’appuyant uniquement sur le nom des fichiers).
Texte indiquant le nombre de correspondances trouvées.
Remarque : Final Cut Pro identifie les occurrences en fonction de leur proximité dans la structure des répertoires et de leur nom de fichier. Par exemple, si vos fichiers originaux se trouvent dans deux dossiers adjacents, Final Cut Pro recherche dans les dossiers adjacents au fichier choisi et reconnecte tous les fichiers correspondants dans le chemin d’accès relatif. Si vos fichiers originaux s’intitulent « Fichier1 », « Fichier2 », « Fichier3 », etc., et que vous avez choisi de les reconnecter à un fichier appelé « Fichier1_A », Final Cut Pro recherche alors les fichiers nommés « Fichier2_A », « Fichier3_A », etc., pour les reconnecter aux éléments restants mentionnés dans votre liste.
6 Cliquez sur Sélectionner.
Final Cut Pro analyse les fichiers pour confirmer que tous les attributs (en plus du nom de fichier) correspondent à des éléments intégrant la sélection d’origine. Les résultats de l’analyse sont illustrés ci-dessous dans la liste de fichiers originaux, par exemple, « 4 sur 4 fichiers trouvés ».
7 Cliquez sur le triangle d’affichage en regard des résultats de l’analyse pour afficher la liste des fichiers anciens (repris à gauche) et les nouveaux fichiers correspondants (mentionnés à droite).
Chapitre 15 Gestion des fichiers de média 415
Si un fichier n’est pas vraiment concordant, sélectionnez-le dans la liste et appuyez sur Supprimer. L’élément est alors replacé dans la liste d’origine en haut de la fenêtre Relier les fichiers.
Les éléments sans autre résultat sont conservés dans la liste d’origine supérieure. Vous pouvez poursuivre et en rechercher d’autres en les sélectionnant et en répétant les étapes 4 à 6.
8 Pour connecter les plans de projet aux nouveaux fichiers de média, cliquez sur Relier les fichiers.
Seuls les plans inclus dans le projet en cours sont mis à jour et reconnectés aux nouveaux fichiers de média. Les nouveaux plans sont ajoutés à l’événement par défaut du projet. Tous les autres événements et projets sont conservés tels quels.
Transcodage des fichiers de média
Final Cut Pro peut reproduire de nombreux formats de médias. Consultez Formats de média pris en charge à la page 45 pour en retrouver la liste complète. Final Cut Pro fournit aussi des options pour le transcodage de votre média en le convertissant dans un autre format ou en modifiant ses réglages.
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Créer un média optimisé : cette option transcode la vidéo au format de codec Apple ProRes 422, lequel assure de meilleures performances lors du montage, des temps de rendu réduits et une qualité colorimétrique supérieure lors du compositing. Si le format original de la caméra peut être monté en offrant de bons résultats, cette option est estompée.
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Créer un média proxy : cette option entraîne la création de fichiers proxy vidéo et d’images fixes. vidéo transcodée au format du codec Apple ProRes 422 (Proxy), qui offre des fichiers de haute qualité, utiles pour le montage déconnecté en respectant la taille, la fréquence et la proportion d’image originales. Final Cut Pro crée des versions proxy (dans la moitié de la résolution) de qualité moyenne pour améliorer les performances lors du montage. Les fichiers vidéo proxy occupent sensiblement moins d’espace disque, vous offrant souvent la possibilité de travailler sur un ordinateur portable même si celui-ci dispose d’une mémoire et de prestations inférieures à celles d’un ordinateur de bureau. Les images fixes sont transcodées en fichiers JPEG (si le fichier original ne contient pas d’informations de canal alpha) ou PNG (dans le cas contraire). Les fichiers proxy d’images fixes assurent un traitement et un rendu plus rapides lorsque l’image d’origine s’avère volumineuse.
Remarque : Pour de meilleures performances d’importation et de lecture, Final Cut Pro transcode automatiquement tous les fichiers audio MP3 en fichiers audio WAV. Lors du transcodage de fichiers, Final Cut Pro conserve toujours le média original en vue de son utilisation ultérieure. Pour en savoir plus sur l’emplacement des fichiers de média originaux, de média proxy et de média transcodés, consultez Emplacement de vos fichiers de média et de projet à la page 407.
Vous pouvez également créer des médias optimisés et proxy lors de la procédure d’importation ou une fois le média importé à l’aide du navigateur d’événements. Il vous est aussi possible de créer un fichier proxy pour un plan à l’aide de l’inspecteur d’informations. Une fois le transcodage terminé, les fichiers sont enregistrés dans le dossier de l’événement approprié. Consultez Emplacement de vos fichiers de média et de projet à la page 407 pour en savoir plus.
Le réglage de lecture sélectionné dans les préférences Montage de Final Cut Pro définit si Final Cut Pro utilise un média proxy, votre média original ou un média optimisé lors de la lecture. Consultez Modification du nom et des propriétés d’un projet à la page 89 pour en savoir plus.
Chapitre 15 Gestion des fichiers de média 416
Transcodage de fichiers de média lors de l’importation
Lors de l’importation, Final Cut Pro crée un fichier alias qui redirige sur l’emplacement original du fichier de média ou une copie du fichier de média original. Une fois les fichiers importés, le transcodage, l’optimisation et l’analyse s’exécutent à l’arrière-plan.
1 Procédez de l’une des manières suivantes :
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Pour importer un fichier à partir d’un enregistrement à système de fichier compatible ou d’un périphérique de stockage, ou à partir de votre disque dur : branchez le dispositif sur votre ordinateur, allumez-le, choisissez Fichier > Importer > Média (ou appuyez sur Commande + I), accédez au média à importer et sélectionnez-le, puis cliquez sur Importer.
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Pour importer un fichier à partir d’un caméscope à bande : connectez l’appareil à votre ordinateur, allumez-le et réglez-le sur le mode VTR ou VCR. Choisissez ensuite Fichier > Importer > Média, puis cliquez sur Importer.
••
Pour importer des fichiers à partir d’une archive : Choisissez Fichier > Importer > Média. Sélectionnez ensuite une archive de caméra dans la liste de gauche, cliquez sur Ouvrir une archive et localisez les fichiers que vous souhaitez importer. Cliquez enfin sur Importer.
2 Dans la fenêtre qui apparaît, choisissez comment vous voulez organiser les médias importés dans votre bibliothèque d’événements :
••
Pour ajouter les médias importés à un événement existant : sélectionnez « Ajouter à l’événement existant » et choisissez celui-ci dans le menu local.
••
Pour créer un événement : sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, « Mariage de Pierre et Sandra ») dans le champ de texte. Utilisez le menu local « Enregistrer dans » pour choisir le disque sur lequel vous voulez stocker l’événement.
Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55.
3 Sélectionnez une ou plusieurs options de transcodage.
Final Cut Pro transcode les fichiers en arrière-plan, une fois l’importation terminée.
4 Cliquez sur Importer.
L’importation peut prendre quelques minutes, selon les options que vous avez choisies à l’étape 3. Vous pouvez voir l’état de tous les processus en cours en arrière-plan dans la fenêtre Tâches d’arrière-plan.
Transcodage des plans après l’importation
1 Cliquez sur un ou plusieurs plans dans le navigateur d’événements tout en maintenant la touche Contrôle enfoncée et choisissez Transcoder le média dans le menu contextuel.
2 Dans la fenêtre qui s’affiche, cochez la case « Créer un média optimisé », la case « Créer un média proxy » ou les deux, puis cliquez sur OK.
Remarque : Si le format original de la caméra peut être monté en offrant de bons résultats, l’option « Créer un média optimisé » apparaît alors estompée.
La procédure de transcodage peut prendre un certain temps, en fonction des options que vous avez choisies. Vous pouvez voir l’état de tous les processus en cours en arrière-plan dans la fenêtre Tâches d’arrière-plan.
Remarque : Les fichiers audio MP3 issus de projets créés avec des versions de Final Cut Pro antérieures à 10.0.4 peuvent être transcodés manuellement en fichiers audio WAV à l’aide de ce processus.
Chapitre 15 Gestion des fichiers de média 417
Transcodage automatique des fichiers de média lors de leur glissement dans Final Cut Pro
Lorsque vous faites glisser un média depuis le Finder sur un événement ou sur la timeline dans
Final Cut Pro, celui-ci est automatiquement organisé, transcodé et analysé en fonctions des
réglages d’importation définis dans les préférences de Final Cut Pro.
1 Pour configurer les options relatives à l’analyse par Final Cut Pro :
a Choisissez Final Cut Pro > Préférences.
b Dans la fenêtre Préférences qui s’affiche, cliquez sur Importer.
c Sélectionnez la ou les options d’analyse vidéo et audio que vous souhaitez appliquer à
votre média.
d Lorsque vous avez terminé, fermez la fenêtre Préférences.
2 Pour importer un ou plusieurs fichiers, sélectionnez un fichier (ou cliquez sur plusieurs fichiers en
maintenant la touche Commande enfoncée) dans le Finder et faites-le glisser sur un événement
ou sur la timeline.
Génération d’un fichier proxy depuis l’inspecteur d’informations
Les fichiers proxy occupent sensiblement moins d’espace disque. Dans certains cas, l’utilisation
de fichiers proxy peut vous permettre de travailler sur un ordinateur portable, même si celui-ci
possède une mémoire et une puissance de calcul moindres qu’un ordinateur de bureau. Vous
pouvez vérifier si vous possédez un fichier proxy pour un plan en affichant les informations relatives
au plan dans l’inspecteur d’informations. Si le fichier en question ne présente aucun fichier
proxy dans l’inspecteur d’informations, un triangle rouge s’affiche.
Si aucun proxy n’a été créé
pour un plan, un triangle rouge
s’affiche.
Vous pouvez créer un fichier proxy pour un plan en procédant comme suit.
1 Sélectionnez un plan dans le navigateur d’événements.
2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur de la barre d’outils (illustré
ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche.
3 Sélectionnez « Afficher l’état du fichier » dans le menu local Action .
Chapitre 15 Gestion des fichiers de média 418
4 Cliquez sur le bouton Générer un proxy dans la section « Représentations du média disponible »
de la zone d’état du fichier.
Le fichier proxy est créé et un cercle vert apparaît en regard de l’élément proxy dans la section
« Représentations du média disponible » pour indiquer que le fichier proxy du plan
est disponible.
Affichage des tâches d’arrière-plan
Dans Final Cut Pro, de nombreuses tâches s’exécutent à l’arrière-plan.
•• Importation
•• Transcodage
•• Optimisation et analyse vidéo et audio
•• Rendu
•• Partage
Final Cut Pro gère automatiquement les tâches d’arrière-plan. Vous n’avez donc rien à faire pour
les lancer ou les interrompre. Si vous souhaitez afficher la progression des procédures exécutées
en arrière-plan, ouvrez la fenêtre Tâches d’arrière-plan. Les tâches en cours d’exécution et leur
pourcentage d’exécution s’affichent dans la fenêtre.
Important : Si vous utilisez activement Final Cut Pro et que des tâches sont en cours d’exécution
en arrière-plan, celles-ci s’interrompent. Les tâches reprennent lorsque vous n’utilisez pas
Final Cut Pro.
Affichage des tâches en cours d’exécution en arrière-plan
1 Procédez de l’une des manières suivantes :
•• Choisissez Fenêtre > Tâches d’arrière-plan (ou appuyez sur les touches Commande + 9).
•• Dans la barre d’outils, cliquez sur le bouton Tâches en arrière-plan.
2 Pour afficher les tâches en cours d’exécution dans chaque section, cliquez sur le triangle
d’affichage.
Chapitre 15 Gestion des fichiers de média 419
Mise en pause ou reprise d’une tâche dans la fenêtre Tâches en arrière-plan
mm
Cliquez sur le bouton Pause ou Reprendre .
Annulation d’une tâche dans la fenêtre Tâches en arrière-plan
mm
Cliquez sur le bouton Annuler .
Suppression des fichiers de rendu pour libérer de l’espace disque
Les fichiers de rendu du projet et des plans sont conservés dans les dossiers Final Cut Events et Final Cut Projects. Avec le temps, ces fichiers peuvent devenir volumineux et occuper de l’espace disque. Si vous souhaitez libérer de l’espace disque, vous pouvez supprimer les fichiers de rendu inutilisés ou supprimer tous les fichiers de rendu d’un plan composé ou d’un projet Final Cut Pro particulier.
Suppression des fichiers de rendu du projet
1 Sélectionnez un projet dans la bibliothèque de projets.
2 Choisissez Fichier > Supprimer les fichiers de rendu du projet.
3 Dans la fenêtre qui s’affiche, choisissez de supprimer « Fichiers de rendu inutilisés seulement » ou « Tous les fichiers de rendu », puis cliquez sur OK.
Suppression des fichiers de rendu d’un événement
1 Sélectionnez un événement dans le navigateur d’événements.
2 Choisissez Fichier > Supprimer les fichiers de rendu d’événement.
3 Dans la fenêtre qui s’affiche, choisissez de supprimer « Fichiers de rendu inutilisés seulement » ou « Tous les fichiers de rendu », puis cliquez sur OK.
Gestion de vos fichiers d’événements et de projets
Avant de déplacer ou de copier des événements et des projets
Si vous souhaitez réaliser le montage d’un projet sur un autre ordinateur ou sauvegarder un projet ou des événements sur un périphérique de stockage externe, vous pouvez les déplacer ou les copier. Avant de déplacer ou de copier un projet, il est recommandé de consolider ses médias et de les sauvegarder.
Par défaut, les fichiers de média importés dans Final Cut Pro restent à leur emplacement original. Lorsque vous importez des médias dans Final Cut Pro vous avez la possibilité de cocher la case « Copier les fichiers dans le dossier Final Cut Events » ce qui permet de dupliquer les fichiers de média source sur votre disque dur. La création de ces copies (à utiliser exclusivement dans Final Cut Pro) permet d’éviter que les fichiers soient déplacés par inadvertance et deviennent indisponibles dans Final Cut Pro.
Si un fichier utilisé par Final Cut Pro est déplacé, Final Cut Prosignale le plan avec une icône de fichier manquant. Si vous considérez qu’il existe une possibilité que les fichiers de média soient déplacés ou supprimés, il est recommandé de créer une copie du média.
Chapitre 15 Gestion des fichiers de média 420
Remarque : Si vous importez des fichiers alors que la case « Copier les fichiers dans le dossier Final Cut Events » est décochée, Final Cut Pro crée alors des fichiers de référence (alias de fichiers) pointant simplement sur les fichiers de média source, sans copier ces derniers. Au moment où vous sauvegardez ou copiez des événements et des projets utilisant ces fichiers, Final Cut Pro copie uniquement les fichiers de référence (et non les fichiers de média source). Si après avoir sauvegardé votre projet ou événement, vous souhaitez remplacer les fichiers de référence par les fichiers de média source à proprement parler, sélectionnez les événements, puis choisissez Fichier > Organiser les fichiers d’événements.
Consolidation des fichiers de média d’un projet
Lors de la création d’un projet dans Final Cut Pro, vous pouvez utiliser des médias situés à différents endroits, y compris votre ordinateur local et des périphériques de stockage externe. Si les médias utilisés dans le projet sont situés sur différents disques durs, vous pouvez consolider tous les médias du projet sur le disque dur où se trouve le projet.
Regroupement à un seul emplacement des plans d’un projet
1 Localisez le projet que vous souhaitez consolider dans la bibliothèque de projets.
2 Cliquez sur le projet tout en maintenant la touche Contrôle enfoncée, puis choisissez « Consolider les médias du projet » dans le menu contextuel.
Si une fenêtre s’affiche déclarant qu’il n’y a aucun élément à consolider, cela signifie que tous vos fichiers de média sont déjà consolidés et stockés sur un disque.
3 Sélectionnez une option pour définir le déroulement de la consolidation.
••
Copier les événements référencés : duplique les événements référencés (et tous les plans contenus dans ceux-ci) dans l’emplacement de votre projet. Cette option s’avère utile si vous utilisez le même média dans plusieurs projets ou si vous n’avez pas terminé l’ajout de plans de l’événement à votre projet.
••
Déplacer les événements référencés : déplace tous les événements référencés sur l’emplacement de votre projet. Si d’autres projets utilisent les plans de l’événement en cours de consolidation, ces projets n’ont alors pas accès à l’événement. Cette option peut s’avérer utile si les plans de l’événement sont utilisés uniquement dans le projet en cours de consolidation.
••
Copier seulement les plans utilisés : duplique uniquement les fichiers de média utilisés dans le projet. Cette option ne concerne que les médias utilisés dans le projet (et non tous les plans des événements référencés par le projet). Elle permet de conserver plus d’espace disque.
••
Champ « Nouveau nom de l’événement » : si vous choisissez « Copier seulement les plans utilisés », vous pouvez créer un événement destiné à héberger le média consolidé. Si vous ne spécifiez pas de nom pour le nouvel événement, le nom du projet lui est attribué.
Chapitre 15 Gestion des fichiers de média 421
4 Cliquez sur OK.
Final Cut Pro consolide les médias à l’aide de la méthode sélectionnée. Le ou les événements apparaissent sur le même disque dur que le projet.
Vous pouvez aussi faire appel à la commande « Organiser les fichiers d’événements » pour copier tous les fichiers de média externes qu’un événement utilise dans son dossier d’événement. Pour en savoir plus, consultez Organisation des fichiers lors de l’importation à la page 41.
Sauvegarde des projets, des événements et de votre bibliothèque de projets
La sauvegarde de vos projets, de votre bibliothèque de projets et de vos événements représente une étape essentielle du flux de production. Certaines intervenants exécutent des sauvegardes quotidiennes ou hebdomadaires, d’autres lorsqu’un projet est terminé. Pour protéger votre média, il est recommandé de sauvegarder sur un périphérique de stockage ou une partition différente de celle sur laquelle vous stockez vos fichiers de média utilisés avec Final Cut Pro.
Remarque : Final Cut Pro conserve une seule copie de sauvegarde de chaque événement et projet. Il s’agit uniquement des copies de l’événement en cours et des fichiers de projet et non des fichiers de média source associés. Final Cut Pro met les copies de sauvegarde à jour toutes les 15 minutes, s’il détecte un changement dans un événement ou un projet. Pour en savoir plus, consultez Emplacement de vos fichiers de média et de projet à la page 407.
Sauvegarde de votre projet dans Final Cut Pro
1 Connectez un périphérique de stockage externe disposant d’assez d’espace pour contenir votre projet et vos fichiers de média et vérifiez qu’il apparaît dans le Finder.
2 Cliquez sur votre projet dans la bibliothèque de projets tout en maintenant la touche Contrôle enfoncée, puis choisissez Dupliquer le projet dans le menu contextuel.
3 Dans la fenêtre qui s’affiche, attribuez un nom au nouveau projet (dupliqué), puis choisissez votre périphérique de stockage externe dans le menu local Emplacement.
4 Sélectionnez une option pour indiquer ce qui doit être dupliqué :
••
Dupliquer le projet : duplique les fichiers spécifiques du projet que vous avez sélectionnés. Cette option est utile, par exemple, si vous utilisez les mêmes plans dans plusieurs projets et que vous pensez sauvegarder vos événements séparément (par exemple dans votre copie de sauvegarde de l’ensemble de votre bibliothèque de projets ou de vos événements). Cette option ne crée pas de copie de média d’événement.
••
Dupliquer le projet et les événements référencés : duplique le projet et tout événement auquel celui-ci se réfère. Cette option comprend touts les médias contenus dans les événements référencés. Cette option est particulièrement utile si vous souhaitez conserver les médias non utilisés en vue de leur utilisation ultérieure.
••
Dupliquer le projet et les plans utilisés : copie le projet ainsi que les plans utilisés dans le projet. Lorsque vous sélectionnez cette option, il vous est possible de choisir entre copier tous les plans et leur média ou copier seulement les plans multicam et composés sans les médias associés. La première méthode crée une copie de sauvegarde de votre projet avec l’intégralité de son média. La deuxième méthode entraîne la sauvegarde du projet et crée des copies de travail indépendantes des plans multicam et composés qui ne changent pas si vous mettez les copies d’origine à jour dans votre projet.
••
Tous les plans utilisés : duplique le projet et copie dans un nouvel événement tous les plans et le média exploité dans le projet. Lorsque vous sélectionnez cette option, vous devez attribuer un nom au nouvel événement.
Chapitre 15 Gestion des fichiers de média 422
En sélectionnant cette option, vous dupliquez l'intégralité du fichier multimédia original pour tout plan utilisé dans le projet, pas uniquement la portion affichée dans la timeline. Si les fichiers utilisés dans le projet ont été importés en tant que fichiers de référence (alias pointant vers des fichiers multimédias conservés hors du dossier d'événements de Final Cut), les fichiers de référence sont copiés, mais pas les fichiers multimédias originaux.
••
Plans multicam et composés uniquement : crée une copie du projet et les plans parents nécessaires aux plans multicam ou composés intégrant le projet. En d’autres termes, les copies de sauvegarde des plans multicam et des plans composés ne sont pas liées aux copies parentes d’origine et ne sont par conséquent pas mis à jour lorsque les originaux parents sont modifiés. Cette option vous permet d’enregistrer une copie de travail d’un projet et d’éviter les modifications accidentelles apportées aux plans multicam ou composés dans cette copie. Cette option ne duplique pas le média et génère par conséquent un ensemble de fichiers de sauvegarde plus compact économisant l’espace de stockage. Vous pouvez fournir un nom au nouvel événement destiné à héberger les plans multicam ou composés, ou choisir un événement existant à partir du menu local Événement. Pour en savoir plus sur les plans multicam et composés, consultez Présentation des plans composés à la page 266 et Présentation du montage multicam à la page 320.
Cette option n’est disponible que si votre projet contient des plans multicam ou composés.
5 Si vous souhaitez inclure les fichiers de rendu (pour que Final Cut Pro n’ait pas à en créer de nouveaux), cochez la case « Inclure les fichiers de rendu ».
6 Cliquez sur OK.
Final Cut Pro duplique le projet en s’appuyant sur l’option indiquée. Le projet voit son nom complété d’un chiffre incrémenté (par exemple « film de François1 »), puis s’affiche à l’emplacement indiqué.
Dans la plupart des cas, visionner vos événements et vos projets de sauvegarde revient simplement à connecter votre périphérique de stockage à Final Cut Pro et à localiser la copie de sauvegarde de votre projet ou de votre événement dans la bibliothèque de projets. Pour en savoir plus sur la localisation ou l’affichage de votre projet, consultez Problèmes courants relatifs à la gestion des médias à la page 434.
Chapitre 15 Gestion des fichiers de média 423
Sauvegarde de votre bibliothèque de projets et de vos événements à l’aide du Finder
Pour créer une seule copie de sauvegarde de votre bibliothèque de projets et de vos événements, vous pouvez copier les dossiers Final Cut Projects et Final Cut Events sur un périphérique de stockage externe.
Si vous réalisez une copie de sauvegarde progressive, créez une structure de dossier qui vous permette de parcourir facilement vos dossiers de sauvegarde. Vous pouvez, par exemple, étiqueter les dossiers selon la date de la copie de sauvegarde.
Important : Pour éviter des problèmes, il est primordial que vous placiez les fichiers de sauvegarde dans un dossier, que vous pouvez appeler par exemple « Sauvegardes 2012 Final Cut Pro », qui ne se trouve pas à la racine de votre périphérique de stockage externe.
1 Dans le Finder, accédez et sélectionnez vos dossiers Final Cut Projects et Final Cut Events.
Votre dossier Séquences constitue l’emplacement par défaut pour tous les fichiers de projet et d’événement :
/Utilisateurs/nom d’utilisateur/Séquences/
Important : Si un projet ou un événement a été déplacé après sa création, il ne se trouve plus à son emplacement par défaut.
2 Faites glisser les dossiers Final Cut Projects et Final Cut Events sur votre périphérique de stockage externe.
Les dossiers sont copiés sur votre périphérique de stockage externe.
Pour restaurer les événements et les projets que vous avez sauvegardés par le biais du Finder, copiez-les à leur emplacement d’origine dans les dossiers Final Cut Projects et Final Cut Events.
Remarque : Lorsque vous importez des médias dans Final Cut Pro, vous avez la possibilité de cocher la case « Copier les fichiers dans le dossier Final Cut Events » ce qui permet de dupliquer les fichiers de média source sur votre disque dur. Si vous importez des fichiers alors que la case est décochée, Final Cut Pro crée alors des fichiers de référence (alias de fichiers) pointant simplement sur les fichiers de média source, sans copier ces derniers. Au moment où vous sauvegardez des événements et des projets utilisant ces fichiers, Final Cut Pro copie uniquement les fichiers de référence (et non les fichiers de média source). Si après avoir sauvegardé votre projet ou événement, vous souhaitez remplacer les fichiers de référence par les fichiers de média source à proprement parler, sélectionnez les événements, puis choisissez Fichier > Organiser les fichiers d’événements.
Chapitre 15 Gestion des fichiers de média 424
Montage de votre projet sur un ordinateur différent
Si vous êtes amené à devoir travailler sur votre projet et vos fichiers de média sur un autre ordinateur, plusieurs options s’offrent à vous :
••
Déplacer le projet : vous pouvez supprimer le projet de son emplacement actuel et le placer ailleurs. Lorsque vous déplacez un projet, vous pouvez déplacer tous les événements utilisés dans le projet, tous les plans utilisés dans le projet ou uniquement le projet.
••
Copier le projet : vous pouvez dupliquer le projet et placer la copie dans un autre emplacement. Lorsque vous copiez un projet, vous pouvez copier tous les événements utilisés dans le projet, tous les plans utilisés dans le projet ou uniquement le projet.
••
Stocker des projets et des événements sur un emplacement SAN : vous pouvez stocker des fichiers sur un emplacement de réseau SAN, afin de pouvoir y accéder à partir de l’autre ordinateur via le réseau.
Remarque : Si vous avez personnalisé un effet, une transition, un titre, un générateur ou un thème quelconque Final Cut Pro, vous devez sauvegarder et déplacer manuellement le dossier des modèles Motion à un emplacement sous ~/Movies/Motion Templates.
Déplacement d’un projet et de ses événements référencés vers un autre ordinateur
1 Connectez votre périphérique de stockage externe à l’ordinateur sur lequel votre fichier de projet Final Cut Pro se trouve et vérifiez que le périphérique apparaît dans le Finder.
2 Vérifiez que Final Cut Pro est installé sur l’ordinateur vers lequel vous déplacez les fichiers.
3 Sur l’ordinateur qui contient votre fichier de projet Final Cut Pro, sélectionnez le projet et la bibliothèque d’événements.
4 Choisissez Fichier > Déplacer le projet.
5 Dans la fenêtre qui s’affiche, procédez comme suit :
a Choisissez votre périphérique de stockage externe dans le menu local Emplacement.
b Sélectionnez « Déplacer le projet et les événements référencés ».
En sélectionnant cette option, vous déplacez le fichier du projet et tous les événements référencés par le projet (ainsi que tous les plans qu’ils contiennent) sur le disque sélectionné dans le menu local Emplacement.
Pour en savoir plus sur les options de cette fenêtre, consultez la section Organisation des projets dans la bibliothèque de projets à la page 92.
c Cliquez sur OK.
L’icône et les événements du projet disparaissent de leur emplacement dans la bibliothèque de projets et la bibliothèque d’événements et s’affichent au-dessous de l’icône de périphérique (indiquant qu’ils ont été déplacés).
Chapitre 15 Gestion des fichiers de média 425
6 Fermez Final Cut Pro, puis déconnectez le périphérique de stockage de votre ordinateur.
AVERTISSEMENT : Ne débranchez pas de périphérique si Final Cut Pro l’utilise.
7 Connectez le périphérique de stockage à l’ordinateur vers lequel vous souhaitez déplacer votre projet et vérifiez que le périphérique apparaît dans le Finder.
8 Ouvrez Final Cut Pro, puis ouvrez la bibliothèque de projets.
Le projet déplacé apparaît dans la bibliothèque de projets en dessous du périphérique de stockage connecté.
Remarque : Si le périphérique de stockage ne s’affiche pas dans la bibliothèque de projets, consultez la section Problèmes courants relatifs à la gestion des médias à la page 434.
9 Pour faire passer le projet du périphérique de stockage au nouvel ordinateur, sélectionnez-le, puis choisissez Fichier > Déplacer le projet.
10 Dans la fenêtre qui s’affiche, procédez comme suit :
a Choisissez le nouvel ordinateur dans le menu local Emplacement.
b Sélectionnez « Déplacer le projet et les événements référencés ».
c Cliquez sur OK.
L’icône et les événements du projet disparaissent du périphérique de stockage externe et s’affichent sous le disque de démarrage (icône représentant une maison) dans la bibliothèque de projets et l’événement contenant les médias du projet s’affiche sous le disque de démarrage dans la bibliothèque d’événements.
Copie d’un projet et de ses plans vers un autre ordinateur
1 Connectez votre périphérique de stockage externe à l’ordinateur sur lequel votre fichier de projet Final Cut Pro se trouve et vérifiez que le périphérique apparaît dans le Finder.
2 Vérifiez que Final Cut Pro est installé sur l’ordinateur vers lequel vous copiez les fichiers.
3 Sur l’ordinateur qui contient votre fichier de projet Final Cut Pro, sélectionnez le projet et la bibliothèque d’événements.
4 Cliquez sur votre projet tout en maintenant la touche Contrôle enfoncée et choisissez Dupliquer le projet dans le menu contextuel.
Chapitre 15 Gestion des fichiers de média 426
5 Dans la fenêtre qui s’affiche, procédez comme suit :
a Choisissez votre périphérique de stockage externe dans le menu local Emplacement.
b Sélectionnez « Dupliquer le projet et les plans utilisés ».
Cette option permet de copier les fichiers de projet et les fichiers de média utilisés par le fichier de projet.
Pour en savoir plus sur les options de cette fenêtre, consultez la section Organisation des projets dans la bibliothèque de projets à la page 92.
c Saisissez un nom évocateur dans le champ « Nouveau nom de l’événement ».
Si vous n’indiquez pas de nom pour l’événement, il reprend alors le même que celui de votre projet.
d Cliquez sur OK.
L’icône et les événements du projet s’affichent sous l’icône du périphérique de stockage (indiquant qu’ils ont été copiés et déplacés à un nouvel emplacement).
6 Fermez Final Cut Pro, puis débranchez le périphérique de stockage de votre ordinateur.
Remarque : Il est impossible de débrancher un périphérique si Final Cut Pro l’utilise.
7 Connectez le périphérique de stockage à l’ordinateur vers lequel vous souhaitez déplacer votre projet et vérifiez que le périphérique apparaît dans le Finder.
8 Ouvrez Final Cut Pro, puis ouvrez la bibliothèque de projets.
Le projet copié apparaît dans la bibliothèque de projets en dessous du périphérique de stockage connecté.
Remarque : Si le périphérique de stockage ne s’affiche pas dans la bibliothèque de projets, consultez la section Problèmes courants relatifs à la gestion des médias à la page 434.
9 Pour copier les fichiers de projet et de média du périphérique de stockage vers le nouvel ordinateur, faites glisser le projet sur l’icône du dossier de départ dans la bibliothèque de projets.
10 Dans la fenêtre qui s’affiche, procédez comme suit :
a Choisissez le nouvel ordinateur dans le menu local Emplacement.
b Sélectionnez « Dupliquer le projet et les événements référencés ».
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c Cliquez sur OK.
Le projet s’affiche au-dessous du disque de démarrage (icône représentant une maison) dans la bibliothèque de projets et l’événement contenant les médias du projet s’affiche au-dessous du disque de démarrage dans la bibliothèque d’événements.
Vous pouvez maintenant localiser votre projet dans la bibliothèque de projets et commencer le montage. Toute modification se voit enregistrée dans la copie située sur le disque de démarrage du nouvel ordinateur.
Si une icône d’avertissement s’affiche, par exemple pour signaler un média ou un projet manquant ou si vous ne trouvez pas votre projet dans la bibliothèque de projets Final Cut Pro, complétez les étapes dans la tâche pour vérifier que celle-ci s’est exécutée correctement. Pour en savoir plus, consultez Problèmes courants relatifs à la gestion des médias à la page 434.
Utilisation d’un emplacement SAN pour monter votre projet sur un autre ordinateur
Vous pouvez commencer à monter un projet à travers un réseau en utilisant un emplacement SAN, puis poursuivre votre travail à partir d’un autre ordinateur via le même emplacement SAN. Pour mettre l’emplacement SAN à la disposition des autres ordinateurs du réseau, utilisez la commande Supprimer pour déconnecter l’emplacement SAN de l’ordinateur original.
1 Suivez la procédure d’ajout d’un emplacement SAN décrite dans Utilisation d’emplacements SAN pour des événements et des projets à la page 428.
2 Créez un projet sur l’emplacement SAN ou copiez ou déplacez votre projet dans l’emplacement SAN.
3 Pour supprimer l’emplacement SAN et le mettre à la disposition des autres ordinateurs du réseau, sélectionnez l’emplacement SAN dans la bibliothèque d’événements ou la bibliothèque de projets, puis choisissez Fichier > Supprimer l’emplacement SAN.
L’emplacement SAN disparaît alors de la bibliothèque d’événements et de la bibliothèque de projets
4 Pour accéder à l’emplacement SAN à partir de l’autre ordinateur, suivez la procédure d’ajout d’un emplacement SAN décrite dans Utilisation d’emplacements SAN pour des événements et des projets à la page 428.
Chapitre 15 Gestion des fichiers de média 428
Veillez à accéder au même dossier que celui utilisé à l’étape 1.
L’emplacement SAN apparaît sous forme d’emplacement de stockage dans la bibliothèque d’événements et dans la bibliothèque de projets sur le deuxième ordinateur. Vous pouvez à présent utiliser cet ordinateur pour monter n’importe quel événement ou projet stocké sur cet emplacement SAN.
Utilisation d’emplacements SAN pour des événements et des projets
Vous pouvez enregistrer vos événements et vos projets sur un réseau de stockage SAN. Ces emplacements de stockage en réseau vous offrent un plus grand nombre d’options pour le stockage de vos fichiers de données et la rationalisation de votre flux de production à travers un réseau local haute vitesse.
Bien qu’il soit possible d’accéder à des emplacements SAN à partir de différents ordinateurs sur un réseau, un emplacement SAN ne peut être utilisé que par une seule copie installée de Final Cut Pro à la fois. Si vous disposez d’événements ou de projets stockés sur un emplacement SAN, vous devez supprimer cet emplacement dans Final Cut Pro pour le mettre à la disposition des autres ordinateurs du réseau.
La fonction d’emplacement SAN nécessite un volume SAN, tel qu’un volume Xsan connecté via le protocole FCP (Fibre Channel Protocol).
Ajout d’un emplacement SAN
1 Choisissez Fichier > Ajouter un emplacement SAN.
2 Dans la fenêtre qui apparaît, naviguez jusqu’à un dossier situé sur un périphérique de stockage ou un ordinateur connecté au réseau.
Le dossier que vous avez sélectionné apparaît sous la forme d’un emplacement de stockage dans la bibliothèque d’événements et dans la bibliothèque de projets.
Emplacement SAN sur votre réseau.
Vous pouvez utiliser l’emplacement SAN comme n’importe quel autre périphérique de stockage affiché dans la bibliothèque d’événements et dans la bibliothèque de projets. Vous pouvez, par exemple, créer des événements ou des projets sur l’emplacement SAN, ou bien, y copier et déplacer des événements ou des projets.
Suppression d’un emplacement SAN
1 Sélectionnez l’emplacement SAN à supprimer dans la bibliothèque d’événements ou la bibliothèque de projets.
2 Choisissez Fichier > Supprimer l’emplacement SAN.
L’emplacement SAN disparaît alors de la bibliothèque d’événements et de la bibliothèque de projets et devient (avec tous les événements ou projets qu’il contient) disponible pour les autres utilisateurs Final Cut Pro du réseau.
Chapitre 15 Gestion des fichiers de média 429
Création et gestion des archives de caméra
Vous avez la possibilité de créer une archive de caméra (copie de sauvegarde) du contenu de votre caméra ou caméscope. (Il est important de noter que vous ne pouvez pas créer d’archive pour un signal vidéo en direct, tel que celui produit par une caméra iSight.) Pour protéger votre média, il est recommandé d’enregistrer votre archive sur un disque ou une partition différente de celle sur laquelle vous stockez vos fichiers de médias utilisés avec Final Cut Pro.
Puisque vous pouvez importer des médias dans Final Cut Pro à partir d’une archive, il peut s’avérer utile d’archiver le média sur votre matériel si vous souhaitez effectuer l’une des actions suivantes :
••
vider rapidement le contenu de votre caméra ou de votre caméscope pour avoir la possibilité d’enregistrer immédiatement d’autre contenu et ne pas devoir attendre une importation dans Final Cut Pro, qui peut prendre un certain temps
••
importer le média archivé sur plusieurs ordinateurs sans devoir le conserver sur le caméscope ;
••
garder une archive du média d’une caméra que vous pouvez parcourir facilement sans avoir à l’importer dans Final Cut Pro.
Consultez la section Accès aux médias sur une archive ou une image disque à la page 40 pour en savoir plus sur l’importation de média dans Final Cut Pro depuis une archive de caméra.
Archivage du média sur votre caméra ou caméscope à système de fichiers
1 Si vous souhaitez enregistrer l’archive sur un périphérique de stockage externe, branchez-le sur votre ordinateur.
2 Branchez ensuite votre caméra ou caméscope sur votre ordinateur à l’aide du câble prévu à cet effet et activez l’appareil.
Si vous utilisez un caméscope, faites-le passer en mode de connexion PC. Le nom de ce mode de transfert varie selon le modèle de votre matériel. Il se peut que votre caméscope passe automatiquement en mode de « connexion » si vous activez le mode lecture lorsqu’il est connecté à votre ordinateur. Pour en savoir plus, consultez la documentation fournie avec votre caméscope.
Remarque : Si vous connectez un caméscope DVD à votre Mac, il se peut que l’application Lecteur DVD s’ouvre. Si cela se produit, il vous suffit de fermer l’application.
3 Dans Final Cut Pro, cliquez sur le bouton Importation de médias situé complètement à gauche de la barre d’outils (ou appuyez sur Commande + I).
Chapitre 15 Gestion des fichiers de média 430
4 Dans la fenêtre Importation des médias qui s’affiche, sélectionnez le périphérique dont vous souhaitez archiver le contenu dans la liste de caméras située sur la gauche.
Modifiez l’apparence des plans à l’aide de ces commandes.Le média sur le support s’affiche à cet endroit.Commandes de lecture
5 Cliquez sur le bouton Créer une archive situé dans le coin inférieur gauche de la fenêtre.
6 Dans le champ « Créer une archive de caméra », saisissez un nom pour l’archive.
7 Choisissez un emplacement dans le menu local Destination pour enregistrer l’archive, puis cliquez sur OK.
Remarque : Il est recommandé d’enregistrer votre archive sur un disque ou une partition différente de celle sur laquelle vous stockez vos fichiers de médias utilisés avec Final Cut Pro.
L’archive de caméra est conservée sur votre disque dur. Vous pouvez monter les archives comme s’il s’agissait d’un caméscope à système de fichiers et parcourir leur contenu ou importer les médias des archives de caméra dans Final Cut Pro. Pour en savoir plus, consultez Accès aux médias sur une archive ou une image disque à la page 40.
Remarque : Lorsque le disque contenant l’archive est connecté, il s’affiche automatiquement dans la liste d’archives de caméra dans Final Cut Pro.
Archivage du média sur votre caméra ou caméscope à système de bande
1 Si vous souhaitez enregistrer l’archive sur un périphérique de stockage externe, branchez-le sur votre ordinateur.
2 Branchez ensuite votre caméra ou caméscope sur votre ordinateur à l’aide du câble prévu à cet effet et activez l’appareil.
Si vous utilisez un caméscope, faites-le passer en mode de connexion PC. Le nom de ce mode de transfert varie selon le modèle de votre matériel. Il se peut que votre caméscope passe automatiquement en mode de « connexion » si vous activez le mode lecture lorsqu’il est connecté à votre ordinateur. Pour en savoir plus, consultez la documentation fournie avec votre caméscope.
Chapitre 15 Gestion des fichiers de média 431
3 Dans Final Cut Pro, effectuez l’une des opérations suivantes :
•• Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I).
•• Cliquez sur le bouton Média à l’extrémité gauche de la barre d’outils.
4 Dans la fenêtre Importation des médias qui s’affiche, sélectionnez le périphérique dont vous souhaitez
archiver le contenu dans la liste de caméras située sur la gauche.
5 Cliquez sur le bouton Créer une archive situé dans le coin inférieur gauche de la fenêtre.
6 Dans le champ « Créer une archive de caméra », saisissez un nom pour l’archive.
7 Choisissez un emplacement dans le menu local Destination pour enregistrer l’archive, puis cliquez
sur OK.
Remarque : Pour protéger votre média, il est recommandé d’enregistrer votre archive sur un
disque ou une partition différente de celle sur laquelle vous stockez vos fichiers de médias utilisés
avec Final Cut Pro.
Final Cut Pro lance l’archivage à partir de la position sur la bande. L’archivage se poursuit
jusqu’à ce que :
•• la fin de la bande soit atteinte ;
•• vous interrompiez manuellement l’archivage en cliquant sur Arrêter l’importation ou Fermer
(pour fermer la fenêtre Importation des médias).
L’archive de caméra est conservée sur votre disque dur. Vous pouvez monter les archives comme
s’il s’agissait d’un caméscope à système de fichiers et parcourir leur contenu ou importer les
médias des archives de caméra dans Final Cut Pro. Pour en savoir plus, consultez Accès aux
médias sur une archive ou une image disque à la page 40.
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Lorsque le disque contenant l’archive est connecté, il s’affiche automatiquement dans la liste d’archives de caméra dans Final Cut Pro, pour autant que l’archive se trouve dans l’un des deux emplacements suivants :
••
/Utilisateurs/nom d’utilisateur/Séquences/Final Cut Camera Archives/
••
La racine du disque de démarrage
Déplacement ou copie d’une archive de caméra
1 Dans le Finder, sélectionnez l’archive de caméra que vous souhaitez déplacer ou copier.
2 Procédez de l’une des manières suivantes :
••
Pour déplacer l’archive de caméra sur votre disque local : faites glisser l’archive de caméra sur son nouvel emplacement.
••
Pour copier l’archive de caméra sur votre disque local : en maintenant la touche Option enfoncée, faites glisser l’archive de caméra sur un nouvel emplacement sur votre disque local.
••
Pour copier l’archive de caméra sur un périphérique de stockage externe : faites glisser l’archive de caméra vers un emplacement sur votre périphérique de stockage externe.
Suppression d’une archive de caméra
Les archives de caméra sont peu volumineuses comparées à d’autres fichiers de média et n’ont, par conséquent, souvent pas de raison d’être supprimées. Toutefois, vous pouvez supprimer une archive de caméra à tout moment.
1 Dans le Finder, sélectionnez une archive de caméra.
2 Maintenez la touche Contrôle enfoncée et choisissez « Placer dans la Corbeille » dans le menu local qui s’affiche.
3 Tout en maintenant la touche Contrôle enfoncée, cliquez sur l’icône de la Corbeille située dans le Dock, puis choisissez Vider la Corbeille dans le menu contextuel.
Important : Vider la corbeille supprime définitivement l’archive de caméra.
Solutions aux problèmes communs des gestions des médias
Icônes d’avertissement
Lorsque des images s’affichent en rouge avec un triangle d’avertissement jaune dans la timeline ou dans l’événement, Final Cut Pro vous signale en fait qu’une partie de votre projet ou de votre événement est manquante. Plusieurs raisons peuvent expliquer la disparition de plans, d’événements, de fichiers de média et d’effets : le déplacement de projets et d’événements d’un ordinateur à un autre et la gestion active du dossier Events (Événements) ou Projects (Projets) de Final Cut Pro à l’aide du Finder sont deux des principales explications.
Pour en savoir plus sur l’emplacement des événements, des plans, des projets et des fichiers, consultez la section Emplacement de vos fichiers de média et de projet à la page 407.
Icône
Alerte
Description
Événements et plans Final Cut Pro
Événement manquant
Le dossier de l’événement n’est pas disponible.
Cet avertissement s’affiche si votre événement a été placé dans la Corbeille, si celui-ci ou un projet a été déplacé ou si vous avez consolidé le média d’un autre projet.
Chapitre 15 Gestion des fichiers de média 433
Icône
Alerte
Description
Plan manquant
Un plan utilisé dans un projet Final Cut Pro ou dans un événement n’est pas disponible.
Cet avertissement s’affiche si le plan a été placé dans la Corbeille, si celui-ci ou un événement a été déplacé ou si vous avez consolidé le média d’un autre projet.
Caméra manquante
Aucune caméra contenant des fichiers utilisés dans Final Cut Pro n’est connectée à votre système.
Pour ne pas recevoir cet avertissement, créez une copie du média lorsque vous l’importez. Consultez Organisation des fichiers lors de l’importation à la page 41 pour en savoir plus.
Fichiers de média
Fichier manquant
Un fichier n’est pas disponible dans le Finder.
Cet avertissement s’affiche si le fichier a été déplacé ou renommé dans le Finder, si un événement ou un projet a été déplacé ou si vous avez consolidé le média d’un autre projet.
Fichier modifié
Un fichier de média a été modifié par une application autre que Final Cut Pro.
Fichier proxy manquant
Un fichier proxy créé par Final Cut Pro ne se trouve pas à son emplacement prévu dans le Finder.
Consultez Transcodage des fichiers de média à la page 415 pour en savoir plus.
Effets Final Cut Pro
Effet manquant
Un effet est manquant dans Final Cut Pro.
Générateur manquant
Un générateur est manquant dans Final Cut Pro.
Titre manquant
Un titre est manquant dans Final Cut Pro.
Transition manquante
Une transition est manquante dans Final Cut Pro.
Chapitre 15 Gestion des fichiers de média 434
Problèmes courants relatifs à la gestion des médias
Cette section décrit des problèmes courants relatifs à la gestion de média et leurs solutions.
Si un projet ne s’affiche pas sur votre périphérique de stockage externe
mm
Assurez-vous que les dossiers Final Cut Projects et Final Cut Events se trouvent à la racine du périphérique de stockage.
mm
Si le périphérique de stockage ne s’affiche pas dans la liste des appareils de la bibliothèque de projets, vous pouvez copier ou déplacer manuellement les dossiers Final Cut Projects et Final Cut Events vers le dossier Séquences.
mm
Vous pouvez également ajouter manuellement différents dossiers de projets ou d’événements indépendamment à tout dossier Final Cut Projects ou Final Cut Events.
Pour en savoir plus, consultez Présentation de la gestion de média à la page 407.
Si vous importez directement un fichier d’un disque dur et changez son nom dans le Finder
Il se peut qu’un avertissement lié à un fichier manquant s’affiche si vous en déplacez ou en renommez un dans le Finder.
mm
Dans le Finder, réattribuez le nom du fichier qu’il possédait à l’origine dans le navigateur d’événements.
Si vous avez annulé une importation
Si vous avez annulé une importation et que vous n’avez pas importé un plan entier, celui-ci est signalé par une icône représentant une caméra dans son coin inférieur gauche.
Icône de caméra
mm
Suivez les instructions reprises dans le paragraphe « Réimportation d’un plan » de la section Importation à partir des caméras à système de fichiers à la page 22.
Si votre ordinateur semble ralentir lorsque Final Cut Pro réalise des tâches de gestion du média
Final Cut Pro enregistrant automatiquement toutes les modifications que vous apportez à un projet, ce dernier est alors à jour lorsque vous relancez Final Cut Pro à l’issue d’une coupure de courant. Si Final Cut Pro effectuait des tâches de gestion du média à l’arrière-plan, vous pouvez alors redémarrer ces processus manuellement à l’aide des commandes « Organiser les fichiers d’événements » et « Organiser les fichiers de projet ».
1 Sélectionnez le ou les événements de votre choix dans la bibliothèque d’événements ou un projet dans la bibliothèque de projets.
Chapitre 15 Gestion des fichiers de média 435
2 Procédez de l’une des manières suivantes :
••
Pour redémarrer les tâches de gestion d’arrière-plan pour un événement sélectionné : Choisissez Fichier > Organiser les fichiers d’événements.
••
Pour redémarrer les tâches de gestion d’arrière-plan pour un projet sélectionné : choisissez Fichier > Organiser les fichiers de projet.
Si votre caméra DSLR n’est pas reconnue par Final Cut Pro
mm
Suivez les instructions dans Importation à partir d’un appareil photo numérique à la page 31.
16
436
Présentation des préférences et des métadonnées
Dans Final Cut Pro, il vous est possible de modifier les réglages de préférences pour indiquer comment votre média source s’importe dans l’application, le mode de reproduction de vos plans et le type de montage applicable à vos plans dans la timeline.
Vous pouvez aussi afficher et modifier les renseignements associés à un plan donné, appelées les métadonnées d’un plan. Ces métadonnées comprennent des informations relatives aux fichiers de média source d’un plan ainsi que celles que vous ajoutez au plan, par exemple des notes. Pour en savoir plus, consultez Affichage et modification des métadonnées de plans à la page 451.
Préférences Final Cut Pro
Modification des réglages de préférences
Une préférence modifie le comportement d’une fonctionnalité particulière de Final Cut Pro. La plupart de ces réglages de préférences peuvent être activés ou désactivés à tout moment. Les sections suivantes décrivent les préférences de Final Cut Pro de façon plus détaillée.
Ouverture des préférences de Final Cut Pro
mm
Choisissez Final Cut Pro > Préférences (ou appuyez sur Commande + Virgule), puis cliquez sur le bouton d’une fenêtre en haut de la fenêtre pour l’ouvrir.
Copie des préférences Final Cut Pro entre ordinateurs
Vous pouvez copier les réglages des préférences de Final Cut Pro vers un autre Mac sur lequel Final Cut Pro est aussi installé afin que les réglages soient identiques sur les deux ordinateurs.
1 Le fichier contenant les réglages des préférences se trouve à l’emplacement suivant :
/Utilisateurs/nom d’utilisateur/Bibliothèque/Préférences/com.apple.FinalCut.plist
2 Copier le fichier des réglages des préférences au même emplacement sur un autre Mac.
Si nécessaire, remplacez toute autre version du fichier à cet emplacement.
Préférences et métadonnées
Chapitre 16 Préférences et métadonnées 437
Modification des préférences
Les préférences Montage influent sur les comportements liés au montage dans Final Cut Pro.
Contrôle du temps
••
Contrôle du temps : utilisez ce menu local pour choisir le mode de mesure du temps pour Final Cut Pro. Les changements apportés à ce réglage affectent l’affichage du temps (pour l’emplacement du skimmer ou de la tête de lecture) dans le panneau de contrôle repris au milieu de la barre d’outils, ainsi que les opérations de trim et de navigation dans Final Cut Pro. Les options suivantes vous sont proposées :
••
Affichage du timecode
••
Affichage du timecode avec sous-images
••
Durée en nombre d’images
••
Durée en secondes
Timeline
••
Afficher les commentaires détaillés sur le trimming : cochez cette case pour activer la présentation de deux fenêtres juxtaposées dans le visualiseur pour bénéficier d’un retour plus précis sur un point de montage lorsque deux plans contigus sont manipulés. Par exemple, pour un simple montage Ripple ou Roll, cet affichage reprend le point d’arrivée du plan de gauche et le point de départ du plan de droite.
••
Placer la tête de lecture après l’opération de montage : cochez cette case pour que la tête de lecture se place automatiquement sur la timeline à la fin du dernier montage. Par exemple, si vous insérez un plan entre deux autres sur la timeline, la tête de lecture se place automatiquement entre le plan inséré et celui immédiatement suivant.
Unités de l’inspecteur
••
Unités de l’inspecteur : ce menu local vous permet de définir l’affichage des valeurs dans les commandes de l’inspecteur pour les effets Transformation, Rognage et Distorsion.
••
Pixels : sélectionnez ce réglage pour afficher les valeurs exprimées en pixels.
••
Pourcentages : sélectionnez ce réglage pour afficher les valeurs exprimées en pourcentages.
Chapitre 16 Préférences et métadonnées 438
Audio
••
Afficher les formes d’onde de référence : cochez cette case pour modifier l’apparence de l’arrière-plan de la partie audio d’un plan de sorte à afficher les formes d’onde de référence. Une forme d’onde de référence affiche la résolution maximale de la forme d’onde audio active. En faisant appel à un facteur d’annulation sur la tonalité, les formes d’onde de référence permettent de distinguer la forme du son plus clairement. Lorsque la forme d’onde active change de forme (par exemple, se réduit lorsque le volume d’un plan est faible), celle de référence reste intégralement visible pour faciliter le montage.
Images fixes
••
Durée de montage de x secondes : utilisez cette case de valeur pour régler la durée de montage en secondes par défaut des images fixes et des plans d’arrêt sur image.
Transitions
••
Durée de x secondes : utilisez cette case de valeur pour régler la durée en secondes par défaut des transitions.
Avertissements de dialogue
••
Tout réinitialiser : cliquez sur ce bouton pour réinitialiser l’affichage de toutes les zones de dialogue d’avertissement.
Préférences de lecture
Les préférences de lecture influent sur les performances en lecture et de rendu de Final Cut Pro.
Rendu
••
Rendu en arrière-plan : cochez cette case pour activer les opérations de rendu de Final Cut Pro, qui s’effectuent lorsque le système est inactif.
••
Démarrer après : utilisez cette case de valeur pour définir la durée d’inactivité de votre système, exprimée en secondes, avant que le rendu en arrière-plan de Final Cut Pro se lance.
Lecture
••
Utiliser un média proxy : cliquez sur ce bouton pour exploiter du média proxy de qualité moyenne (converti à la moitié de la résolution d’origine) plutôt que du média en résolution complète lors de la lecture. Choisir cette option augmente les performances de lecture, bien que la qualité vidéo soit moindre. Dans Final Cut Pro, le média proxy est au format Apple ProRes 422 (Proxy).
Chapitre 16 Préférences et métadonnées 439
••
Utiliser un média original ou optimisé : ce bouton vous permet d’exploiter du média optimisé pour la lecture. Si aucun média optimisé n’est disponible, Final Cut Pro fait appel au média d’origine pour la lecture. Dans ce cas, utilisez le menu local Qualité de lecture pour indiquer d’utiliser toujours le plus haut niveau de qualité vidéo pour la lecture, ou de faire appel à de la vidéo de résolution plus modeste pour bénéficier de meilleures performances en lecture. Dans Final Cut Pro, le média optimisé est au format Apple ProRes 422.
••
Qualité de lecture : choisissez Haute qualité dans ce menu local pour donner la priorité à la qualité, ou sélectionnez Meilleures performances pour privilégier les performances.
••
Créer des média optimisés pour des plans multicam : cochez cette case pour transcoder automatiquement la vidéo de plans multicam au codec Apple ProRes 422, ce qui assure de meilleures performances lors du montage et des temps de rendu plus courts.
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Avertir lors de l’omission d’images durant la lecture : cochez cette case pour que Final Cut Pro vous avertisse lorsque des images sont abandonnées (Drop-Frame) lors de la lecture.
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Avertir lors de l’omission d’images à cause d’une mauvaise performance du disque dur : cochez cette case pour que Final Cut Pro vous avertisse lorsque des images sont abandonnées (Drop-Frame) pendant la lecture à cause des performances du disque dur.
Durée de pre-roll
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Durée de pre-roll : Utiliser la case de valeur pour définir la durée à lire avant une audition ou avant la position du skimmer ou de la tête de lecture lors de l’utilisation de la commande Lire le contexte.
Durée de post-roll
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Durée de post-roll : Utiliser la case de valeur pour définir la durée à lire avant une audition ou avant la position du skimmer ou de la tête de lecture lors de l’utilisation de la commande Lire le contexte.
Arrière-plan du lecteur
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Arrière-plan du lecteur : utilisez ce menu local pour choisir un modèle pour le visualiseur. La couleur sélectionnée est alors visible dans le cas de plans transparents, entièrement ou en partie, ou de plans ne tenant pas complètement sur l’image.
Sortie A/V
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Sortie A/V : utilisez ce menu local pour choisir un équipement audio/vidéo ou un moniteur externe pour la sortie. La sortie A/V nécessite une interface vidéo matérielle et logicielle de tierce partie et n’est disponible que sous OS X Lion 10.7.2 ou ultérieur. Pour en savoir plus, consultez Lecture sur un moniteur externe à la page 85.
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Préférences d’importation
Lorsque vous importez du média dans Final Cut Pro par le biais de la fenêtre Importation des médias, vous pouvez alors personnaliser vos réglages d’importation chaque fois que vous importez des fichiers. Si vous faites glisser cependant du média directement à partir du Finder dans Final Cut Pro, Final Cut Pro s’appuie sur les réglages d’importation que vous avez sélectionnés dans la fenêtre Importer des préférences de Final Cut Pro.
Organisation
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Copier les fichiers dans le dossier Final Cut Events : duplique les fichiers de médias et place part la copie dans le dossier Final Cut Events stocké sur votre système. Si vous importez un média depuis un autre disque ou volume, ou si vous voulez conserver une copie de tous les fichiers de média qui ont été importés dans Final Cut Pro au même emplacement, cochez cette case.
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Importer des dossiers sous forme de collections de mots-clés : crée une collection de mots-clés pour chaque dossier dans les fichiers en cours d’importation. Si les fichiers en cours d’importation se trouvent dans des dossiers dont le nom est évocateur, sélectionnez cette option pour conserver l’organisation des fichiers existante dans le Finder. (Il est important de noter que, bien que les collections de mots-clés ne soient pas imbriquées dans la bibliothèque d’événements, chaque fichier obtient une collection de mots-clés pour chaque dossier dans lequel il figure, quelle que soit la profondeur du sous-dossier dans l’arborescence du dossier en question.)
Transcodage
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Créer un média optimisé : cette option transcode la vidéo au format de codec Apple ProRes 422, lequel assure de meilleures performances lors du montage, des temps de rendu réduits et une qualité colorimétrique supérieure lors du compositing. Si le format original de la caméra peut être monté en offrant de bons résultats, cette option est estompée.
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Créer un média proxy : cette option permet de transcoder de la vidéo au format du codec Apple ProRes 422 (Proxy), ce qui génère des fichiers en haute qualité, pratiques pour le montage déconnecté. Les fichiers vidéo proxy occupent sensiblement moins d’espace disque, vous offrant souvent la possibilité de travailler sur un ordinateur portable même si celui-ci dispose de moins de mémoire et de puissance qu’un ordinateur de bureau. Cette option transcode des images fixes en fichiers JPEG (si le fichier original ne possède pas d’informations de canal alpha) ou PNG (dans le cas contraire).
Remarque : Lors du transcodage de fichiers, Final Cut Pro conserve toujours le média original en vue de son utilisation ultérieure. Pour en savoir plus sur l’emplacement des fichiers de média originaux, de média proxy et de média transcodés, consultez Emplacement de vos fichiers de média et de projet à la page 407.
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Vidéo
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Analyser la balance des couleurs : analyse la piste vidéo des plans pour détecter les problèmes de dominante de couleur et de contraste. La balance des couleurs est automatiquement corrigée lorsque vous faites glisser le plan sur la timeline. Vous pouvez corriger les problèmes de balance des couleurs d’un plan inclus dans un événement en activant la fonction Balance dans la section Couleur de l’inspecteur vidéo.
Vous pouvez désactiver le réglage automatique de la couleur à tout moment. Dans ce cas, le plan conserve les couleurs enregistrées à l’origine dans le projet.
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Rechercher les personnes : effectue l’analyse des plans pour détecter la présence de personnes et des types de plans. Une fois l’analyse effectuée, les mots-clés suivants sont ajoutés au plan le cas échéant : Une personne, Deux personnes, Groupe, Gros plan, Plan moyen ou Plan élargi. La case « Consolider les résultats de recherche de personnes » simplifie et récapitule tous les mots-clés d’analyse de ce type de recherche. Pour en savoir plus, consultez Options d’analyse des vidéos et des images fixes à la page 49. Si vous procédez à l’analyse pour rechercher des personnes, il est recommandé de cocher également la case « Créer des collections intelligentes après l’analyse ».
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Créer des collections intelligentes après l’analyse : crée une collection intelligente pour chaque mot-clé appliqué lors de l’analyse de plans vidéo pour rechercher des problèmes de stabilisation ou des personnes. Les collections intelligentes s’affichent dans un dossier à l’intérieur de l’événement.
Audio
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Analyser et résoudre les problèmes audio : analyse l’audio et corrige automatiquement tout bourdonnement, bruit et problème de tonalité. Vous pouvez à tout moment désactiver les corrections automatiques de l’audio ; dans ce cas, l’audio est lue telle qu’enregistrée à l’origine.
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Scinder l’audio mono et grouper l’audio stéréo : analyse et regroupe les canaux audio en mono double ou en stéréo, selon les résultats de l’analyse. Pour en savoir plus sur les canaux audio, consultez la section Configuration des canaux audio à la page 176.
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Supprimer les canaux silencieux : les canaux audio sont analysés et ceux laissés silencieux sont automatiquement supprimés.
Remarque : Il vous est possible de récupérer la configuration audio d’origine après l’importation. Consultez Configuration des canaux audio à la page 176.
Préférences de destinations
Pour modifier les destinations de partage reprises dans le menu Partager, utilisez la fenêtre Destinations des préférences de Final Cut Pro. Les destinations de la liste Destinations (reprise au côté gauche de la fenêtre Destinations) apparaissent également dans le sous-menu Partager du menu Fichier et dans le menu local qui s’affiche lorsque vous cliquez sur le bouton Partager dans la barre d’outils.
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Lorsque vous ouvrez Final Cut Pro pour la première fois, un ensemble de destinations par défaut apparaît dans la liste Destinations. Vous avez la possibilité d’ajouter d’autres destinations et en personnaliser au besoin. Pour connaître les destinations que vous pouvez ajouter, sélectionnez Ajouter une destination dans la liste Destinations. Lorsque vous sélectionnez une destination dans la liste Destinations, ses réglages s’affichent à droite.
Les réglages disponibles pour chaque destination sont décrits ci-dessous. Pour en savoir plus sur l’ajout et la modification de destinations, consultez Utilisation de destinations à la page 447.
DVD et Blu-ray
Faites appel à ces destinations pour graver votre projet ou plan sur un DVD en définition standard ou disque compatible Blu-ray, ou pour créer un fichier d’image disque (.img) que vous pouvez copier ensuite sur un lecteur externe ou graver sur disque.
Remarque : La destination Blu-ray ne s’affiche pas par défaut. Pour l’ajouter à la liste Destinations, consultez Utilisation de destinations à la page 447.
Les destinations DVD et Blu-ray comprennent les réglages suivants :
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Périphérique de sortie : reprend les dispositifs de sortie adaptés à votre système, notamment les lecteurs optiques et le disque dur de l’ordinateur.
Vous pouvez passer par votre disque dur pour créer un fichier d’image disque (.img) que vous pouvez copier ensuite sur un lecteur externe ou graver sur un DVD.
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Couches : affiche les couches disponibles sur le média de destination.
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Automatique : détecte automatiquement le type de disque que vous pouvez utiliser.
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Simple couche : identifie le disque en tant que disque simple couche. Vous pouvez faire appel à cette option pour forcer un disque double couche faisant office de disque simple couche.
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Double couche : identifie le disque en tant que disque double couche. Cette option peut forcer au besoin l’image disque à être formatée en disque double couche si vous choisissez l’option Disque dur pour désigner votre dispositif de sortie.
Important : En fonction de la durée du projet, le choix de Double couche en cas d’usage d’un disque simple couche peut entraîner une erreur lors de la gravure du disque.
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Modèle de disque : affiche les modèles de disque proposés.
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Au chargement du disque : affiche l’opération automatique qui s’exécute au moment de la lecture du disque.
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Afficher le menu : affiche le menu principal.
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Lire le film : lance immédiatement la lecture du film.
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Marqueurs : non disponibles pour Blu-ray lors de l'utilisation d'un appareil de sortie AVCHD. Cocher la case pour inclure le texte des marqueurs de chapitre sous forme de sous-titres dans le disque généré en sortie. Les utilisateurs peuvent ainsi passer d’un marqueur de chapitre à l’autre en appuyant sur le bouton Chapitre suivant ou Chapitre précédent sur le lecteur de DVD ou Blu-ray. Pour en savoir plus sur l’utilisation de marqueurs de chapitre, consultez Gestion des marqueurs de chapitre et de leur vignette à la page 160.
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En boucle : disponible uniquement pour les disques Blu-ray. Cochez cette case pour ajouter une icône de lecture en boucle au menu.
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Arrière-plan : cliquez sur le bouton Ajouter pour ajouter un graphisme en arrière-plan.
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Graphique du logo : disponible uniquement pour les disques Blu-ray. cliquez sur le bouton Ajouter pour ajouter un logo.
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Graphique du titre : disponible uniquement pour les disques Blu-ray. cliquez sur le bouton Ajouter pour ajouter un graphisme pour le titre.
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Preview : cliquez sur Menu principal pour afficher un aperçu du menu principal. Cliquez sur Menu Chapitre pour afficher un aperçu du menu des chapitres.
Adresse électronique
Utilisez cette destination pour envoyer votre projet ou plan par courrier électronique à travers le programme de messagerie électronique Mail d’Apple. La destination Adresse électronique crée automatiquement un courrier électronique qui inclut le fichier exporté.
Remarque : La destination Adresse électronique ne s’affiche pas par défaut. Pour l’ajouter à la liste Destinations, consultez Utilisation de destinations à la page 447.
La destination Adresse électronique inclut les réglages suivants :
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Résolution : choisissez une résolution dans le menu local.
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Compression : choisissez « Meilleure qualité » si vous voulez bénéficier d’une compression optimale. Choisissez « Encodage plus rapide » si vous êtes disposé à sacrifier de la qualité pour obtenir un traitement plus rapide.
YouTube, Vimeo, Facebook et CNN iReport
Faites appel à ces destinations pour publier votre projet ou plan à travers votre compte YouTube, Vimeo, Facebook ou CNN iReport.
Remarque : La destination CNN iReport ne s’affiche pas par défaut. Pour l’ajouter à la liste Destinations, consultez Utilisation de destinations à la page 447.
Important : Si vous possédez plusieurs comptes pour le même site web, vous devez créer une destination à part pour chaque compte. Après avoir saisi les informations de compte, le nom de la destination se voit complété de celui du compte entre parenthèses, par exemple, « YouTube (nom_utilisateur) ». Si vous le désirez, vous pouvez renommer la destination pour lui attribuer un nom plus évocateur.
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Les destination web regroupent les réglages suivants :
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Ouvrir une session : la première fois que vous ouvrez une nouvelle destination web, une fenêtre vous permet alors de saisir les informations de votre compte. Si vous saisissez votre nom de compte et votre mot de passe, et cochez la case « Conserver ce mot de passe dans mon trousseau », il ne vous est alors plus nécessaire de ressaisir vos nom et mot de passe par la suite.
Après la configuration de départ, vous pouvez cliquer sur le bouton Ouvrir une session dans les réglages de la destination pour saisir à nouveau ou pour modifier les informations de votre compte.
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Résolution : choisissez la résolution par défaut pour la destination. Si la destination est utilisée avec un projet ou un plan présentant une résolution inférieure à celle que vous avez sélectionnée, la résolution s’adapte pour se calquer sur celle du projet ou du plan.
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Compression : choisissez « Meilleure qualité » si vous voulez bénéficier d’une compression optimale. Choisissez « Encodage plus rapide » si vous êtes disposé à sacrifier de la qualité pour obtenir un traitement plus rapide.
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Convertir ce film en film privé : disponible uniquement pour YouTube. Si cette case est cochée, seuls les contacts que vous indiquez dans les paramètres de votre compte YouTube sont alors en mesure de visionner le film.
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Catégorie : disponible uniquement pour YouTube. Choisissez la catégorie YouTube sous laquelle votre film doit figurer.
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Visible par : disponible uniquement pour Facebook et pour Vimeo. Indiquez qui est en mesure de visionner votre film.
Enregistrer l’image active et Séquence d’images
Passez par ces destinations pour enregistrer l’image fixe d’une image vidéo quelconque de votre projet ou pour enregistrer un ensemble de fichiers d’images fixes, numérotés de façon séquentielle.
Remarque : Les destinations Enregistrer l’image active et Séquence d’images ne s’affichent pas par défaut. Pour ajouter l’une de ces deux à la liste Destinations, consultez Utilisation de destinations à la page 447.
Les destinations Enregistrer l’image active et Séquence d’images regroupent les réglages suivants :
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Exporter : choisissez un format pour le fichier exporté.
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Mettre l’image à l’échelle pour conserver les proportions : cochez cette case pour adapter l’échelle du fichier de sortie à des pixels carrés et conserver ainsi les proportions d’origine (entraînant par là même une augmentation ou une réduction du nombre de pixels à l’horizontale et à la verticale).
La case n’influe que sur les projets usant des formats avec des pixels non-carrés, tels les formats NTSC et PAL. Si la case est décochée (réglage par défaut), le fichier en sortie reprend les proportions pixels et le même nombre de pixels à l’horizontale et à la verticale que la vidéo d’origine.
Exportation d’un fichier
Remarque : Cette destination sert de base à trois destinations dans l’ensemble par défaut : Fichier master, Dispositifs Apple 720p et Dispositifs Apple 1080p. Lorsque vous créez ou modifiez des destinations dans les préférences de Final Cut Pro, cette destination s’appelle Exporter le fichier.
Utilisez cette destination pour exporter votre projet ou plan sous forme de fichier de film (audio + vidéo), de fichier vidéo (sans audio) ou de fichier audio (sans vidéo). Cette destination permet d’exporter des fichiers destinés aux appareils Apple, aux ordinateurs et pour l’hébergement sur le web.
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Vous pouvez personnaliser la destination Exporter le fichier en choisissant l’une des résolutions proposées en fonction de l’appareil de reproduction prévu. Par exemple, choisissez une résolution de 1280 x 720 pour l’iPhone et l’iPod, et une résolution de 1920 x 1080 pour l’iPad. Vous pouvez aussi exporter un ou plusieurs des rôles utilisés dans votre projet sous forme d’un ou de plusieurs fichiers appelés stems.
La destination d’exportation de fichiers inclut les réglages suivants :
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Format : formats de masterisation de listes (Vidéo et audio, Vidéo seulement, Audio seulement) et formats de publication (appareils Apple, Ordinateur, Hébergement web). Votre choix du format détermine les options proposées dans les menus locaux ci-dessous.
Important : Lors du partage d’un projet ou plan, vous ne pouvez changer de résolution que pour les formats de publication.
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Codec vidéo : choisissez le codec vidéo à utiliser pour le fichier exporté. (Les choix proposés s’appuient sur le format de média du plan ou du projet source.)
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Résolution : choisissez la résolution par défaut pour la destination. Si la destination est utilisée avec un projet ou un plan présentant une résolution inférieure à celle que vous avez sélectionnée, la résolution s’adapte pour se calquer sur celle du projet ou du plan.
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Formats de fichiers audio : si vous avez choisi Audio seulement dans le menu local Format, indiquez un format audio pour le fichier exporté. Si vous avez choisi une autre option dans le menu local Format, l’élément répertorie le format audio prévu pour le fichier exporté.
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Inclure les marqueurs de chapitre : cochez la case pour inclure les marqueurs de chapitre ajoutés au fichier de sortie du projet. Les utilisateurs peuvent ainsi passer d’un marqueur de chapitre à l’autre en cliquant sur le bouton Chapitre suivant ou Chapitre précédent dans iTunes ou dans QuickTime Player.
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« Une fois terminé », « Ouvrir avec » ou « Ajouter à la liste de lecture » : choisissez l’opération que vous souhaitez voir s’exécuter une fois l’exportation terminée. Vous avez le choix d’ouvrir le fichier exporté dans une application, de l’ajouter à votre bibliothèque iTunes ou de le publier dans le navigateur multimédia. Le nom du menu local s’adapte en fonction de l’option choisie.
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Ne rien faire : choisissez cette option si vous ne voulez pas ouvrir automatiquement le fichier exporté.
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QuickTime Player, iTunes ou autre application : choisissez cette option pour ouvrir le fichier exporté dans l’application par défaut associée à ce type de fichier. Vous pouvez définir ou changer d’application par défaut dans le Finder. Pour en savoir plus, consultez l'aide d’OS X accessible depuis le menu Aide lorsque le Finder est actif.
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Compressor : cette option vous permet d’ouvrir le fichier exporté dans Compressor. Le fichier exporté devient alors la source d’un nouveau lot, ce qui permet de continuer plus facilement à traiter le film du projet. Vous pouvez, par exemple, créer les versions compressées nécessaires pour la distribution, sans passer par Final Cut Pro.
Remarque : Cette option n’est disponible que si Compressor est installé sur le même ordinateur que Final Cut Pro.
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Autre : choisissez cette option pour indiquer une autre application pour ouvrir le fichier exporté. Sélectionnez l’application dans la fenêtre qui s’affiche, puis cliquez sur Ouvrir.
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Bibliothèque : choisissez cette option pour ajouter le fichier exporté à votre bibliothèque iTunes.
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Publier sur le navigateur multimédia : cette option permet d’ajouter le fichier exporté au navigateur multimédia pour mettre le fichier de sortie à disposition de Final Cut Pro et d’autres applications pour Mac.
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Rôles en tant que : disponible uniquement si vous avez choisi le format de masterisation (Vidéo et audio, Vidéo seulement ou Audio seulement) dans le menu local Format. Si vous devez exporter votre projet en tant que fichiers de média séparés (par exemple, pour exporter séparément les dialogues, la musique et les effets sonores de votre projet), vous pouvez exporter un ou plusieurs des rôles de votre projet en tant que stems. Vous pouvez créer soit un fichier QuickTime multipiste combiné, soit des fichiers audio ou vidéo séparés, au moyen des rôles audio et vidéo de votre projet ; vous pouvez en outre attribuer une sortie mono, stéréo ou Surround à vos canaux audio. Pour en savoir plus sur les rôles, consultez la section Présentation des rôles à la page 310.
Réglages de Compressor
Utilisez cette destination pour exporter un projet ou plan en utilisant les réglages de Compressor, l’application professionnelle de transcodage conçue pour fonctionner directement avec Final Cut Pro.
Remarque : La destination Réglages de Compressor ne s’affiche pas par défaut. Pour l’ajouter à la liste Destinations, consultez Utilisation de destinations à la page 447.
L’exportation d’un projet à l’aide d’un réglage de Compressor apporte de nombreux avantages qu’offre Compressor sans avoir à ouvrir votre projet dans cette application. Vous pouvez utiliser Compressor pour créer plusieurs fichiers de sortie en une seule opération de partage ou créer des réglages personnalisés qui modifient votre fichier de sortie, pour ajouter par exemple un filigrane à une vidéo. Si vous avez installé Compressor sur votre système, vous pouvez utiliser les réglages de Compressor avec Final Cut Pro.
Si quelqu’un vous procure un réglage Compressor alors que l’application n’est pas installée sur votre système, placez le réglage à l’emplacement suivant pour que Final Cut Pro et Compressor puissent y accéder) :
/Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Compressor/Settings/.
Il se peut que vous deviez créer les dossiers Compressor et Settings (des réglages) par le biais du Finder.
Conseil : Sous OS X Lion 10.7 et ultérieur, le dossier Bibliothèque au sein de votre dossier de départ est masqué par défaut. Vous pouvez y accéder depuis le Finder en choisissant Aller > Aller au dossier, puis en saisissant ~/Bibliothèque/ dans le champ Aller au dossier. Pour en savoir plus, consultez l'aide d’OS X accessible depuis le menu Aide lorsque le Finder est actif.
Diffusion HTTP en direct
Faites appel à cette destination pour envoyer de la vidéo et de l’audio à un iPhone, iPad, iPod touch ou un Mac par le biais d’un serveur web.
Remarque : La destination « Diffusion HTTP en direct » ne s’affiche pas par défaut. Pour l’ajouter à la liste Destinations, consultez Utilisation de destinations à la page 447.
Dans la mesure où la diffusion HTTP en direct adapte de façon dynamique la qualité de lecture du film au débit disponible des réseaux sans fil ou câblés, elle se révèle être un véritable atout lors de la diffusion de données en continu vers une application sous iOS ou un site web écrit en HTML5. Pour obtenir des informations détaillées sur la mise en oeuvre de la diffusion HTTP en direct, consultez le Site web Apple relatif à la diffusion HTTP en direct dédié aux développeurs à l’adresse http://developer.apple.com/fr/resources/http-streaming.
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La destination « Diffusion HTTP en direct » inclut les réglages suivants :
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Versions à exporter : cochez la case pour chaque type de connexion réseau que vous comptez prendre en charge pour la diffusion en continu. Vous pouvez exporter des fichiers à utiliser avec des dispositifs exploitant une connexion cellulaire, Wi-Fi et haut débit.
Lot
Il vous est possible de regrouper des ensembles de destinations en un lot pour créer plusieurs types de sortie en une seule étape. Lorsque vous partagez un projet ou un plan par le biais du lot, un fichier pour chaque destination incluse dans le lot est automatiquement généré en sortie. Pour savoir comment créer un lot, consultez Utilisation de destinations à la page 447.
Utilisation de destinations
Pour modifier les destinations de partage par le biais du menu Partager, utilisez la fenêtre Destinations des préférences de Final Cut Pro. Vous pouvez modifier des destinations, en ajouter des nouvelles, en supprimer et créer des lots de destinations, ce qui vous permet d’exporter plusieurs types de sortie en une seule fois. Vous avez également la possibilité de rétablir l’ensemble par défaut des destinations disponibles lors de la première ouverture de Final Cut Pro.
Pour en savoir plus sur le partage de projets et de plans depuis Final Cut Pro, consultez Présentation du partage de projets à la page 394.
Création d’une nouvelle destination
1 Procédez de l’une des manières suivantes :
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Choisissez Fichier > Partager > Ajouter une destination.
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Choisissez Final Cut Pro > Préférences, cliquez sur le bouton Destinations dans la partie supérieure de la fenêtre, puis choisissez Ajouter une destination dans la liste Destinations qui se trouve à gauche.
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Sélectionnez un projet ou plan, cliquez sur le bouton Partager dans la barre d’outils, puis choisissez Ajouter une destination dans le menu local.
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2 Dans la fenêtre Destinations de la fenêtre Préférences, procédez de l’une des manières suivantes :
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faites glisser une destination depuis la zone située à droite de la liste Destinations de gauche (ou double-cliquez sur une destination à droite).
Faites glisser une destination dans la liste Destinations.Liste Destinations
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Tout en maintenant la touche Contrôle enfoncée, cliquez sur une destination dans la liste Destinations, puis choisissez Dupliquer dans le menu contextuel.
La nouvelle destination apparaît sélectionnée dans la liste de gauche et les réglages pour la destination s’affichent à droite.
3 Choisissez les réglages à appliquer à la nouvelle destination.
Modifiez les réglages relatifs à la nouvelle destination.Nouvelle destination
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Si vous avez choisi une destination web, saisissez votre nom d’utilisateur et votre mot de passe dans la fenêtre qui s’affiche, puis cliquez sur OK. Si vous avez coché la case « Conserver ce mot de passe dans mon trousseau », vos nom et mot de passe sont alors sauvegardés afin que votre fichier exporté puisse être téléchargé automatiquement sur le site web.
Si vous avez choisi la destination Réglages de Compressor, sélectionnez un réglage de Compressor dans la fenêtre qui apparaît, puis cliquez sur OK. Les réglages regroupent ceux de Compressor livrés avec Final Cut Pro ainsi que tous ceux que vous pouvez avoir ajoutés.
Important : Vous pouvez utiliser la destination Réglages Compressor uniquement si Compressor est installé ou si quelqu’un vous fournit un réglage Compressor.
Pour en savoir plus sur les réglages dechaque destination, consultez Préférences de destinations à la page 441.
Vous avez la possibilité à tout moment de double-cliquer dans la liste Destinations pour saisir un nouveau nom ou utiliser les commandes de droite pour modifier les réglages de la destination. Au fur et à mesure que vous personnalisez la destination, vos modifications s’enregistrent automatiquement.
Modification de destinations existantes
Remarque : Il vous est également possible de modifier les réglages d’une destination existante lors du partage d’un projet ou d’un plan. Pour en savoir plus, consultez Partage de projets, de plans et de plages à la page 395.
1 Choisissez Final Cut Pro > Préférences, puis cliquez sur Destinations.
La fenêtre Destinations s’affiche alors pour répertorier à gauche la liste des destinations.
2 Procédez de l’une des façons suivantes :
••
Pour modifier les réglages d’une destination : sélectionnez une destination, puis modifiez ses réglages à droite.
Modifiez les réglages relatifs à la destination sélectionnée.Sélectionnez une destination dans la liste Destinations.
Chapitre 16 Préférences et métadonnées 450
••
Pour rétablir les réglages d’origine d’une destination : Tout en maintenant la touche Contrôle enfoncée, cliquez sur une destination dans la liste Destinations, puis choisissez « Rétablir les réglages d’origine » dans le menu contextuel.
Les réglages de la destination reprennent alors leurs valeurs d’origine et s’enregistrent automatiquement.
••
Pour renommer une destination : double-cliquez sur une destination dans la liste de gauche, puis saisissez un nouveau nom.
••
Pour modifier l’ordre des destinations dans la liste : Faites glisser une destination vers un emplacement différent dans la liste Destinations.
Lorsque vous modifiez des destinations, vos modifications s’enregistrent automatiquement.
Création d’un lot de destinations
Les lots simplifient la création simultanée de plusieurs types de sortie. Un lot héberge un certain nombre de destinations. Lorsque vous partagez un projet ou un plan par le biais du lot, un fichier pour chaque destination incluse dans le lot est automatiquement généré en sortie.
1 Dans la fenêtre Destinations de la fenêtre Préférences, sélectionnez Ajouter une destination dans la liste Destinations, puis double-cliquez sur la destination Lot (ou faites-la glisser de la zone située à droite de la liste Destinations de gauche).
Un lot vide apparaît dans cette dernière liste.
2 Pour ajouter des destinations au lot, faites-y glisser les destinations existantes à partir de la liste Destinations, ou sélectionnez Ajouter une destination et faites glisser des destinations sur le lot depuis la zone située à droite.
Conseil : Pour créer rapidement un lot à partir des destinations tirées de la liste Destinations, sélectionnez-en une ou plusieurs dans cette dernière liste en cliquant tout en maintenant la touche Contrôle enfoncée, puis choisissez « Nouveau lot d’après la sélection » dans le menu contextuel.
Suppression d’une destination
Procédez de l’une des manières suivantes :
mm
Tout en maintenant la touche Contrôle enfoncée, cliquez sur une destination dans la liste Destinations, puis sélectionnez Supprimer dans le menu contextuel.
mm
Sélectionnez une destination dans la liste Destinations et appuyez sur Commande + Supprimer.
mm
Sélectionnez une destination dans la liste Destinations, puis cliquez sur le bouton Supprimer (–) sous la liste.
Indication d’une nouvelle destination par défaut
Une destination porte le nom de la destination par défaut. Elle seule peut être ouverte à l’aide d’un raccourci clavier (Commande + E). Lorsque vous ouvrez Final Cut Pro pour la première fois, la destination du fichier master est celle utilisée par défaut. Vous avez la possibilité de définir en toute simplicité par défaut n’importe quelle autre destination.
mm
Cliquez sur la destination à définir par défaut tout en maintenant la touche Contrôle enfoncée, puis choisissez Par défaut dans le menu contextuel.
Le nom de la nouvelle destination par défaut se voit complété du suffixe « (par défaut) ».
Rétablissement de l’ensemble par défaut de destinations fourni avec Final Cut Pro
mm
Cliquez dans la liste Destinations tout en maintenant la touche Contrôle enfoncée, puis choisissez « Rétablir les réglages par défaut » dans le menu contextuel.
Chapitre 16 Préférences et métadonnées 451
Toutes les destinations personnalisées sont alors supprimées et l’ensemble par défaut des destinations s’affiche. Pour retrouver la liste des destinations par défaut, consultez Présentation du partage de projets à la page 394.
Partage de destinations entre des utilisateurs de Final Cut Pro
mm
Pour exporter des destinations depuis votre copie de Final Cut Pro : faites glisser dans le Finder une ou plusieurs destinations depuis la liste Destinations reprise dans la fenêtre des préférences de Final Cut Pro.
Le fichier de destination se voit complété de l’extension .fcpxdest.
mm
Pour importer des destinations dans votre copie de Final Cut Pro : Faites glisser un fichier de destination du Finder sur la liste Destinations.
La destination ajoutée apparaît dans la liste Destinations, le sous-menu Partager du menu Fichier et dans le menu local qui s’affiche lorsque vous cliquez sur le bouton Partager dans la barre d’outils.
Utilisation de métadonnées
Affichage et modification des métadonnées de plans
Les informations relatives à vos fichiers de média source, celles enregistrées par la caméra et les autres renseignements de description d’un plan s’appellent les métadonnées. Dans Final Cut Pro, vous pouvez créer vos propres associations de métadonnées à afficher avec vos plans, appelées présentations des métadonnées. Il vous est possible de créer des présentations des métadonnées ou modifier celles fournies avec Final Cut Pro.
Final Cut Pro prévoie trois types de métadonnées :
••
Données EXIF (Exchangeable Image File, fichier image d’échange) : renseignements que la caméra enregistre et stocke dans le média au moment de la prise de vue, comme la marque et le modèle de la caméra, la taille du fichier, le profil colorimétrique et le nombre de bits par échantillon.
••
Données IPTC (International Press Telecommunications Council) : données standardisées utilisées par les agences de presses pour intégrer des mots-clés, des légendes, des avis liés aux droits d’auteur et autres informations au sein même des fichiers de média.
••
Métadonnées Final Cut Pro : données à appliquer aux plans dans Final Cut Pro, par exemple le nom des plans, leur classement et les mots-clés.
L’inspecteur d’informations vous permet d’afficher et de modifier les métadonnées pour un plan ou un groupe de plans sélectionné dans le navigateur d’événements ou dans la timeline.
Bouton d’informations
Chapitre 16 Préférences et métadonnées 452
L’inspecteur de partage affiche également les métadonnées de partage qui sont exportées avec
un plan ou un projet partagé. Pour en savoir plus, consultez Modification des attributs de partage
à la page 400.
Affichage des métadonnées d’un plan
1 Sélectionnez un plan.
2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur prévu sur la barre d’outils
(illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui
s’affiche.
Les métadonnées du plan ou du groupe de plans sélectionné s’affichent dans les champs de
l’inspecteur d’informations.
Passage d’une présentation des métadonnées à l’autre dans l’inspecteur d’informations
Vous pouvez modifier les champs de métadonnées qui apparaissent dans l’inspecteur d’informations
en choisissant une autre présentation de métadonnées dans le menu local prévu à cet effet.
1 Sélectionnez un plan.
2 Ouvrir l’inspecteur d’informations.
3 Choisissez une présentation de métadonnées dans le menu local prévu à cet effet.
Menu local Présentation des
métadonnées
Remarque : Si vous créez des présentations de métadonnées personnalisées, celles-ci apparaissent
également dans le menu local.
Modification des métadonnées d’un plan
1 Sélectionnez un plan.
2 Ouvrir l’inspecteur d’informations.
3 Dans le menu local Présentation des métadonnées, choisissez-en une contenant les champs
adaptés aux métadonnées que vous souhaitez modifier.
4 Effectuez l’une des opérations suivantes :
•• Cliquez sur un champ de texte pour l’activer, puis saisissez le texte à inclure.
Remarque : S’il vous est impossible de cliquer sur un champ de texte, cela signifie qu’il n’est
pas modifiable. C’est par exemple le cas de certains champs de métadonnées EXIF.
•• Choisissez dans le menu local une option adaptée aux métadonnées à modifier.
Remarque : vous pouvez également modifier la date et l’heure de la propriété « Contenu créé »
relative à vos plans source dans le navigateur d’événements. Pour ce faire, sélectionnez simplement
des plans, puis choisissez Modifier > Régler la date et l’heure de création du contenu.
Réorganisation des champs dans une présentation de métadonnées
mm Dans l’inspecteur d’informations, faites glisser les étiquettes de métadonnées de sorte à établir
leur nouvel ordre.
Chapitre 16 Préférences et métadonnées 453
Modification de présentations de métadonnées
Il vous est possible de créer des présentations des métadonnées ou de modifier celles fournies
avec Final Cut Pro.
Création d’une présentation de métadonnées
1 Sélectionnez un plan.
2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur prévu sur la barre d’outils
(illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui
s’affiche.
3 Dans l’inspecteur d’informations, choisissez une présentation de métadonnées dans le menu
local prévu à cet effet.
4 Dans la fenêtre Présentations des métadonnées, choisissez « Nouvelle présentation des métadonnées
» à partir du menu local Action situé en bas à gauche de la fenêtre.
5 Attribuez un nom à la nouvelle présentation de métadonnées et appuyez sur Retour.
6 Pour limiter le nombre de propriétés à un groupe précis, tels que les propriétés EXIF ou les propriétés
vidéo, choisissez un groupe dans le menu local Propriétés, repris dans la partie supérieure
de la fenêtre.
7 Pour ajouter une propriété à la présentation de métadonnées, cochez la case à gauche de
la propriété.
Cochez une case pour ajouter une propriété
à la présentation des métadonnées.
Menu local Action
8 Lorsque les champs de métadonnées attribués à la présentation de métadonnées vous
conviennent, cliquez sur OK.
La nouvelle présentation de métadonnées est alors ajoutée au menu local prévu à cet effet dans
l’inspecteur d’informations.
Chapitre 16 Préférences et métadonnées 454
Modification d’une présentation de métadonnées
Vous avez la possibilité de modifier la combinaison de métadonnées qui apparaît dans une présentation de métadonnées. Vous pouvez renommer, ajouter ou supprimer les champs de métadonnées, en créer d’autres champs personnalisés et réorganiser l’ordre dans lequel ils s’affichent.
1 Sélectionnez un plan.
2 Ouvrir l’inspecteur d’informations.
3 Dans l’inspecteur d’informations, choisissez une présentation de métadonnées dans le menu local prévu à cet effet.
4 Dans la fenêtre Présentations des métadonnées, sélectionnez celle à modifier, puis effectuez l’une des opérations suivantes :
••
Pour renommer la présentation de métadonnées : double-cliquez sur le nom de la présentation de métadonnées dans la colonne de gauche, attribuez-lui un nouveau nom, puis appuyez sur Entrée.
••
Pour supprimer des propriétés (et par là même, des champs de métadonnées) de la présentation de métadonnées : dans la colonne Propriété, décochez la case en regard de la propriété à supprimer.
••
Pour ajouter des propriétés (et donc, des champs de métadonnées) à la présentation de métadonnées : dans la colonne Propriété, cochez la case en regard de la propriété à ajouter.
••
Pour ajouter une propriété personnalisée (champs de métadonnées) à la présentation de métadonnées : choisissez « Ajouter un champ de métadonnées personnalisées » dans le menu local Action , attribuez un nom et une description à la nouvelle propriété, puis cliquez sur OK.
5 Lorsque les champs de métadonnées sont correctement attribués à la présentation de métadonnées sélectionnée, cliquez sur OK.
Duplication d’une présentation de métadonnées
Si vous voulez créer une présentation de métadonnées contenant la plupart des champs de métadonnées reprises dans une présentation de métadonnées existante, il vous est possible d’économiser du temps en dupliquant la présentation existante puis en la modifiant.
1 Sélectionnez un plan.
2 Ouvrir l’inspecteur d’informations.
3 Dans l’inspecteur d’informations, choisissez la présentation de métadonnées à dupliquer dans le menu local prévu à cet effet, puis choisissez « Enregistrer la présentation des métadonnées sous » à partir du menu local Présentation des métadonnées.
4 Dans la fenêtre qui s’affiche en haut de la fenêtre de Final Cut Pro, attribuez un nom à la nouvelle présentation de métadonnées, puis cliquez sur OK.
La nouvelle présentation de métadonnées apparaît alors dans le menu local prévu à cet effet dans l’inspecteur d’informations. Modifiez la nouvelle présentation selon vos besoins.
Suppression d’une présentation de métadonnées
1 Sélectionnez un plan.
2 Ouvrir l’inspecteur d’informations.
3 Dans l’inspecteur d’informations, choisissez une présentation de métadonnées dans le menu local prévu à cet effet.
4 Dans la fenêtre Présentations des métadonnées, choisissez la présentation à supprimer dans la colonne de gauche, puis choisissez « Supprimer la présentation des métadonnées » dans le menu local Action situé dans le coin inférieur gauche.
Chapitre 16 Préférences et métadonnées 455
La présentation est alors supprimée de la colonne de gauche dans la fenêtre et du menu local
dans l’inspecteur d’informations.
Remarque : La suppression d’une présentation de ce type n’entraîne pas celle des métadonnées
appliquées à un plan ou à son média source.
Modification de noms de plans par lot
Lorsque vous importez du média dans Final Cut Pro, les plans portent souvent des noms peu
évocateurs, tels que ceux attribués par la caméra. Bien qu’il vous soit possible de renommer des
plans indépendamment, vous pouvez aussi réattribution le nom d’une sélection de plans automatiquement
sous forme de lot (réattribution de nom par lot) dans le navigateur d’événements,
une fois le média importé dans Final Cut Pro. Final Cut Pro fournit des préréglages d’attribution
de nom personnalisables pour renommer facilement des groupes conséquents de plans.
Modification de noms de plans par lot à l’aide d’un préréglage d’attribution de nom
1 Dans le navigateur d’événements, sélectionnez les plans à renommer.
2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur prévu sur la barre d’outils
(illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui
s’affiche.
3 Choisissez « Appliquer le nom personnalisé » à partir du menu local Action , puis choisissez
un préréglage d’attribution de nom dans le sous-menu.
Les plans sélectionnés dans le navigateur d’événements sont alors renommés.
Création d’un préréglage d’attribution de nom
Dans la plupart des cas, vous serez amené à créer un préréglage d’attribution de nom et à
le personnaliser.
Conseil : Le moyen le plus simple de créer un préréglage d’attribution de nom consiste à en
dupliquer un existant. Reportez-vous à la tâche suivante pour en savoir plus.
1 Dans le navigateur d’événements, sélectionnez les plans à renommer.
2 Ouvrir l’inspecteur d’informations.
3 Choisissez « Appliquer le nom personnalisé » à partir du menu local Action , puis choisissez
Nouveau dans le sous-menu.
4 Dans la fenêtre « Préréglages d’attribution de nom », double-cliquez sur Sans titre, attribuez un
nom au nouveau préréglage et appuyez sur Retour.
Le nouveau préréglage d’attribution du nom apparaît alors dans le sous-menu « Appliquer le
nom personnalisé » du menu local Action.
Création d’une copie d’un préréglage d’attribution de nom existant
Le moyen le plus simple de créer un préréglage d’attribution de nom consiste à dupliquer un
préréglage existant, à savoir un préréglage contenant la plupart des options de format de nom à
inclure, et à le modifier.
1 Dans le navigateur d’événements, sélectionnez les plans à renommer.
2 Ouvrir l’inspecteur d’informations.
Chapitre 16 Préférences et métadonnées 456
3 Choisissez « Appliquer le nom personnalisé » à partir du menu local Action , puis choisissez Modifier dans le sous-menu.
4 Dans la fenêtre « Préréglages d’attribution de nom », maintenez la touche Contrôle enfoncée tout en cliquant sur le préréglage à dupliquer, puis choisissez Dupliquer dans le menu contextuel.
Le préréglage d’attribution de nom dupliqué apparaît sous celui d’origine.
5 Attribuez un nom au préréglage dupliqué et appuyez sur Retour.
Il vous est à présent possible de modifier le préréglage selon vos besoins.
Modification d’un préréglage d’attribution de nom existant
1 Dans le navigateur d’événements, sélectionnez les plans à renommer.
2 Ouvrir l’inspecteur d’informations.
3 Choisissez « Appliquer le nom personnalisé » à partir du menu local Action , puis choisissez Modifier dans le sous-menu.
4 Dans la fenêtre « Préréglages d’attribution de nom », ajoutez les libellés de nommage en faisant glisser les éléments des zones « Informations sur le plan », « Date/heure », « Format » et « Caméra » sur le champ Format.
Pour supprimer un libellé de nommage, sélectionnez-le dans le champ Format et appuyez sur Supprimer.
5 Réorganisez les libellés dans le champ Format en les faisant glisser.
6 Vous avez la possibilité d’ajouter des caractères entre les libellés de nommage dans ledit champ, tels que des traits de soulignement (_) et des espaces.
Chapitre 16 Préférences et métadonnées 457
7 Lorsque le nouveau format du préréglage d’attribution de nom vous convient, cliquez sur OK.
Suppression d’un préréglage d’attribution de nom
1 Sélectionnez un plan.
2 Ouvrir l’inspecteur d’informations.
3 Choisissez « Appliquer le nom personnalisé » à partir du menu local Action , puis choisissez Modifier dans le sous-menu.
4 Dans la fenêtre « Préréglages d’attribution de nom », sélectionnez le préréglage à supprimer, puis cliquez sur le bouton Supprimer les préréglages (doté du signe moins).
Le préréglage d’attribution de nom est alors supprimé de la fenêtre « Préréglages d’attribution de nom ».
17
458
Présentation des raccourcis clavier et des gestes Multi-Touch
Final Cut Pro propose plusieurs moyens pour améliorer votre productivité lors de l’élaboration d’un projet :
••
Raccourcis clavier standards : de nombreuses tâches courantes, telles que l’ouverture d’une fenêtre précise ou l’ajout d’un plan, à partir du navigateur d’événements vers la timeline, peuvent être accomplies très rapidement à l’aide d’une ou de plusieurs touches. Consultez la section Raccourcis clavier à la page 458.
••
Gestes Multi-Touch : si vous possédez un trackpad ou une souris Multi-Touch, vous pouvez utiliser les gestes Multi-Touch pour effectuer rapidement de nombreuses tâches lors de la création d’un projet. Consultez la section Gestes Multi-Touch à la page 473.
••
Raccourcis clavier personnalisés : vous pouvez créer des raccourcis supplémentaires en définissant vos propres raccourcis clavier personnalisés pour les fonctionnalités que vous utilisez souvent, telles que les commandes de réglage colorimétrique. Si vous êtes plus habitué aux raccourcis clavier d’une autre application, l’éditeur de commandes vous permet de substituer ces raccourcis clavier à ceux définis par défaut dans Final Cut Pro. Consultez la section Affichage des raccourcis clavier dans l’éditeur de commandes à la page 474.
Raccourcis clavier
Vous pouvez passer par les raccourcis clavier pour accomplir rapidement de nombreuses tâches dans Final Cut Pro. Pour utiliser un raccourci clavier, appuyez sur toutes les touches composant le raccourci. Les raccourcis relatifs aux commandes courantes sont répertoriés dans le tableau ci-dessous.
Application
Commande
Raccourci
Action
Masquer l’application
Commande + H
Masquer Final Cut Pro
Masquer les autres applications
Commande + Option + H
Masquer toutes les applications excepté Final Cut Pro
Personnalisation du clavier
Commande + Option + K
Ouvrir l’éditeur de commandes
Placer dans le Dock
Commande + M
Placer Final Cut Pro dans le Dock
Préférences
Commande + Virgule (,)
Ouvrir la fenêtre des préférences de Final Cut Pro
Quitter
Commande + Q
Quitter Final Cut Pro
Rétablir la modification
Commande + Maj + Z
Rétablir la dernière commande
Annuler la modification
Commande + Z
Annuler la dernière commande
Raccourcis clavier et gestes
Chapitre 17 Raccourcis clavier et gestes 459
Montage
Commande
Raccourci
Action
Ajouter au scénario
E
Ajouter la sélection jusqu’à la fin du scénario
Audition : Ajouter à l’audition
Maj + Contrôle + Y
Ajouter le plan sélectionné à l’audition
Audition : dupliquer et coller les effets
Commande + Option + Y
Dupliquer les plans dans l’audition et ajouter des effets
Audition : dupliquer comme audition
Option + Y
Créer une audition avec un plan de la timeline et une version dupliquée du plan, y compris les effets appliqués
Audition : dupliquer l’original
Commande + Maj + Y
Dupliquer le plan d’audition sélectionné sans les effets appliqués
Audition : remplacer et ajouter à l’audition
Maj + Y
Créer une audition et remplacer le plan de la timeline par la sélection
Lame de rasoir
Commande + B
Couper le plan du scénario principal (ou la sélection) au niveau du skimmer ou de la tête de lecture
Lame de rasoir sur tout
Commande + Maj + B
Couper tous les plans à l’emplacement du skimmer ou de la tête de lecture
Scinder les éléments de plan
Commande + Maj + G
Diviser l’élément sélectionné en composants
Modifier la durée
Contrôle + D
Modifier la durée de la sélection
Connecter au scénario principal
Q
Connecter la sélection au scénario principal
Connecter à rebours au scénario principal
Maj + Q
Connecter la sélection au scénario principal, en alignant le point d’arrivée de la sélection sur le skimmer ou la tête de lecture
Copier
Commande + C
Copier la sélection
Créer une audition
Commande + Y
Créer une audition à partir de la sélection
Créer un scénario
Commande + G
Créer un scénario à partir d’une sélection de plans connectés
Couper
Commande + X
Couper la sélection
Couper et passer à l’angle 1 du visualiseur
1
Couper et faire basculer le plan multicam sur l’angle 1 du groupe actuel
Couper et passer à l’angle 2 du visualiseur
2
Couper et faire basculer le plan multicam sur l’angle 2 du groupe actuel
Couper et passer à l’angle 3 du visualiseur
3
Couper et faire basculer le
plan multicam sur l’angle 3 du groupe actuel
Couper et passer à l’angle 4 du visualiseur
4
Couper et faire basculer le
plan multicam sur l’angle 4 du groupe actuel
Chapitre 17 Raccourcis clavier et gestes 460
Commande
Raccourci
Action
Couper et passer à l’angle 5 du visualiseur
5
Couper et faire basculer le
plan multicam sur l’angle 5 du groupe actuel
Couper et passer à l’angle 6 du visualiseur
6
Couper et faire basculer le
plan multicam sur l’angle 6 du groupe actuel
Couper et passer à l’angle 7 du visualiseur
7
Couper et faire basculer le plan multicam sur l’angle 7 du groupe actuel
Couper et passer à l’angle 8 du visualiseur
8
Couper et faire basculer le
plan multicam sur l’angle 8 du groupe actuel
Couper et passer à l’angle 9 du visualiseur
9
Couper et faire basculer le
plan multicam sur l’angle 9 du groupe actuel
Supprimer
Supprimer
Supprimer la sélection de la timeline, refuser la sélection du navigateur d’événements ou supprimer un multicam via les montages
Supprimer uniquement la sélection
Commande + Option + Supprimer
Supprimer la sélection et joindre le ou les plans connectés au plan vide obtenu
Tout désélectionner
Commande + Maj + A
Désélectionner tous les éléments sélectionnés
Dupliquer
Commande + D
Dupliquer la sélection dans le navigateur d’événements
Activer/désactiver le plan
V
Activer ou désactiver la lecture pour la sélection
Développer l’audio/la vidéo
Contrôle + S
Afficher l’audio et la vidéo séparément pour tous les plans sélectionnés
Développer/Réduire les composants audio
Option + Contrôle + S
Développer ou réduire les composants audio pour la sélection dans la timeline
Étendre le montage
Maj + X
Étendre le point de montage sélectionné jusqu’à l’emplacement du skimmer ou de la tête de lecture
Étendre la sélection vers le bas
Maj + Flèche vers le bas
Dans le navigateur d’événements, ajouter le plan suivant à la sélection
Étendre la sélection vers le haut
Maj + Flèche vers le haut
Dans le navigateur d’événements, ajouter le plan précédent à la sélection
Finaliser l’audition
Maj + Option + Y
Dissoudre l’audition et la remplacer par le meilleur élément d’audition
Insérer
W
Insérer la sélection à l’emplacement du skimmer ou de la tête
de lecture
Chapitre 17 Raccourcis clavier et gestes 461
Commande
Raccourci
Action
Insérer/Connecter une image figée
Option + F
Insérer une image figée au niveau de la tête de lecture ou du skimmer dans la timeline, ou connecter une image figée du skimmer ou de la tête de lecture dans l’événement à l’emplacement de la tête de lecture dans la timeline
Insérer un espace
Option + W
Insérer un plan vide à l’emplacement du skimmer ou de la tête
de lecture
Insérer un repère d’emplacement
Commande + Option + W
Insérer un plan repère d’emplacement au niveau du skimmer ou
de la tête de lecture
Prélever du scénario
Commande + Option + Flèche haut
Prélever la sélection du scénario et la connecter aux plans vides résultants
Baisser le volume de 1 dB
Contrôle + Tiret (-)
Baisser le volume audio de 1 dB
Déplacer la tête de lecture
Contrôle + P
Déplacer la tête de lecture en saisissant une valeur de timecode
Nouveau plan composé
Option + G
Créer un plan composé (s’il n’y a pas de sélection, créer un plan composé vide)
Pousser la sous-image audio vers la gauche
Option + Virgule (,)
Déplacer légèrement le point de montage audio d’une sous-image vers la gauche en créant un montage scindé
Pousser la sous-image audio vers la gauche de plusieurs
Maj + Option + Virgule (,)
Déplacer légèrement le point de montage audio de 10 sous-images vers la gauche en créant un montage scindé
Pousser la sous-image audio vers la droite
Option + point (.)
Déplacer légèrement le point de montage audio d’une sous-image vers la droite en créant un montage scindé
Pousser la sous-image audio vers la droite de plusieurs
Maj + Option + point (.)
Déplacer légèrement le point de montage audio de 10 sous-images vers la droite en créant un montage scindé
Pousser vers le bas
Option + Flèche vers le bas
Pousser la valeur de l’image clé sélectionnée vers le bas dans l’éditeur d’animation
Pousser vers la gauche
Virgule (,)
Déplacer légèrement la sélection d’une unité vers la gauche
Pousser à gauche de plusieurs
Maj + Virgule (,)
Déplacer légèrement la sélection de 10 unités vers la gauche
Pousser vers la droite
Point (.)
Déplacer légèrement la sélection d’une unité vers la droite
Pousser à droite de plusieurs
Maj + point (.)
Déplacer légèrement la sélection de 10 unités vers la droite
Chapitre 17 Raccourcis clavier et gestes 462
Commande
Raccourci
Action
Pousser vers le haut
Option + Flèche vers le haut
Pousser la valeur de l’image clé sélectionnée vers le haut dans l’éditeur d’animation
Ouvrir une audition
Y
Ouvrir l’audition sélectionnée
Remplacer les connexions
Accent grave (`)
Remplacer temporairement les connexions des plans sur la sélection
Écraser
D
Écraser au niveau du skimmer ou de la tête de lecture
Écraser - à rebours
Maj + D
Écraser vers l’arrière à partir de l’emplacement du skimmer ou de la tête de lecture
Remplacer par le scénario principal
Commande + Option + Flèche bas
Écraser au niveau du skimmer ou de la tête de lecture dans le scénario principal
Coller comme élément connecté
Option + V
Coller la sélection et la connecter au scénario principal
Coller et insérer à la tête de lecture
Commande + V
Insérer le contenu du Presse-papiers à l’emplacement du skimmer ou de la tête de lecture
Angle précédent
Maj + Contrôle + Flèche gauche
Passer à l’angle précédent dans le plan multicam
Angle audio précédent
Maj + Option + Flèche gauche
Passer à l’angle audio précédent dans le plan multicam
Meilleur élément précédent
Contrôle + Flèche gauche
Sélectionner le plan précédent dans la fenêtre Audition pour le choisir comme le meilleur
Angle vidéo précédent
Commande + Maj + Flèche gauche
Revenir à l’angle vidéo précédent dans le plan multicam
Augmenter le volume de 1 dB
Contrôle + Égal (=)
Augmenter le volume audio
de 1 dB
Remplacer
Maj + R
Remplacer le plan sélectionné de la timeline par la sélection du navigateur d’événements
Remplacer depuis le début
Option + R
Remplacer le plan sélectionné de la timeline par la sélection du navigateur d’événements, à partir de son point de départ
Remplacer par un vide
Maj + Supprimer
Remplacer le plan sélectionné de la timeline par un plan vide
Tout sélectionner
Commande + A
Sélectionner tous les plans
Sélectionner le plan
C
Sélectionner le plan sous le pointeur de la timeline
Sélectionner le bord audio gauche
Maj + crochet ouvrant ([)
Pour les plans audio/vidéo dans la présentation étendue, sélectionner le bord gauche du point de montage audio
Sélectionner le bord gauche
Crochet ouvrant ([)
Sélectionner le bord gauche du point de montage
Chapitre 17 Raccourcis clavier et gestes 463
Commande
Raccourci
Action
Sélectionner les bords de montage audio gauche et droit
Maj + barre oblique inverse (\)
Pour les plans audio/vidéo dans la présentation étendue, sélectionner les bords gauche et droit du point de montage audio
Sélectionner les bords de montage gauche et droit
Barre oblique inverse (\)
Sélectionner les bords gauche et droit du point de montage
Sélectionner l’angle suivant
Maj + Contrôle + Flèche droite
Passer à l’angle suivant dans le plan multicam
Sélectionner l’angle audio suivant
Maj + Option + Flèche droite
Passer à l’angle audio suivant dans le plan multicam
Sélectionner la meilleure image suivante
Contrôle + Flèche droite
Sélectionner le prochain plan dans la fenêtre Audition pour le choisir comme le meilleur
Sélectionner l’angle vidéo suivant
Commande + Maj + Flèche droite
Passer à l’angle vidéo suivant dans le plan multicam
Sélectionner le bord audio droit
Maj + crochet fermant (])
Pour les plans audio/vidéo dans
la présentation étendue, sélectionner le bord droit du point de montage audio
Sélectionner le bord droit
Crochet fermant (])
Sélectionner le bord droit du point de montage
Définir une fin de sélection supplémentaire
Commande + Maj + O
Définition d’un point d’arrivée de sélection de plage supplémentaire au niveau de la tête de lecture ou du skimmer
Définir un début de sélection supplémentaire
Commande + Maj + I
Définition d’un point de départ de sélection de plage supplémentaire au niveau de la tête de lecture ou du skimmer
Afficher/Masquer l’éditeur de précision
Contrôle + E
Lorsqu’un point de montage est sélectionné, afficher ou masquer l’éditeur de précision
Magnétisme
N
Activer ou désactiver la fonction d’alignement automatique
Solo
Option + S
Lire en solo les éléments sélectionnés dans la timeline
Média source : audio et vidéo
Maj + 1
Activer le mode audio/vidéo pour ajouter à la timeline les sections audio et vidéo de la sélection
Média source : audio seulement
Maj + 3
Activer le mode audio uniquement pour ajouter à la timeline la section audio de la sélection
Média source : vidéo uniquement
Maj + 2
Activer le mode vidéo uniquement pour ajouter à la timeline la section audio de la sélection à la timeline
Passer à l’angle 1 du visualiseur
Option + 1
Faire basculer le plan multicam sur l’angle 1 du groupe actuel
Passer à l’angle 2 du visualiseur
Option + 2
Faire basculer le plan multicam sur l’angle 2 du groupe actuel
Chapitre 17 Raccourcis clavier et gestes 464
Commande
Raccourci
Action
Passer à l’angle 3 du visualiseur
Option + 3
Faire basculer le plan multicam sur l’angle 3 du groupe actuel
Passer à l’angle 4 du visualiseur
Option + 4
Faire basculer le plan multicam sur l’angle 4 du groupe actuel
Passer à l’angle 5 du visualiseur
Option + 5
Faire basculer le plan multicam sur l’angle 5 du groupe actuel
Passer à l’angle 6 du visualiseur
Option + 6
Faire basculer le plan multicam sur l’angle 6 du groupe actuel
Passer à l’angle 7 du visualiseur
Option + 7
Faire basculer le plan multicam sur l’angle 7 du groupe actuel
Passer à l’angle 8 du visualiseur
Option + 8
Faire basculer le plan multicam sur l’angle 8 du groupe actuel
Passer à l’angle 9 du visualiseur
Option + 9
Faire basculer le plan multicam sur l’angle 9 du groupe actuel
Activer/Désactiver le mode Scénario
G
Activer ou désactiver la possibilité d’élaborer des scénarios lors du déplacement des plans sur la timeline
Appliquer un trim à la fin
Option + crochet fermant (])
Appliquer un trim à la fin du plan sélectionné ou du premier plan à l’emplacement du skimmer ou de la tête de lecture
Appliquer un trim sur le début
Option + crochet ouvrant ([)
Appliquer un trim au point de départ du plan à l’emplacement du skimmer ou de la tête de lecture
Ajuster à la sélection
Option + barre oblique inverse (\)
Appliquer un trim aux points de départ et d’arrivée de la plage sélectionnée du plan
Effets
Commande
Raccourci
Action
Ajouter un tiers inférieur standard
Maj + Contrôle + T
Connecter un tiers inférieur standard au scénario principal
Ajouter un titre standard
Contrôle + T
Connecter un titre standard au scénario principal
Ajouter une transition par défaut
Commande + T
Ajouter la transition par défaut à la sélection
Réglage colorimétrique : réinitialiser les commandes actives
Option + Supprimer
Réinitialiser toutes les commandes dans la fenêtre active du réglage colorimétrique
Réglage colorimétrique : activer la fenêtre Couleur
Commande + Contrôle + C
Activer la fenêtre Couleur du réglage colorimétrique
Réglage colorimétrique : activer la fenêtre Exposition
Commande + Contrôle + E
Activer la fenêtre Exposition du réglage colorimétrique
Réglage colorimétrique : activer la fenêtre Saturation
Commande + Contrôle + S
Activer la fenêtre Saturation du réglage colorimétrique
Chapitre 17 Raccourcis clavier et gestes 465
Commande
Raccourci
Action
Copier les effets
Commande + Option + C
Copier les effets sélectionnés et leurs réglages
Activer/Désactiver la balance des couleurs
Commande + Option + B
Activer ou désactiver l’étalonnage de balance
Reprendre l’audio
Commande + Maj + M
Correspondance du son entre
les plans
Respecter les couleurs
Commande + Option + M
Correspondance des couleurs entre les plans
Texte suivant
Option + Tab
Passer à l’élément de texte suivant
Coller les attributs
Commande + Maj + V
Coller les attributs sélectionnés et leurs réglages à la sélection
Coller les effets
Commande + Option + V
Coller les effets et leurs réglages à la sélection
Texte précédent
Maj + Option + Tab
Passer à l’élément de texte précédent
Éditeur de resynchronisation
Commande + R
Afficher ou masquer l’éditeur de synchronisation
Resynchronisation : créer un segment à vitesse normale
Maj + N
Régler la sélection pour être lue à vitesse normale (100 %)
Resynchronisation : suspendre
Maj + H
Créer un segment « de suspension » de 2 secondes
Resynchronisation : réinitialiser
Commande + Option + R
Réinitialiser la sélection pour être lue à vitesse normale (100 %)
Solo de l’animation
Maj + Contrôle + V
Afficher un effet à la fois dans l’éditeur d’animation vidéo
Générales
Commande
Raccourci
Action
Supprimer
Supprimer
Supprimer la sélection de la timeline, refuser la sélection du navigateur d’événements ou supprimer un multicam via les montages
Rechercher
Commande + F
Afficher ou masquer la fenêtre Filtre (dans le navigateur d’événements) ou l’index de la timeline
Aller au visualiseur d’événements
Commande + Option + 3
Activer le visualiseur d’événements
Importer des médias
Commande + I
Importer des médias depuis
un appareil, une caméra ou
une archive
Placer dans la Corbeille
Commande + Supprimer
Placer la sélection dans la Corbeille du Finder
Nouveau projet
Commande + N
Création d’un projet
Propriétés du projet
Commande + J
Ouvrir l’inspecteur de propriétés du projet actif
Effectuer le rendu de tout
Maj + Contrôle + R
Lancer toutes les tâches de rendu pour le projet en cours
Chapitre 17 Raccourcis clavier et gestes 466
Commande
Raccourci
Action
Effectuer le rendu de la sélection
Contrôle + R
Démarrer les tâches de rendu pour la sélection
Afficher dans le Finder
Commande + Maj + R
Afficher le fichier média source du plan d’événement sélectionné dans le Finder
Marquage
Commande
Raccourci
Action
Ajouter un marqueur
M
Ajouter un marqueur au niveau du skimmer ou de la tête de lecture
Ajouter un marqueur et modifier
Option + M
Ajouter un marqueur et modifier le texte du marqueur
Appliquer la balise de mot-clé 1
Contrôle + 1
Appliquer le mot-clé 1 à la sélection
Appliquer la balise de mot-clé 2
Contrôle + 2
Appliquer le mot-clé 2 à la sélection
Appliquer la balise de mot-clé 3
Contrôle + 3
Appliquer le mot-clé 3 à la sélection
Appliquer la balise de mot-clé 4
Contrôle + 4
Appliquer le mot-clé 4 à la sélection
Appliquer la balise de mot-clé 5
Contrôle + 5
Appliquer le mot-clé 5 à la sélection
Appliquer la balise de mot-clé 6
Contrôle + 6
Appliquer le mot-clé 6 à la sélection
Appliquer la balise de mot-clé 7
Contrôle + 7
Appliquer le mot-clé 7 à la sélection
Appliquer la balise de mot-clé 8
Contrôle + 8
Appliquer le mot-clé 8 à la sélection
Appliquer la balise de mot-clé 9
Contrôle + 9
Appliquer le mot-clé 9 à la sélection
Effacer les plages sélectionnées
Option + X
Annuler la plage sélectionnée
Effacer la fin de la plage
Option + O
Effacer le point d’arrivée de
la plage
Effacer le début de la plage
Option + I
Effacer le point de départ de
la plage
Supprimer le marqueur
Contrôle + M
Supprimer le marqueur sélectionné
Supprimer les marqueurs dans la sélection
Maj + Contrôle + M
Supprimer tous les marqueurs de la sélection
Tout désélectionner
Commande + Maj + A
Désélectionner tous les éléments sélectionnés
Favori
F
Classer la sélection du navigateur d’événements comme favori
Nouvelle collection de mots-clés
Commande + Maj + K
Créer une collection de mots-clés
Nouvelle collection intelligente
Commande + Option + N
Créer une collection intelligente
Outil Sélection de plage
R
Activer l’outil Sélection par plage
Chapitre 17 Raccourcis clavier et gestes 467
Commande
Raccourci
Action
Supprimer tous les mots-clés de la sélection
Contrôle + 0
Supprimer tous les mots-clés de la sélection du navigateur d’événements
Rôles : Appliquer le rôle Dialogue
Option + Contrôle + D
Appliquer le rôle Dialogue au plan sélectionné
Rôles : Appliquer le rôle Effets
Option + Contrôle + E
Appliquer le rôle Effets au plan sélectionné
Rôles : Appliquer le rôle Musique
Option + Contrôle + M
Appliquer le rôle Musique au plan sélectionné
Rôles : Appliquer le rôle Titres
Option + Contrôle + T
Appliquer le rôle Titres au plan sélectionné
Rôles : appliquer le rôle Vidéo
Option + Contrôle + V
Appliquer le rôle Vidéo au plan sélectionné
Tout sélectionner
Commande + A
Sélectionner tous les plans
Sélectionner la plage de plans
X
Définir la sélection de plage pour correspondre aux bordures du plan sous le skimmer ou la tête de lecture
Définir une fin de plage supplémentaire
Commande + Maj + O
Définition d’un point d’arrivée de sélection de plage supplémentaire au niveau de la tête de lecture ou du skimmer
Définir un début de plage supplémentaire
Commande + Maj + I
Définition d’un point de départ de sélection de plage supplémentaire au niveau de la tête de lecture ou du skimmer
Définir la fin de la plage
O
Définir le point d’arrivée pour la plage
Définir la fin de la plage
Contrôle + O
Définir le point d’arrivée pour la plage tout en modifiant un champ de texte
Définir le début de la plage
I
Définir le point de départ pour la plage
Définir le début de la plage
Contrôle + I
Définir le point de départ pour la plage tout en modifiant un champ de texte
Déclasser
U
Supprimer les classements de la sélection
Organisation
Commande
Raccourci
Action
Nouvel événement
Option + N
Créer un événement
Nouveau dossier
Commande + Maj + N
Créer un dossier
Afficher dans le navigateur d’événements
Maj + F
Afficher le plan sélectionné dans le navigateur d’événements
Synchroniser les plans
Commande + Option + G
Synchroniser les plans d’événements sélectionnés
Chapitre 17 Raccourcis clavier et gestes 468
Lecture/Navigation
Commande
Raccourci
Action
Audio lors du survol
Maj + S
Activer et désactiver l’audio lors du survol
Audition : preview
Commande + Contrôle + Y
Lire le meilleur élément en contexte dans la timeline
Survol de plan
Commande + Option + S
Activer ou désactiver le survol
de plan
Couper/Activer l’audio multicam uniquement
Maj + Option + 3
Activer le mode audio uniquement pour la découpe et le basculement multicam
Couper/Activer l’audio et la vidéo multicam
Maj + Option + 1
Activer le mode audio/vidéo pour la découpe et le basculement multicam
Couper/Activer la vidéo multicam uniquement
Maj + Option + 2
Activer le mode vidéo uniquement pour la découpe et le basculement multicam
Vers le bas
Flèche vers le bas
Passer à l’élément (dans le navigateur d’événements) ou au point de montage (dans la timeline) suivant
Vers le bas
Contrôle + Flèche bas
Lors de la modification d’un champ de texte, passer à l’élément suivant (dans le navigateur d’événements) ou au point de montage suivant (dans la timeline).
Reculer de 10 images
Maj + Flèche gauche
Reculer la tête de lecture de
10 images
Avancer de 10 images
Maj + Flèche droite
Avancer la tête de lecture de
10 images
Aller au début
Bouton Début
Déplacer la tête de lecture au début de la timeline ou au premier plan dans le navigateur d’événements
Aller au groupe suivant
Maj + Option + Apostrophe (’)
Afficher le groupe d’angles suivant dans le plan multicam ouvert
Aller au montage suivant
Apostrophe (’)
Déplacer la tête de lecture au point de montage suivant dans la timeline
Aller à la trame suivante
Option + Flèche droite
Avancer la tête de lecture à la trame suivante d’un plan entrelacé
Avancer d’une image
Flèche droite
Avancer la tête de lecture sur l’image suivante
Passer à la sous-image suivante
Commande + Flèche droite
Avancer la tête de lecture sur la sous-image audio suivante
Revenir au groupe précédent
Maj + Option + Point-virgule (;)
Afficher le groupe d’angles précédent dans le plan multicam ouvert
Aller au montage précédent
Point-virgule (;)
Reculer la tête de lecture sur le point de montage précédent dans la timeline
Chapitre 17 Raccourcis clavier et gestes 469
Commande
Raccourci
Action
Reculer d’une trame
Option + Flèche gauche
Reculer la tête de lecture à la trame précédente d’un plan entrelacé
Reculer d’une image
Flèche gauche
Reculer la tête de lecture sur l’image précédente
Revenir à la sous-image précédente
Commande + Flèche gauche
Reculer la tête de lecture sur la sous-image audio précédente
Aller à la fin de la plage
Maj + O
Déplacer la tête de lecture à la fin de la sélection par plage
Aller au début de la plage
Maj + I
Déplacer la tête de lecture au début de la plage de sélection
Lecture en boucle
Commande + L
Activer ou désactiver la lecture en boucle
Contrôler l’audio
Maj + A
Activer ou désactiver le contrôle audio pour l’angle ignoré
Entrée de timecode négative
Tiret (-)
Saisir une valeur négative de timecode pour déplacer la tête de lecture vers l’arrière, déplacer un plan en arrière ou appliquer un trim sur une plage ou un plan, en fonction de la sélection opérée
Plan suivant
Commande + Contrôle + Flèche droite
Passer à l’élément (dans le navigateur d’événements) ou au point de montage (dans la timeline) suivant
Marqueur suivant
Contrôle + Apostrophe (’)
Avancer la tête de lecture sur le marqueur suivant
Lire le contexte
Maj + point d’interrogation (?)
Lire autour de l’emplacement de la tête de lecture
Lecture rapide
L
Lecture (appuyer plusieurs fois sur L pour augmenter la vitesse de lecture)
Lecture rapide
Contrôle + L
Lire lors de la modification d’un champ de texte (appuyer plusieurs fois sur L pour augmenter la vitesse de lecture)
Lire depuis la tête de lecture
Option + barre d’espace
Lire à partir de la tête de lecture
Lire en plein écran
Commande + Maj + F
Lire en plein écran à partir du skimmer ou de la tête de lecture
Lecture arrière
J
Lire en arrière (appuyer plusieurs fois sur J pour augmenter la vitesse de lecture)
Lecture arrière
Contrôle + J
Lire en arrière lors de la modification d’un champ de texte (appuyer plusieurs fois sur J pour augmenter la vitesse de lecture)
Lecture arrière
Maj + barre d’espace
Lire en arrière
Lire la sélection
Barre oblique (/)
Lire la sélection
Lire jusqu’à la fin
Maj + Contrôle + O
Lire à partir de la tête de lecture jusqu’à la fin de la sélection
Chapitre 17 Raccourcis clavier et gestes 470
Commande
Raccourci
Action
Lecture/Pause
Barre d’espace
Lancer ou arrêter la lecture
Lecture/Pause
Contrôle + Barre d’espace
Lancer ou mettre en pause lors de la modification d’un champ de texte
Entrée de timecode positive
Égal (=)
Saisir une valeur positive de timecode pour déplacer la tête de lecture vers l’avant, déplacer un plan en avant ou appliquer un trim sur une plage ou un plan, en fonction de la sélection opérée
Plan précédent
Commande + Contrôle + Flèche gauche
Revenir à l’élément (dans le navigateur d’événements) ou au point de montage (dans la timeline) précédent
Marqueur précédent
Contrôle + Point-virgule (;)
Reculer la tête de lecture sur le marqueur précédent
Définir l’angle de contrôle
Maj + V
Définir l’angle ignoré comme angle de contrôle
Survol
S
Activer ou désactiver le survol
Arrêter
K
Arrêter la lecture
Arrêter
Contrôle + K
Arrêter la lecture lors de la modification d’un champ de texte
Reculer dans l’historique de la timeline
Commande + Crochet ouvrant ([)
Revenir en arrière d’un niveau dans l’historique de la timeline
Avancer dans l’historique de la timeline
Commande + Crochet fermant (])
Avancer d’un niveau dans l’historique de la timeline
Vers le haut
Flèche vers le haut
Revenir à l’élément (dans le navigateur d’événements) ou au point de montage (dans la timeline) précédent
Vers le haut
Contrôle + Flèche haut
Lors de la modification d’un champ de texte, revenir à l’élément (dans le navigateur d’événements) ou au point de montage (dans la timeline) précédent
Partage et outils
Commande
Raccourci
Action
Partager la destination par défaut
Commande + E
Partager le projet ou plan sélectionné à l’aide de la destination par défaut
Outil de sélection (représenté par la flèche)
A
Activer l’outil de sélection
Outil Lame de rasoir
B
Activer l’outil Lame de rasoir
Outil Rognage
Maj + C
Activer l’outil Rogner et afficher les commandes à l’écran pour le plan sélectionné ou celui au niveau de la tête de lecture et se trouvant au premier plan
Chapitre 17 Raccourcis clavier et gestes 471
Commande
Raccourci
Action
Outil Distorsion
Commande + Maj + D
Activer l’outil Distorsion et afficher les commandes à l’écran pour le plan sélectionné ou celui au niveau de la tête de lecture et se trouvant au premier plan
Outil Main
H
Activer l’outil Main
Outil Position
P
Activer l’outil Position
Outil Transformation
Maj + T
Activer l’outil Transformation et afficher les commandes à l’écran pour le plan sélectionné ou celui au niveau de la tête de lecture et se trouvant au premier plan
Outil Trim
T
Activer l’outil Trim
Outil Zoom
Z
Activer l’outil Zoom
Présentation
Commande
Raccourci
Action
Apparence du plan : Étiquettes de plan uniquement
Option + Contrôle + 6
En fonction du réglage relatif au nom du plan, affiche les plans de la timeline avec leur nom, leur rôle ou leur angle actif.
Apparence du plan : Réduction de la taille de la forme d'onde
Option + Contrôle + Flèche vers le bas
Réduction de la taille des formes d'onde audio pour les plans de la timeline
Apparence du plan : Pellicules uniquement
Option + Contrôle + 5
Afficher uniquement les plans de la timeline avec des grandes pellicules
Apparence du plan : Augmentation de la taille de la forme d'onde
Option + Contrôle + Flèche vers le haut
Augmentation de la taille des formes d'onde audio pour les plans de la timeline
Apparence du plan : Grandes pellicules
Option + Contrôle + 4
Afficher les plans de la timeline avec de petites formes d'onde audio et de grandes pellicules
Apparence du plan : Grandes formes d'onde
Option + Contrôle + 2
Afficher les plans de la timeline avec de grandes formes d'onde audio et de petites pellicules
Apparence du plan : Formes d'onde et pellicules
Option + Contrôle + 3
Afficher les plans de la timeline avec des grandes formes d'onde audio et des pellicules vidéo de même taille
Apparence du plan : Formes d'onde uniquement
Option + Contrôle + 1
Afficher uniquement les plans de la timeline avec des grandes formes d'onde audio
Réduire la hauteur du plan
Commande + Maj + Tiret (-)
Réduire la hauteur de plan dans le navigateur d’événements
Augmenter la hauteur du plan
Commande + Maj + Égal (=)
Augmenter la hauteur de plan du navigateur d’événements
Afficher un nombre moindre d’images de la pellicule
Commande + Maj + Virgule (,)
Afficher un nombre moindre d’images de la pellicule dans les plans du navigateur d’événements
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Commande
Raccourci
Action
Afficher/Masquer l’animation audio
Contrôle + A
Afficher ou masquer l’éditeur d’animation audio pour les plans sélectionnés
Afficher/Masquer les informations du skimmer
Contrôle + Y
Afficher ou masquer les informations du plan lors du survol dans le navigateur d’événements
Afficher/Masquer l’animation vidéo
Contrôle + V
Afficher ou masquer l’éditeur d’animation vidéo pour les plans sélectionnés de la timeline
Afficher un nombre supérieur d’images de la pellicule
Commande + Maj + Point (.)
Afficher un nombre supérieur d’images de la pellicule dans les plans du navigateur d’événements
Afficher une image par pellicule
Commande + Maj + Option + Virgule (,)
Afficher une image par pellicule
Afficher le nom des plans
Maj + Option + N
Afficher ou masquer les noms des plans dans le navigateur d’événements.
Afficher le navigateur d’événements sous forme de pellicule
Commande + Option + 1
Activer la présentation en pellicule du navigateur d’événements
Afficher le navigateur d’événements en liste
Commande + Option + 2
Activer la présentation par liste du navigateur d’événements
Zoom avant
Commande + Égal (=)
Réaliser un zoom avant sur la timeline, le navigateur d’événements ou le visualiseur
Zoom arrière
Commande + Tiret (-)
Réaliser un zoom arrière de la timeline, du navigateur d’événements ou du visualiseur
Zoom pour adapter à la fenêtre
Maj + Z
Redimensionner le contenu pour l’adapter à la taille du navigateur d’événements, au visualiseur ou à la timeline
Zoom sur les échantillons
Contrôle + Z
Activer ou désactiver le zoom sur les échantillons audio
Fenêtres
Commande
Raccourci
Action
Tâches d’arrière-plan
Commande + 9
Afficher ou masquer la fenêtre de tâches d’arrière-plan
Aller aux améliorations audio
Commande + 8
Afficher l’inspecteur d’améliorations audio
Accéder au réglage colorimétrique
Commande + 6
Activer le réglage colorimétrique
Aller au navigateur d’événements
Commande + 1
Activer le navigateur d’événements
Aller à l’inspecteur
Commande + Option + 4
Activer l’inspecteur sélectionné
Aller à la timeline
Commande + 2
Activer la timeline
Aller au visualiseur
Commande + 3
Activer le visualiseur
Onglet suivant
Contrôle + Tabulation
Aller à la fenêtre suivante dans l’inspecteur et le réglage colorimétrique
Chapitre 17 Raccourcis clavier et gestes 473
Commande
Raccourci
Action
Onglet précédent
Maj + Contrôle + Tabulation
Revenir à la fenêtre précédente dans l’inspecteur ou le réglage colorimétrique
Afficher l’histogramme
Commande + Contrôle + H
Afficher l’histogramme dans le visualiseur
Afficher le vecteurscope
Commande + Contrôle + V
Afficher le vecteurscope dans le visualiseur
Afficher les formes d’onde vidéo
Commande + Contrôle + W
Afficher le moniteur de formes d’ondes dans le visualiseur
Afficher/Masquer les angles
Commande + Maj + 7
Afficher/Masquer le visualiseur d’angle
Afficher/Masquer les VU-mètres audio
Commande + Maj + 8
Afficher ou masquer les VU-mètres audio
Afficher/Masquer le navigateur d’effets
Commande + 5
Afficher ou masquer le navigateur d’effets
Afficher/Masquer la bibliothèque d’événements
Commande + Maj + 1
Afficher ou masquer la bibliothèque d’événements
Afficher/Masquer le visualiseur d’événements
Commande + Contrôle + 3
Afficher ou masquer le visualiseur d’événements
Afficher/masquer l’inspecteur
Commande + 4
Afficher ou masquer la fenêtre Inspecteur
Afficher/Masquer l’éditeur de mots-clés
Commande + K
Afficher ou masquer l’éditeur de mots-clés
Afficher/Masquer la bibliothèque de projets
Commande + 0
Afficher ou masquer la bibliothèque de projets
Afficher/Masquer l’index de la timeline
Commande + Maj + 2
Afficher ou masquer l’index de la timeline pour le projet ouvert
Afficher/Masquer les instruments vidéo
Commande + 7
Afficher ou masquer les instruments vidéo dans le visualiseur
Gestes Multi-Touch
Si votre ordinateur est équipé d’un trackpad Multi-Touch, vous pouvez recourir à des gestes Multi-Touch repris dans le tableau ci-dessous lorsque vous travaillez dans Final Cut Pro.
Pour en savoir plus sur les gestes Multi-Touch, consultez la documentation fournie avec votre ordinateur.
Geste
Action
Défilement (à l’aide de deux doigts) : déplace le point actif sur la timeline verticalement ou horizontalement.
Défilement (à l’aide de trois doigts) : effectuez un balayage vers le haut pour déplacer la tête de lecture au début de la timeline. À l’inverse, un balayage vers le bas positionne la tête de lecture à la fin de la timeline. Réalisez un balayage horizontal pour déplacer la tête de lecture à gauche ou à droite.
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Personnalisation des raccourcis clavier
Affichage des raccourcis clavier dans l’éditeur de commandes
Final Cut Pro met à votre disposition une multitude de commandes de menus et de raccourcis clavier qui vous permettent de contrôler les moindres aspects de votre projet, de la lecture à l’affichage des fenêtres et des inspecteurs, en passant par l’utilisation d’outils. L’éditeur de commandes vous permet de modifier des raccourcis, d’en créer d’autres et d’enregistrer plusieurs ensembles de raccourcis clavier qu’il est possible d’exporter pour les transmettre à autrui. Vous pouvez à l’inverse importer un ensemble de raccourcis qu’un autre utilisateur aura créé. Si vous êtes en outre plus habitué aux raccourcis clavier d’autres applications, l’éditeur de commandes vous permet de substituer ces raccourcis clavier à ceux définis par défaut pour Final Cut Pro.
L’éditeur de commandes propose un certain nombre raccourcis clavier pour Final Cut Pro en anglais, en japonais, en français et en allemand. Le système d’exploitation de votre ordinateur détermine la langue d’affichage. Pour apprendre comment modifier la langue utilisée par Final Cut Pro, voir l'aide d'OS X, disponible dans le menu Aide si le Finder est actif.
Affichage des raccourcis clavier
1 Choisissez Final Cut Pro > Commandes > Personnaliser (ou appuyez sur Commande + Option + K).
L’éditeur de commandes s’affiche alors.
2 Pour rechercher des raccourcis clavier dans l’éditeur de commandes, effectuez l’une des opérations suivantes :
••
Cliquez sur une ou plusieurs touches représentées sur le clavier virtuel (ou sur l’un des quatre boutons correspondant aux touches de modification en haut de l’éditeur de commandes).
Chapitre 17 Raccourcis clavier et gestes 475
Les groupes de commandes associés à la ou aux touches sélectionnées apparaissent dans le coin inférieur gauche de la fenêtre, tandis qu’une liste répertorie tous les raccourcis claviers qui y sont associés dans la partie inférieure droite de la fenêtre.
Sélectionnez une touche pour afficher les groupes de commandes associés à celle-ci.
Si vous maintenez une touche de modification quelconque du clavier, les couleurs des touches s’actualisent. Les couleurs de touches correspondent aux classifications des commandes, par exemple les commandes de lecture telles que Lecture/Pause (barre d’espace) sont bleues. La zone Groupes de commandes qui s’affiche à gauche de la liste des commandes reprend en outre une touche de couleur sur lequel vous pouvez cliquer à des fins de référence.
••
Saisissez le nom d’une commande, des mots-clés la décrivant ou le nom d’une touche dans le champ de recherche situé en haut à droite de la fenêtre.
Les commandes correspondant au terme de recherche sont alors répertoriées dans la liste des commandes placée en bas de la fenêtre.
Conseil : Pour afficher les touches qui correspondent aux éléments de la liste des commandes, cliquez sur le bouton de mise en surbrillance du clavier repris à gauche du champ de recherche.
Chapitre 17 Raccourcis clavier et gestes 476
Cliquez sur une commande dans la liste pour retrouver ses détails dans la zone « Détail de la commande » située dans le coin inférieur droit de la fenêtre.
Commandes trouvées par la rechercheSaisissez un terme à rechercher ici.
••
Cliquez sur un groupe de commandes pour filtrer rapidement la liste de commandes et n’afficher que les commandes et les raccourcis clavier de ce groupe.
Cliquez sur une commande dans la liste pour retrouver ses détails dans la zone « Détail de la commande » située dans le coin inférieur droit de la fenêtre.
Cliquez sur un groupe de commandes pour filtrer rapidement la liste de commandes.
Affichage des raccourcis issus d’un autre ensemble de commandes
Si votre système prévoit plusieurs ensembles de commandes, vous pouvez facilement basculer de l’un à l’autre. Pour en savoir plus, consultez Exportation et importation d’ensembles de raccourcis dans l’éditeur de commandes à la page 478.
Procédez de l’une des manières suivantes :
mm
Choisissez Final Cut Pro > Commandes, puis choisissez dans le sous-menu un ensemble de commandes.
La fenêtre de l’éditeur de commandes affiche alors l’ensemble indiqué.
Chapitre 17 Raccourcis clavier et gestes 477
mm
Si l’éditeur de commandes est déjà ouvert, choisissez un ensemble de commandes dans le menu local situé dans le coin supérieur gauche de la fenêtre.
Les ensembles de commandes sont répertoriés en bas du menu local.
Modification des raccourcis clavier dans l’éditeur de commandes
Vous avez la possibilité de personnaliser en toute simplicité les raccourcis clavier repris dans l’éditeur de commandes. Si vous comptez ajouter quelques commandes personnalisées à l’ensemble par défaut de Final Cut Pro, il vous est possible de créer une copie de ce dernier et d’affecter des raccourcis clavier à certaines des commandes non affectées. Vous pouvez aussi créer un ensemble se limitant à vos commandes.
Duplication d’un ensemble de commandes
1 Choisissez Final Cut Pro > Commandes > Personnaliser (ou appuyez sur Commande + Option + K).
2 Si l’ensemble de commandes à dupliquer ne se trouve pas à l’écran, choisissez un autre ensemble dans le menu local situé dans le coin supérieur gauche de l’éditeur de commandes.
3 Choisissez Dupliquer dans le menu local.
4 Dans la fenêtre qui s’affiche, attribuez un nom à l’ensemble de commandes, puis cliquez sur OK.
Le nouvel ensemble dupliqué est alors ajouté au sous-menu Commandes du menu de Final Cut Pro et au menu local prévu dans l’éditeur de commandes.
Modification d’un ensemble de commandes
Il vous est possible d’ajouter des raccourcis clavier à un ensemble de commandes ou d’en réattribuer certains.
1 Choisissez Final Cut Pro > Commandes > Personnaliser (ou appuyez sur Commande + Option + K).
2 Si l’ensemble de commandes à modifier ne se trouve pas à l’écran, sélectionnez un autre ensemble dans le menu local situé dans la partie supérieure de l’éditeur de commandes.
3 Sélectionnez la commande à laquelle vous voulez attribuer le nouveau raccourci clavier en procédant de l’une des manières suivantes :
••
Saisissez le nom d’une commande dans le champ de recherche prévu en haut à droite de la fenêtre de l’éditeur de commandes.
••
Parcourez la liste de commandes jusqu’à retrouver celle de votre choix.
4 Appuyez sur combinaison de touches à attribuer à la commande (par exemple, Maj + Option + T ou toute autre touche).
Remarque : Les touches estompées et barrées sur le clavier virtuel de l’éditeur de commandes sont réservées par le système pour son usage propre et ne peuvent dans ce cas pas être attribuées.
Chapitre 17 Raccourcis clavier et gestes 478
Si cette combinaison de touches n’est associée à aucune commande, le clavier virtuel s’actualise pour refléter le nouveau raccourci assigné. Un point gris apparaît sur la ou les touches affectées et une couleur se voit appliquée à la commande si elle fait partie d’un groupe de commandes noté par un code de couleur.
Si cette combinaison de touches est déjà associée à une commande, Final Cut Pro affiche le réglage actif et vous invite à confirmer sa modification.
5 Pour enregistrer les modifications apportées à l’ensemble de commandes, cliquez sur le bouton Enregistrer dans le coin inférieur droit de l’éditeur de commandes.
Si vous fermez l’éditeur de commandes sans avoir enregistré vos modifications, Final Cut Pro vous invite alors à le faire.
Suppression d’un ensemble de commandes
1 Choisissez Final Cut Pro > Commandes > Personnaliser (ou appuyez sur Commande + Option + K).
2 Si l’ensemble de commandes à supprimer ne se trouve pas à l’écran, sélectionnez un autre ensemble dans le menu local situé dans la partie supérieure de l’éditeur de commandes.
3 Choisissez Supprimer dans le menu local situé dans le coin supérieur gauche de l’éditeur de commandes.
4 Dans la fenêtre qui s’affiche, cliquez sur Supprimer.
L’ensemble de commandes est alors supprimé.
Exportation et importation d’ensembles de raccourcis dans l’éditeur de commandes
Une fois enregistré un ensemble de commandes, vous pouvez l’exporter pour disposer d’une copie de sauvegarde ou pour le partager avec un autre utilisateur. Les ensembles de commandes s’enregistrent dans un fichier qu’il est possible d’importer ultérieurement dans Final Cut Pro.
Exportation d’un ensemble de raccourcis clavier personnalisés
1 Choisissez Final Cut Pro > Commandes > Personnaliser (ou appuyez sur Commande + Option + K).
2 Si l’ensemble de commandes à exporter ne se trouve pas à l’écran, sélectionnez un autre ensemble dans le menu local situé dans la partie supérieure de l’éditeur de commandes.
3 Procédez de l’une des manières suivantes :
••
Choisissez Final Cut Pro > Commandes > Exporter.
••
Choisissez Exporter dans le menu local situé dans le coin supérieur gauche de l’éditeur de commandes.
4 Dans le champ Enregistrer sous, attribuez un nom à l’ensemble de commandes exporté, accédez à l’endroit où vous souhaitez conserver l’ensemble exporté, puis cliquez sur Enregistrer.
Le fichier s’enregistre à l’emplacement choisi avec l’extension « .commandset ».
Importation d’un ensemble de commandes
1 Procédez de l’une des manières suivantes :
••
Choisissez Final Cut Pro > Commandes > Importer.
••
Ouvrez l’éditeur de commandes en choisissant Final Cut Pro > Commandes > Personnaliser, puis choisissez Importer dans le menu local situé dans le coin supérieur gauche de l’éditeur de commandes.
Chapitre 17 Raccourcis clavier et gestes 479
2 Dans la fenêtre qui apparaît, accédez à l’emplacement où vous avez stocké le fichier d’un ensemble de commandes, sélectionnez-le, puis cliquez sur Ouvrir.
Si vous utilisez déjà un ensemble de commandes portant le même nom, une fenêtre vous invite alors à le renommer.
Le nouvel ensemble est alors ajouté au sous-menu Commandes du menu de Final Cut Pro et au menu local prévu dans l’éditeur de commandes.
480
4:3 Proportions utilisées pour la transmission vidéo analogique en définition standard (SD). Le rapport de la largeur sur la hauteur de la zone visible de l’image vidéo est de 4:3, ou 1.33. Voir aussi définition standard (SD).
16:9 Proportions écran large utilisée en vidéo. Le rapport de la largeur sur la hauteur de la zone visible de l’image vidéo est de 16:9, ou 1.78. Les proportions 16:9 sont utilisées pour la vidéo haute définition. Voir aussi haute définition (HD).
AAC (Advanced Audio Coding) Également appelé MPEG-4 Audio. Méthode standard de compression et d’encodage audio numérique. La qualité des fichiers AAC soutient la comparaison avec celle des CD audio et est généralement supérieure à celle des fichiers MP3 encodés au même débit, voire à des débits supérieurs.
AC3 (Audio Codec 3, Advanced Codec 3, Acoustic Coder 3) Format audio compressé Dolby Digital généralement utilisé pour l’encodage du son Surround.
AIFF (Audio Interchange File Format) Format de fichier audio multiplateforme mis au point par Apple. Comme les fichiers WAV, les fichiers AIFF incluent des « blocs » d’informations, tels que le bloc de données audio (Sound Data Chunk), qui contient les données d’échantillons proprement dites, et le bloc commun (Common Chunk), qui comporte les informations relatives à la fréquence d’échantillonnage et à la profondeur de bits.
canal alpha Canal d’image, en plus des canaux de couleur R, V et B, utilisé pour stocker des données de transparence pour le compositing. Les canaux alpha sont souvent de 8 bits, mais certaines applications gèrent les canaux alpha de 16 bits. Dans Final Cut Pro, le noir correspond à 100 pour cent de transparence, tandis que le blanc représente 100 pour cent d’opacité. Seuls certains formats, tels que Targa, TIFF, PNG, PSD, Apple ProRes 4444 et le codec d’animation QuickTime, prennent en charge les canaux alpha. Voir aussi compositing, RVB.
Éditeur d’angles Vous pouvez y ouvrir des plans multicam pour adapter la synchronisation et l’ordre des angles ou pour en ajouter ou en supprimer. Vous pouvez aussi passer par l’éditeur d’angles pour réaliser des montages dans les différents plans insérés dans un plan multicam (par exemple, lors de trim, d’étalonnages, d’ajout de transitions, etc.). Voir aussi plan multicam.
Visualiseur d’angle Visualiseur permettant de visionner simultanément tous les angles d’un plan multicam tout en activant ou en coupant vers un autre angle en temps réel. Vous pouvez couper et changer les éléments audio et vidéo simultanément ou indépendamment. Par exemple, vous pouvez utiliser l’élément audio de l’angle 1 tout en alternant entre les angles 1 à 4 de la vidéo. Voir aussi plan multicam.
éditeurs d’animation Consultez Éditeur d’animation audio, Éditeur d’animation vidéo.
Glossaire
Glossaire 481
Apple ProRes Les codecs Apple ProRes combinent de manière inégalée performances de multidiffusion et de montage en temps réel et qualité d’image impressionnante, le tout dans des fichiers de taille réduite. Plus particulièrement, les codecs Apple ProRes ont été conçus pour fonctionner de manière optimale comme codecs haute qualité, hautes performances destinés au montage dans Final Cut Pro, en exploitant totalement le traitement multicoeur et en procurant des modes de décodage rapide en résolution réduite. Tous les codecs de la famille Apple ProRes prennent en charge toutes les dimensions d’image (SD, HD, 2K et 4K) en résolution complète. Le débit de données Apple ProRes varie selon le type de codec, le contenu d’image, la taille d’image et la fréquence d’images.
Apple ProRes 4444 Ce codec Apple ProRes procure la meilleure qualité pour les sources 4:4:4:4 et convient aux flux de production impliquant des canaux alpha. Il offre des couleurs RVBA 4:4:4:4 en pleine résolution de qualité Master, visuellement indiscernables du matériel original, avec d’excellentes performances de duplication. Il comprend également un canal alpha mathématiquement sans perte (jusqu’à 16 bits) avec lecture en temps réel, une solution haute qualité de stockage et d’échange de composites et de graphiques animés, ainsi que l’encodage et le décodage direct dans les formats de pixels RVB et Y'CbCr. Ce codec présente un débit de données remarquablement faible par comparaison avec le format HD 4:4:4 sans compression (débit de données cible d’environ 330 Mbps pour les sources 4:4:4 à 1920 x 1080 et 29.97 ips). Voir aussi Apple ProRes.
Apple ProRes 422 (HQ) Ce codec Apple ProRes procure le même niveau élevé de qualité visuelle que le codec Apple ProRes 4444, mais pour des sources d’image 4:2:2. Largement adopté dans l’industrie de la postproduction vidéo, le codec Apple ProRes 422 (HQ) permet de préserver sans perte la vidéo HD professionnelle de la plus haute qualité qu’un signal HD-SDI (liaison simple) peut transporter. Il prend en charge les sources vidéo 4:2:2 en pleine largeur à des profondeurs de pixels de 10 bits, sans aucune perte visuelle après de nombreuses opérations de décodage et de réencodage. Le débit de données cible du codec Apple ProRes 422 (HQ) est d’environ 220 Mbps à 1920 x 1080 et 29,97 ips. Voir aussi Apple ProRes.
Apple ProRes 422 Ce codec Apple ProRes procure pratiquement tous les avantages du codec Apple ProRes 422 (HQ), mais à 66 % du débit de données de ce dernier et avec des performances de multidiffusion et de montage en temps réel supérieures. Voir aussi Apple ProRes.
Apple ProRes 422 (LT) Avec un débit de données cible équivalent à approximativement 70 % de celui du codec Apple ProRes 422 et des dimensions de fichier inférieures de 30 %, ce codec convient parfaitement aux environnements où la capacité de stockage et la bande passante sont limitées. Voir aussi Apple ProRes.
Apple ProRes 422 (Proxy) Ce codec Apple ProRes est destiné aux flux de production offline nécessitant de faibles débits de données, mais une vidéo en pleine résolution. Son débit de données cible correspond à environ 30 pour cent de celui du codec Apple ProRes 422. Voir aussi Apple ProRes.
proportions Rapport de la largeur sur la hauteur d’une image vidéo à l’écran. La vidéo en définition standard (SD) (utilisée par les téléviseurs classiques) présente des proportions de 4:3. La vidéo haute définition (HD) présente des proportions de 16:9.
Éditeur d’animation audio Vous pouvez afficher l’éditeur d’animation audio pour des plans dans la timeline afin d’ajuster les paramètres des effets, de créer des fondus entrants ou sortants, ou de changer les effets dans le temps à l’aide d’images clés.
Glossaire 482
composants audio Les fichiers audio peuvent contenir un seul ou plusieurs canaux audio. Final Cut Pro regroupe automatiquement les canaux audio en composants audio en fonction de la configuration des canaux pour le plan. Dans Final Cut Pro, vous pouvez développer la partie audio de plans pour afficher et monter des composants audio jusqu’au niveau des différents canaux.
fréquence d’échantillonnage Nombre de fois qu’un signal audio est mesuré, ou échantillonné, par seconde. Plus la fréquence d’échantillonnage est supérieure, plus l’audio est de qualité élevée et plus les fichiers produits sont volumineux.
Audio Units Format de filtre audio en temps réel standard des applications audio utilisées sous OS X.
formes d’onde audio Les formes d’onde audio sont des représentations visuelles des sons. Leur amplitude et leur longueur varient selon le volume et la durée du son qu’elles représentent. Un son court et marqué, tel qu’un son de percussion, est représenté par une forme d’onde en pic, alors qu’un bruit de foule étouffé présente une forme d’onde plus basse et prolongée. Ces propriétés permettent de trouver plus facilement des points de montage spécifiques au moment d’appliquer un trim à des plans ou d’ajouter des images clés à des effets.
audition Dans Final Cut Pro, vous pouvez regrouper des plans connexes dans des ensembles, appelés auditions, vous permettant de choisir celui à utiliser. Vous pouvez créer une audition composée de différents plans pour tester plusieurs prises ou constituée de plusieurs versions du même plan pour effectuer le preview d’effets divers. Dans le navigateur d’événements et la timeline, les auditions se présentent sous la forme de plans affichant une icône Audition dans le coin supérieur gauche.
synchronisation audio automatique L’option « Utiliser l’audio pour la synchronisation » dans le processus de création des plans multicam permet d’effectuer des réglages de synchronisation fins ´l’aide des formes d’onde audio qui s’affichent dans les angles d’un plan multicam. Cette technologie est identique à celle de synchronisation audio utilisable pour analyser et synchroniser automatiquement les plans ensemble en un plan composé.
AVCHD Format vidéo haute définition (HD) utilisant la compression AVC (Advanced Video Coding) (également appelée MPEG-4 Partie 10 ou H.264). La plupart des lecteurs Blu-ray peuvent lire des disques à laser rouge avec du contenu au format AVCHD, ce qui permet de distribuer de petits projets vidéo HD à l’aide d’un disque à laser rouge standard.
fenêtre Tâches d’arrière-plan La fenêtre Tâches d’arrière-plan affiche la progression des tâches d’importation, de transcodage, d’analyse, de rendu et autres.
lot Compressor place dans un lot le ou les fichiers multimédias source que vous voulez convertir, ou transcoder, vers un autre format. Chaque fichier de média source crée sa propre tâche. En d’autres termes, un lot peut contenir plusieurs tâches, chacune d’entre elles s’appuyant sur son propre fichier de média source. En outre, chacune possède au moins un réglage qui définit le format du fichier transcodé.
débit binaire Nombre de bits par seconde constituant une ressource audio ou vidéo numérique. Plus le débit binaire est élevé, plus la qualité est haute. Toutefois, un débit binaire élevé implique une taille de fichier importante.
outil Lame de rasoir Outil de montage permettant de couper des plans dans la timeline. Pour activer l’outil Lame de rasoir, appuyez sur la touche B.
Glossaire 483
support à laser bleu Les graveurs et les lecteurs Blu-ray utilisent un laser bleu pour les supports Blu-ray. La couleur bleue possède une longueur d’onde plus courte, ce qui rend possible un stockage plus important de données sur un disque, comparé aux supports laser rouge.
filtrage bleu ou vert Voir incrustation chromatique.
adapté à la diffusion Les studios de télédiffusion fixent des valeurs maximales de luminance et de chrominance autorisées pour la diffusion. Si une vidéo dépasse ces limites autorisées, une déformation apparaît et la qualité de la transmission obtenue est inacceptable. Vous pouvez utiliser les instruments vidéo de Final Cut Pro pour vous assurer que les niveaux de luminance et de chrominance définis restent dans les limites acceptables.
Roll B Terme utilisé pour décrire une séquence alternative à insérer dans les principaux plans utilisés dans un programme. Un Roll B est fréquemment utilisé pour des plans de coupe.
BWF (Broadcast Wave Format) Extension du format de fichier WAV qui intègre des métadonnées supplémentaires telles que le timecode et des informations de production.
CAF (Core Audio Format) Le format CAF d’Apple est un format de fichiers souple, destiné au stockage et à la manipulation de données audionumériques. Il est totalement pris en charge par les API Core Audio sous Mac OS X 10.4 ou ultérieur et sous Mac OS X 10.3 avec QuickTime 7 ou ultérieur. Le format CAF, à la fois souple et hautement performant, peut en outre s’adapter aux technologies d’enregistrement, de montage et de lecture ultra haute résolution du futur.
chrominance Données sur les couleurs contenues dans un signal vidéo, comprenant la teinte, qui représente la couleur proprement dite, et la saturation, qui représente l’intensité de la couleur.
incrustation chromatique Technique d’effets spéciaux permettant de dériver un canal alpha ou un cache à partir de l’arrière-plan bleu ou vert d’un plan vidéo, afin de le rendre transparent en vue d’effectuer un compositing avec d’autres plans. La technologie de filtrage bleu est employée pour montrer les présentateurs météo devant une animation satellite, alors qu’ils se trouvent en réalité devant un mur bleu. Également connue sous le nom de fond bleu ou de fond vert. Voir aussi canal alpha.
plan Terme utilisé pour désigner une ressource vidéo ou audio, en particulier après son importation dans Final Cut Pro. Les plans apparaissent dans le navigateur d’événements, la timeline et les navigateurs multimédias. Les plans ou clips dans Final Cut Pro pointent vers des fichiers de média source stockés sur disque. Si vous modifiez un plan ou un clip, vous ne modifiez en fait pas le fichier de média en tant que tel mais simplement les informations liées au plan ou clip dans Final Cut Pro. On parle alors de montage offline.
écrêtage Distorsion qui se produit lors de la lecture ou de l’enregistrement d’audio numérique, en raison d’un signal qui dépasse la valeur d’échantillonnage maximale de 0 dBFS.
sélection de plans Sélection de plans complets dans le navigateur d’événements ou la timeline. Par rapport à une sélection de plage, une sélection de plans est limitée aux limites des plans. Il est impossible d’ajuster une sélection de plans de façon à inclure des sections de plans. Vous pouvez cependant ajouter ou supprimer des plans entiers.
codec Abréviation de compresseur/décompresseur ou encodeur/décodeur. Composant logiciel utilisé pour convertir de l’audio ou de la vidéo dans une forme numérique compressée sous laquelle il est stocké sur le disque dur d’un ordinateur. DV, Photo JPEG et Apple ProRes représentent des codecs vidéo QuickTime répandus.
Glossaire 484
balance des couleurs Désigne le mélange de rouge, vert et bleu dans un plan. Dans Final Cut Pro, vous pouvez ajuster la balance des couleurs des zones de tons clairs, intermédiaires ou foncés de votre plan en utilisant le réglage colorimétrique.
mires Signal de test de couleur standard affiché sous la forme de colonnes, souvent accompagné d’une tonalité de référence. La mire permet d’ajuster le signal vidéo de la source entrante, afin de conserver des couleurs correctes de l’importation jusqu’à la sortie.
réglage colorimétrique Le réglage colorimétrique vous permet d’ajuster manuellement les propriétés des couleurs d’un plan. Il renferme des fenêtres distinctes pour l’ajout ou la soustraction d’une teinte de couleur, le contrôle de l’intensité de la couleur et le contrôle de la luminosité de la vidéo. En plus d’une commande générale, chaque fenêtre dispose de différentes commandes pour la surbrillance, les tons intermédiaires et les zones d’ombrage de l’image.
dominante de couleur Teinte indésirable de l’image, généralement provoquée par des problèmes d’éclairage.
étalonnage Processus au cours duquel la couleur des plans utilisés dans un programme monté est harmonisée, afin que tous les plans d’une scène donnée coïncident. L’étalonnage est généralement l’une des dernières étapes de finalisation d’un programme monté. Les outils d’étalonnage disponibles dans Final Cut Pro vous permettent de contrôler avec précision l’apparence de chaque plan de votre projet grâce au réglage de la balance des couleurs, des niveaux de noir, des tons intermédiaires et des niveaux de blanc.
différence de couleur Dans les formats vidéo utilisant l’espace colorimétrique Y’CbCr pour le stockage des informations sur les couleurs, les canaux de couleur sont dérivés en soustrayant les signaux Y (luminance) des signaux R (rouge) et B (bleu) et sont parfois appelés B-Y et R-Y. Voir aussi Y’CbCr.
compositing Processus au cours duquel au moins deux images sont combinées en une seule. Ce terme peut également s’appliquer au processus de création de divers effets vidéo.
plan composé Vous pouvez utiliser des plans composés pour regrouper des plans de n’importe quels types dans la timeline ou le navigateur d’événements et imbriquer des plans dans d’autres plans. Vous avez la possibilité d’ouvrir n’importe quel plan composé, en modifier le contenu dans la timeline, puis le refermer. Un plan composé peut contenir des composants de plan vidéo et clip audio, des plans et d’autres plans composés. Il peut en fait être vu comme un mini-projet en soi, avec ses propres réglages de projet. Les plans composés fonctionnent comme les autres plans : vous pouvez les ajouter à votre projet, leur appliquer un trim, les resynchroniser et leur ajouter des effets et des transitions.
compression Processus réduisant la taille des fichiers vidéo, graphiques et audio. La compression « avec perte » désigne le processus qui réduit la taille des fichiers vidéo lorsque vous supprimez les données graphiques redondantes ou moins importantes. La compression sans perte réduit la taille des fichiers en consolidant mathématiquement les données graphiques redondantes sans les supprimer.
plan connecté Les plans connectés sont associés à des plans du scénario principal dans la timeline. Les plans connectés s’avèrent utiles pour les plans de coupe, les images superposées ou composites et les effets sonores. Les plans connectés restent reliés et synchronisés jusqu’à ce que vous les déplaciez ou les supprimiez manuellement. Une suite de plans connectés compose un scénario.
Glossaire 485
contraste Différence entre les valeurs les plus claires et les plus sombres d’une image. Les images qui présentent un grand contraste possèdent un large intervalle de valeurs de l’ombre la plus sombre au ton le plus clair. Les images à faible contraste possèdent une gamme étroite de valeur. L’aspect obtenu est plus « plat ».
fondu enchaîné Type courant de transition vidéo dans laquelle le premier plan disparaît progressivement pendant que le second apparaît, lui aussi, progressivement. Lors du fondu enchaîné, les deux plans sont superposés pendant leur fondu respectif.
fondu enchaîné Type courant de transition audio dans laquelle l’audio du premier plan s’affaiblit progressivement pendant que l’audio du second monte, lui aussi, progressivement. Lors du fondu enchaîné, l’audio des deux plans est entendu.
coupe Montage dans lequel un plan en suit immédiatement un autre, sans effet de transition. Il s’agit du type de montage le plus simple.
plan de coupe Plan ayant un rapport avec le sujet actuel et se produisant dans le même laps de temps (par exemple, la réaction d’un interviewer à ce qui se dit dans une interview). Un plan de coupe est souvent utilisé pour éliminer une section visuelle non souhaitée d’un autre plan. L’audio reste généralement continu lors de la coupe, ce qui vous permet de la rendre moins perceptible.
panneau de contrôle Le panneau de contrôle apparaît au centre de la barre d’outils et affiche le timecode, ainsi que des icônes indiquant les niveaux audio et l’état des tâches d’arrière-plan.
débit des données Vitesse à laquelle les données peuvent être transférées, souvent exprimée en mégaoctets par seconde (Mo/s) ou en mégabits par seconde (Mbps). Plus le débit de données d’un fichier vidéo est élevé, plus sa qualité est optimale, mais plus les ressources système (vitesse du processeur, espace libre sur le disque dur et performances) sont sollicitées. Certains codecs vous permettent de spécifier un débit maximal par film au cours de la capture.
décibel (dB) Unité de mesure des niveaux sonores ; échelle logarithmique utilisée pour décrire l’intensité d’un son perçu par l’oreille humaine. (1 dB correspond approximativement à la variation de volume la plus faible que l’oreille humaine puisse percevoir.) Pour l’audio numérique, dBFS est l’unité de décibel standard pour la mesure du niveau sonore.
destination Ensemble de réglages d’exportation préconfigurés que vous pouvez utiliser pour partager un projet ou un plan depuis Final Cut Pro. Les destinations simplifient l’exportation de votre film en vue de le visionner sur des dispositifs Apple tels que l’iPhone et l’iPad, le publier sur des sites web comme Facebook et YouTube, ou encore le graver sur disque. Final Cut Pro offre une panoplie complète de destinations que vous pouvez en outre modifier à loisir ou en créer d’autres. Pour ajouter et modifier des destinations, utilisez la fenêtre Destinations des préférences de Final Cut Pro.
Utilitaire de disque Utilitaire de disque est une application Apple permettant d’exécuter des tâches de gestion de disque dans OS X. Il se trouve dans le dossier /Applications/Utilitaires.
sous-mixage Processus utilisé pour combiner plusieurs canaux audio en une seule paire stéréo (ou mono dual). Également appelé mixdown.
Glossaire 486
timecode Drop Frame Timecode NTSC qui ignore deux numéros d’image par minute, sauf pour les minutes qui se terminent par 0, afin que le timecode corresponde au temps véritablement écoulé (les numéros de timecode sont passés mais pas les images vidéo proprement dites). Ce saut est effectué pour tenir compte de la fréquence d’images vidéo réelle de la norme NTSC de 29,97 ips qui décale le timecode Non-Drop Frame de 3 secondes et 18 images par heure par rapport au temps réellement écoulé. Pour éviter toute confusion, il faut éviter d’utiliser un timecode Drop Frame dans les productions cinématographiques. Voir aussi timecode Non-Drop Frame.
ombre portée Effet qui crée une ombre artificielle derrière une image. Utilisé surtout avec des graphiques et du texte.
DV Format d’enregistrement numérique sur bande vidéo en définition standard (SD) qui enregistre un signal vidéo en composantes 8 bits avec une compression 5:1 et un échantillonnage des couleurs 4:1:1 (PAL utilise un échantillonnage 4:2:0). Ce format gère deux pistes audio avec un échantillonnage 16 bits et 48 kHz ou quatre pistes audio avec un échantillonnage de 12 bits et 32 kHz.
DVCAM Format d’enregistrement numérique sur bande vidéo en définition standard (SD) qui enregistre un signal vidéo en composantes 8 bits avec une compression 5:1 et un échantillonnage des couleurs 4:1:1 (PAL utilise un échantillonnage 4:2:0). Ce format gère deux pistes audio avec un échantillonnage 16 bits et 48 kHz ou quatre pistes audio avec un échantillonnage de 12 bits et 32 kHz.
DVCPRO Format d’enregistrement numérique sur bande vidéo en définition standard (SD) qui enregistre un signal vidéo en composantes 8 bits avec une compression 5:1 et un échantillonnage des couleurs 4:1:1 (PAL utilise un échantillonnage 4:2:0). Ce format gère deux pistes audio avec un échantillonnage audio de 16 bits et 48 kHz.
DVCPRO 50 Format d’enregistrement numérique sur bande vidéo en définition standard (SD) qui enregistre un signal vidéo en composantes 8 bits avec une compression 3.3:1 et un échantillonnage des couleurs 4:2:2. Ce format gère quatre pistes audio avec un échantillonnage audio de 16 bits et 48 kHz.
DVCPRO HD Format vidéo haute définition (HD) qui enregistre un signal vidéo en composantes 8 bits compressé avec un échantillonnage des couleurs 4:2:2. 720p et 1080i sont pris en charge. Inclut jusqu’à huit pistes audio avec un échantillonnage 16 bits et 48 kHz. Le débit de données total est de 115 Mbps.
DVD Disque de la taille d’un CD, mais utilisant des méthodes de stockage haute densité qui augmentent considérablement sa capacité. Généralement utilisés pour la distribution vidéo, les disques DVD-ROM peuvent également être utilisés pour stocker des données informatiques.
plage dynamique Différence, exprimée en décibels, entre la partie d’un enregistrement dont le volume est le plus élevé et celle dont le volume est le plus bas.
outils d’édition Sept outils parmi lesquels choisir lors de vos manipulations dans la timeline : outil de sélection, outil Trim, outil Position, outil Sélection de plage, outil Lame de rasoir, outil Zoom et outil Main. Après avoir choisi un outil, l’icône du pointeur s’adapte pour refléter l’usage de l’outil en question.
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point de montage Les points de montage définissent la partie d’un plan que vous souhaitez utiliser dans le projet monté. Les points de montage comprennent les points de départ, qui définissent le début d’une section d’un plan ou d’un projet, et les points d’arrivée, qui définissent la fin d’une section d’un plan ou d’un projet. Un point de montage est également un point dans la timeline où le point d’arrivée d’un plan coïncide avec le point de départ du plan suivant. Il peut être sélectionné pour diverses opérations.
Navigateur d’effets Navigateur multimédia de Final Cut Pro contenant des effets de plan vidéo et de clip audio.
égalisation Un égaliseur (généralement appelé EQ, pour « equalizer ») modèle le son de l’audio entrant en modifiant le niveau de bandes de fréquences spécifiques. L’égalisation constitue l’un des traitements audio les plus couramment utilisés, aussi bien pour les projets de musique que dans les travaux de postproduction vidéo. Vous pouvez passer par l’égalisation pour former subtilement ou plus nettement le son d’un fichier audio, d’un instrument ou d’un projet en ajustant des fréquences précises ou des plages entières.
événement Lorsque vous importez du contenu vidéo, audio ou des images fixes ou que vous les enregistrez directement dans Final Cut Pro, les fichiers multimédias source (votre métrage brut) sont stockés dans des événements. Un événement correspond à un dossier qui peut contenir des dizaines, des centaines, voire des milliers de plans vidéo, de clips audio et d’images fixes. Chaque événement de la bibliothèque d’événements correspond à un dossier de votre disque dur qui contient les fichiers de média originaux, tout fichier de rendu relatif à votre média et un fichier de base de données comprenant le suivi de l’emplacement de l’ensemble des éléments.
Navigateur d’événements Le navigateur d’événements affiche les plans correspondant à l’élément sélectionné dans la bibliothèque d’événements. Il vous suffit de sélectionner des plans ou des sections de plan dans le navigateur d’événements pour commencer à travailler dessus. Vous pouvez trier les plans dans le navigateur d’événements par date de création, par date d’importation, par bande, par scène, par durée de plan ou par type de fichier. Vous pouvez aussi visualiser vos plans sous forme de pellicule ou de liste.
Bibliothèque d’événements La bibliothèque d’événements référence et organise les événements contenant les données que vous avez importées (vidéo, audio et images fixes). Lorsque vous sélectionnez un événement dans la bibliothèque d’événements, le média qu’il contient s’affiche sous forme de plans dans le navigateur d’événements. La bibliothèque d’événements contient également les collections de mots-clés et les collections intelligentes de Final Cut Pro qui vous permettent d’organiser efficacement votre média à l’aide de mots-clés et de filtres de recherche persistants.
visualiseur d’événements Le visualiseur d’événements représente un affichage vidéo à part à côté du visualiseur principal, servant uniquement à lire des plans dans le navigateur d’événements.
exposition Quantité de lumière dans des images vidéo ou des images de film. L’exposition modifie la luminosité générale de l’image, ainsi que son contraste.
fondu Type de transition couramment utilisé pour la vidéo et l’audio. Dans le cas de la vidéo, un fondu sortant commence par un plan dont l’intensité, maximale au début, réduit progressivement jusqu’à disparaître. À l’inverse, un fondu entrant commence par un plan dont l’intensité, nulle au départ, augmente progressivement jusqu’à son niveau maximal. On appelle souvent ces transitions « fondu au noir » et « fondu à l’ouverture ». Les fondus audio commencent pour leur part avec un volume nul qui augmente pour atteindre le volume complet, alors que le fondu sortant commence au volume complet pour se réduire jusqu’au silence.
Glossaire 488
pellicule Vos plans vidéo apparaissent sous forme de pellicules dans la timeline (là où vous créez vos projets) et dans le navigateur d’événements (là où sont affichées vos données source). Une seule pellicule vidéo peut représenter plusieurs secondes de vidéo regroupant des centaines d’images vidéo (à savoir des images spécifiques). Les clips exclusivement audio se présentent comme des formes d’onde audio, affichant les changements de volume dans le temps.
FireWire Marque déposée d’Apple pour la norme IEEE 1394. FireWire constitue une interface rapide et polyvalente permettant de relier des caméscopes DV à des ordinateurs. FireWire convient parfaitement aux applications déplaçant de grands volumes de données et peut servir à connecter des disques durs, des scanners et d’autres types de périphériques.
effets de bruitage Les effets de bruitage sont des effets sonores personnalisés parfaitement synchronisés avec l’image, tels que des bruits de pas sur différentes surfaces, le froissement de vêtements, des sons de combat et le bruit d’objets manipulés. Final Cut Pro inclut un certain nombre de bruitages et d’autres effets sonores que vous pouvez utiliser comme clips audio connectés.
image Image fixe isolée. Les films et les vidéos sont composés d’une série de ces images. Même si une image d’un film correspond à une seule image photographique, une image vidéo entrelacée contient deux trames. Voir aussi vidéo entrelacée, vidéo non entrelacée.
fusion d’images La duplication d’images en vue de créer un ralenti peut produire un effet stroboscopique perturbant. Pour limiter cet effet, vous pouvez activer la fusion d’images dans le menu local Resynchronisation accessible à partir de la barre d’outils. La fusion d’images crée des images intermédiaires, chacune constituant une image composite des deux images contigües de chaque côté.
fréquence d’images Nombre d’images photographiées par seconde pour un plan vidéo.
taille d’image Voir résolution.
fréquence Nombre de fois qu’un son ou un signal vibre par seconde. La fréquence est exprimée en cycles par seconde, ou hertz (Hz). Les enregistrements audio sont composés d’une large série de formes d’onde, qui utilisent de nombreuses fréquences de son différentes. Chaque fréquence d’enregistrement est associée à une tonalité audio. Par exemple, la note produite par chaque touche d’un piano a sa propre fréquence.
Front Row Front Row, application fournie avec OS X, vous permet de parcourir vos données iTunes, iLife et Final Cut Pro à l’aide d’une télécommande Apple Remote ou de l’application Remote. Il est également possible d’ouvrir Front Row en appuyant sur Commande + Échap.
gain Niveau de gain d’un signal audio ou vidéo. En vidéo, cette valeur augmente le niveau de blanc ; en audio, c’est le volume qui est augmenté.
gamma Courbe décrivant l’intensité d’une image. Gamma constitue une fonction non linéaire souvent confondue avec la « luminosité » ou le « contraste ». La correction gamma est fréquemment utilisée pour atténuer les différences entre les cartes vidéo et les écrans Mac et Windows.
plan vide Plan vierge (contenant de la vidéo vierge et du silence) dont vous pouvez définir librement la durée. (L’industrie audiovisuelle emploie le terme d’amorce pour le désigner.) La couleur du plan vide se détermine par celle de l’arrière-plan actif dans Final Cut Pro. Vous pouvez adapter la couleur d’arrière-plan à l’aide du menu local « Arrière-plan du lecteur » dans la fenêtre Lecture des préférences de Final Cut Pro.
générateurs Plans synthétisés par Final Cut Pro. Ces derniers peuvent constituer différents types d’arrière-plans, de titres et d’éléments visuels.
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navigateur de générateurs Navigateur multimédia de Final Cut Pro permettant d’accéder à tous les générateurs vidéo inclus dans Final Cut Pro.
outil Main Outil de montage permettant de faire défiler la timeline. Pour activer l’outil Main, appuyez sur la touche H.
H.264 H.264/MPEG-4 Part 10 ou AVC (Advanced Video Coding) est un standard de compression vidéo largement utilisé pour l’enregistrement, la distribution et la diffusion sur Internet de vidéo en haute définition.
HDCAM Format d’enregistrement numérique sur bande vidéo en haute définition (HD) qui enregistre un signal vidéo en composantes 8 bits avec une compression 7.1:1 DCT et un échantillonnage des couleurs 3:1:1. Enregistré sur une bande d’1/2 pouce. Il gère quatre pistes audio.
HDV Ce format est destiné à enregistrer de la vidéo haute définition sur bande DV. Le format HDV fait appel à la compression vidéo MPEG-2 avec des échantillons 8 bits et un sous-échantillonnage de chrominance 4:2:0. Il possède un débit vidéo de 18,3 Mbps à 720p (1280 x 720) et de 25 Mbps à 1080i (1440 x 1080).
haute définition (HD) Désigne toute vidéo dont la résolution est supérieure à celle de la vidéo NTSC ou PAL en définition standard. Les résolutions haute définition les plus courantes sont 1280 x 720 (720p) et 1920 x 1080 (1080i ou 1080p). Voir aussi format NTSC, format PAL, définition standard (SD).
histogramme Instrument vidéo de Final Cut Pro offrant une analyse statistique de l’image en représentant graphiquement le nombre de pixels à chaque pourcentage de luminance ou de couleur. Il est utile pour comparer deux plans afin de mieux faire correspondre leurs valeurs de luminosité.
teinte Attribut de perception de la couleur, également appelé phase de couleur. Le rouge, le bleu, le jaune et le vert sont tous des teintes.
importation Processus consistant à placer des fichiers multimédias de différents types dans des événements dans Final Cut Pro. Vous pouvez importer des fichiers depuis des caméscopes et d’autres appareils connectés, depuis d’autres applications ou depuis des périphériques de stockage connectés.
IMX Format MPEG-2 en définition standard (SD) d’images I stockées sur bande, disque optique XDCAM ou disque dur. Certaines platines IMX peuvent lire et convertir les formats tels que Digital Betacam, Betacam SX et Betacam SP en IMX. Le débit des données IMX peut être réglé sur 30, 40 ou 50 Mbps.
plan entrant Plan suivant une transition. Par exemple, si le plan A fait l’objet d’un fondu vers le plan B, ce dernier est le plan entrant. Voir aussi plan sortant.
inspecteur d’informations L’inspecteur d’informations affiche des informations (appelées métadonnées) concernant un plan ou un groupe de plans sélectionné dans le navigateur d’événements ou la timeline. Il vous est possible d’afficher plusieurs combinaisons de métadonnées avec vos plans, telles que des codecs, les moments de début et de fin du média, la bande, la scène, la prise, les renseignements EXIF et les informations IPTC. Vous pouvez aussi passer par l’inspecteur d’informations pour modifier les métadonnées pour un plan ou groupe de plans choisi, et pouvez créer des ensembles personnalisés de métadonnées affichables par le biais de la fenêtre Présentations des métadonnées accessible depuis l’inspecteur d’informations.
point d’entrée Voir point de montage.
Glossaire 490
montage par insertion Un montage par insertion place le plan source de façon à ce que tous les plans situés après le point d’insertion soient déplacés vers l’avant (Ripple) dans la timeline pour faire de la place au plan inséré. Aucun plan n’est supprimé de votre projet. Un montage par insertion allonge le projet de la durée du plan inséré.
inspecteurs Final Cut Pro comporte un certain nombre d’inspecteurs permettant de consulter et de modifier les attributs des éléments sélectionnés. Par exemple, il est possible de régler des effets vidéo et d’appliquer des étalonnages dans l’inspecteur vidéo. Les autres inspecteurs sont les inspecteurs audio, d’améliorations audio, d’informations, de transition, des titres, de texte, du générateur et de partage. Ils apparaissent dans la fenêtre Inspecteur située dans le coin supérieur droit de la fenêtre principale de Final Cut Pro.
vidéo entrelacée Méthode de balayage qui divise une image vidéo en deux trames, chacune d’elles étant constituée de lignes paires et impaires alternées, balayées à différents moments.
IRE Unité de mesure d’un signal vidéo analogique pour la luminance, définie par l’Institute of Radio Engineers.
coupe en J Voir montage scindé.
tâche Chaque fichier multimédia ajouté à un lot dans Compressor constitue une tâche. Chaque tâche possède un fichier de média et un ou plusieurs réglages définissant le type de fichier à rendre. Voir aussi lot.
JPEG Format de fichier d’image très répandu permettant de créer des fichiers graphiques très compressés. Le taux de compression peut varier. Plus la compression est faible, plus la qualité de l’image est bonne.
image clé Commande représentant la valeur d’un paramètre d’effet vidéo ou audio en un point donné du projet. Lorsque deux images clés avec des valeurs différentes sont définies dans Final Cut Pro, une transition d’une valeur à l’autre est calculée, entraînant un changement dynamique de ce paramètre. Le terme image clé est issu de l’animation traditionnelle, où seules les images importantes (clés) d’une séquence animée étaient dessinées pour esquisser l’animation d’un personnage au fil du temps. Une fois les images clés déterminées, un artiste d’interpolation dessine toutes les images intermédiaires.
incrustation Voir incrustation chromatique, incrustation en luminance.
collection de mots-clés Lorsque vous appliquez un mot-clé à un plan, une collection de mots-clés est automatiquement créée dans la bibliothèque d’événements. Lorsque vous sélectionnez la collection de mots-clés, chaque plan auquel le mot-clé en question a été affecté est affiché.
mots-clés Les mots-clés ajoutent des informations descriptives à un plan ou une plage de plan. Vous pouvez faire appel à des mots-clés pour organiser, trier et classifier le média. Il vous est possible d’ajouter manuellement des mots-clés à un plan ; Final Cut Pro peut en outre en ajouter automatiquement lors de l’analyse de plans. Voir aussi Collection de mots-clé.
coupe en L Voir montage scindé.
montage linéaire Avant l’apparition du montage vidéo numérique, les programmes étaient montés en copiant l’un après l’autre les plans sur une bande Master à partir des bandes source originales. L’assemblage étant linéaire, tout changement de durée apporté à un point antérieur de la bande nécessitait le réassemblage du film à partir de ce point. Voir aussi montage non linéaire.
Glossaire 491
en boucle Mode de lecture selon lequel les plans et les projets retournent au début à chaque fois que la tête de lecture atteint la fin des données. Vous pouvez activer ou désactiver la lecture en boucle à partir du menu Présentation ou en appuyant sur Commande + L.
tiers inférieur Terme utilisé dans le secteur télévisuel pour désigner un graphisme placé dans la zone inférieure de l’écran, généralement pour apporter des précisions sur un sujet ou un produit. Un usage courant des tiers inférieurs est d’identifier des individus à l’écran à l’aide de leur nom et de leur fonction professionnelle.
luminance Valeur décrivant la luminosité d’une image vidéo. Un canal de luminance est une image en niveaux de gris indiquant la gamme de luminosité de l’ensemble du plan.
incrustation en luminance Filtre utilisé pour exclure les pixels présentant une valeur de luminance (ou une plage de valeurs de luminance) donnée, créant ainsi un cache basé sur la zone la plus claire ou la plus sombre d’une image. L’exclusion de valeurs de luminance est optimale lorsqu’un plan dispose d’un large écart dans son exposition entre les zones de l’image que l’on souhaite exclure et les images de premier plan que l’on veut conserver, par exemple un titre blanc sur un fond noir. Voir aussi incrustation chromatique, cache.
Mail Mail est l’application de messagerie électronique fournie avec OS X.
marqueurs Les marqueurs permettent d’ajouter des remarques de montage ou d’autres informations descriptives à un emplacement précis d’un plan. Vous pouvez aussi utiliser des marqueurs pour la gestion des tâches. Ils se classifient en marqueurs standard (bleus), en marqueurs de chapitre (orange), en tâches à réaliser (rouges) ou en tâches accomplies (vertes).
masque Image ou plan servant à définir des zones de transparence dans un autre plan. S’apparente à un canal alpha. Les outils d’étalonnage peuvent créer des masques d’après une couleur choisie ou une forme créée. Voir aussi canal alpha.
cache Parfois appelé cache de maintien. Effet qui exploite les données d’une couche vidéo pour en modifier une autre. Les caches s’avèrent utiles dès qu’il s’agit d’utiliser un plan pour masquer ou révéler de façon sélective une partie d’un autre plan. Vous pouvez par exemple faire appel à une forme représentant une lumière pour révéler des parties d’une couche vidéo. Les effets de cache peuvent servir à masquer des zones d’un plan ou à créer des données de canal alpha pour un plan, afin de tracer une bordure transparente autour du plan à combiner avec d’autres couches. Voir aussi canal alpha, compositing.
média Terme générique désignant des éléments tels que des films, des sons et des images.
navigateurs multimédias Les données que vous importez dans des événements dans Final Cut Pro sont accessibles via la bibliothèque d’événements et le navigateur d’événements, mais Final Cut Pro propose également un ensemble de navigateurs multimédias que vous pouvez utiliser pour ajouter des plans à votre projet. Les navigateurs multimédias permettent d’accéder aux effets, titres et transitions fournies avec Final Cut Pro ainsi qu’aux fichiers vidéo, audio et d’images tirés d’autres applications sur votre ordinateur. Par exemple, le navigateur de photos vous permet d’accéder aux fichiers vidéo et d’images des bibliothèques Aperture et iPhoto. Final Cut Pro propose également les navigateurs d’effets, de musique et son, de transitions, de titres, de générateurs et de thèmes. Les navigateurs multimédias s’affichent dans la fenêtre Navigateur multimédia située dans le coin inférieur droit de la fenêtre principale de Final Cut Pro.
poignée de données Données supplémentaires disponibles avant le point de départ ou après le point d’arrivée d’un plan.
Glossaire 492
stems Fichiers audio ou vidéo habituellement exportés séparément pour le mixage audio ou la postproduction, ou encore pour correspondre aux spécifications exigées en cas de remise de fichiers à des réseaux de diffusion. C’est le cas, par exemple, lorsque vous devez remettre un fichier QuickTime multipiste accompagné de stems séparés pour les dialogues, la musique et les effets.
mixage Processus qui consiste à ajuster les niveaux audio de tous les clips audio d’un programme monté, notamment l’audio de production, la musique, les effets sonores, les voix off et les bruits de fond ambiants supplémentaires, pour transformer tous ces sons en un tout harmonieux.
monochrome Image présentée en nuances d’une même couleur, le plus souvent en nuances de gris dans une image noir et blanc.
MP3 Ce terme fait référence au format de fichier et au standard de compression MPEG-1 ou MPEG-2 Audio Layer 3. Comme pour le format AAC, le MP3 utilise un codage audio perceptuel et un algorithme de compression psycho-acoustique pour éliminer l’information superflue inaudible pour l’oreille humaine.
MPEG (Moving Picture Experts Group) Groupe de normes de compression pour la vidéo et l’audio, incluant MPEG-1, MPEG-2 et MPEG-4.
Plan multicam Ensemble de plans regroupés et synchronisés par un point de synchronisation commun. Vous pouvez exploiter des plans multicam pour monter le métrage de prises multicaméra ou tout autre métrage synchronisé en temps réel. Alors que les angles actifs se reproduisent dans le visualiseur, vous pouvez également visionner tous les angles simultanément dans le visualiseur d’angle, puis effectuer des coupes et passer facilement d’un angle à l’autre.
navigateur de musique et son navigateur multimédia de Final Cut Pro vous permettant
d’accéder à votre bibliothèque iTunes, ainsi qu’aux effets sonores et aux boucles de Final Cut Pro et d’iLife.
séquence imbriquée Voir plan composé.
NLE Abréviation de NonLinear Editor (monteur non linéaire). Voir aussi montage non linéaire.
montage non destructif Quelle que soit la façon dont vous montez vos plans dans Final Cut Pro, les données sous-jacentes ne sont jamais modifiées. Cette méthode est connue sous le nom de montage non destructif, car l’ensemble des modifications et des effets appliqués à votre métrage n’a aucun effet sur les fichiers de média source d’origine. Les plans représentent votre média mais ne sont pas des fichiers de média en tant que tels. Les plans dans un projet pointent simplement sur des fichiers de média source se trouvant sur votre disque dur. Si vous modifiez un plan, vous ne modifiez en fait pas le fichier de média en tant que tel mais simplement les informations liées au plan dans le projet. Les parties des plans effacées ou ayant fait l’objet d’un trim ne sont supprimées que du projet, et non des plans source présents dans votre bibliothèque d’événements ni des fichiers multimédias source stockés sur votre disque dur.
timecode Non-Drop Frame Timecode dans lequel les images sont numérotées de manière séquentielle, sans suppression de numéros de timecode du décompte. S’agissant de la vidéo NTSC, la fréquence d’images vidéo réelle est de 29,97 ips et le timecode Non-Drop Frame est décalé de 3 secondes et 18 images par heure par rapport au temps réellement écoulé. Voir aussi timecode Drop Frame.
Glossaire 493
vidéo non entrelacée Représentation standard des images sur un ordinateur. Autre nom de balayage progressif. Le moniteur affiche l’image en dessinant les lignes une à une, du haut vers le bas.
montage non linéaire Méthode de montage vidéo permettant de modifier à tout moment les montages au sein d’un programme sans avoir à recréer l’ensemble du programme. Lorsque vous utilisez une application de montage non linéaire pour un programme, tout le métrage utilisé est stocké sur un disque dur et non sur bande. Vous pouvez ainsi accéder de façon aléatoire à toutes les données vidéo, audio et à toutes les images au cours du montage. Voir aussi montage linéaire.
format NTSC Norme vidéo définie par l’organisation NTSC (National Television Standards Committee), à l’origine des normes de télédiffusion en vigueur en Amérique du Nord. La vidéo NTSC analogique comporte 525 lignes entrelacées par image, une fréquence d’images de 29,97 ips et une gamme de couleurs limitée. La vidéo numérique NTSC a une dimension d’image de 720 x 486 pixels (720 x 480 pour DV et DVD) et une fréquence d’images de 29,97 ips. Voir aussi format PAL.
montage hors ligne Traitement de postproduction dans lequel le métrage brut est copié et modifié sans affecter les données d’origine de la caméra (données sur film, bande ou par système de fichiers). Après l’usage d’un programme dans un montage offline (généralement par le biais de média proxy dans une résolution inférieure), un montage online est réalisé pour recréer le montage à l’aide du média d’origine.
opacité Niveau de transparence d’un plan.
plan sortant Plan précédant une transition. Par exemple, si le plan A fait l’objet d’un fondu vers le plan B, le plan A est le plan sortant. Voir aussi plan entrant.
point de sortie Voir point de montage.
montage par écrasement Dans un montage par écrasement, un ou plusieurs plans source écrasent les plans présents dans le scénario principal ou un scénario sélectionné, en commençant au point de départ d’une sélection de plage ou au niveau du skimmer ou de la tête de lecture. Puisqu’aucun élément de plan ne subit de montage Ripple en avant, la durée de votre projet reste inchangée. L’écrasement s’appuie exclusivement sur la durée et ne fonctionne que sur des plages de sélection, indépendamment des limites des plans.
format PAL Acronyme de Phase Alternating Line, un format de vidéo entrelacée à 25 ips (625 lignes par image) utilisé dans de nombreux pays européens. Le format vidéo numérique PAL a une dimension d’image de 720 x 576. Voir aussi format NTSC.
navigateur de photos Navigateur multimédia de Final Cut Pro vous permettant d’accéder à vos bibliothèques de photos iPhoto et Aperture.
tonalité Les sons sont perçus comme aigus ou graves selon leur fréquence, ou le nombre de fois par seconde qu’une onde sonore passe d’une pression positive à une pression négative avant de revenir à une pression positive. Les musiciens utilisent généralement le terme de tonalité pour parler de fréquence. Plus cette dernière est élevée, plus la tonalité l’est aussi. L’adaptation de la vitesse d’un plan influe sur la tonalité de sa piste audio. Une animation plus lente crée une tonalité basse ; à l’inverse, une animation plus rapide entraîne une tonalité plus aigue.
pixel Point dans une vidéo ou une image fixe. Plus une image contient de pixels, plus sa résolution est élevée.
Glossaire 494
tête de lecture La tête de lecture indique la position actuelle de votre projet dans la timeline ou le navigateur d’événements. Vous pouvez à loisir déplacer la tête de lecture en la faisant glisser ou en cliquant sur une autre zone de la timeline ou du navigateur d’événements. La tête de lecture permet d’effectuer un défilement ou de parcourir votre projet et de le reproduire depuis divers emplacements. La tête de lecture se présente sous la forme d’un trait vertical gris fixe à moins que vous ne la déplaciez ailleurs ou cliquiez sur un autre point. Voir aussi skimmer.
outil Position Outil de montage permettant de positionner des éléments dans la timeline. Pour activer l’outil Position, appuyez sur la touche P.
postproduction Phase du montage vidéo ou de film au cours de laquelle tous les éléments de production sont organisés, assemblés et utilisés pour générer le fichier de sortie.
projet Un projet contient tous vos choix de montage et les données utilisées. Pour créer votre projet, vous ajoutez des plans et vous les montez dans la timeline. Un projet est également défini par ses propriétés vidéo, audio et de rendu. Dans la plupart des cas, Final Cut Pro gère automatiquement les réglages du projet en fonction des propriétés du premier plan que vous ajoutez au projet.
bibliothèque de projets La bibliothèque de projets contient tous les projets Final Cut Pro présents sur votre disque dur et sur les lecteurs externes connectés.
propriétés du projet Événement par défaut d’un projet, ainsi que les propriétés vidéo, audio et de rendu du projet. Dans la plupart des cas, Final Cut Pro gère automatiquement les propriétés du projet en fonction des propriétés du premier plan que vous y ajoutez. Si vous devez modifier les propriétés du projet, choisissez celles vidéo et audio selon le mode de partage de votre film final avec votre public. Vous définissez en fait les propriétés d’un projet au moment où vous créez un projet Final Cut Pro ; vous pouvez les modifier ensuite à tout moment.
fichiers proxy Vous pouvez utiliser Final Cut Pro pour transcoder vos données d’origine afin de créer des fichiers proxy, qui sont des fichiers plus légers avec un débit de données inférieur. Les fichiers proxy peuvent être utilisés pour le montage hors ligne ou pour réaliser un montage sur un ordinateur lent. Final Cut Pro crée les fichiers vidéo proxy à l’aide du codec Apple ProRes 422 (proxy) et les fichiers image proxy à l’aide du format JPEG (si le fichier original ne possède pas d’informations de canal alpha) ou PNG (si le fichier possède des informations de canal alpha). Voir aussi canal alpha.
QuickTime Technologie multimédia multiplateforme d’Apple. Très répandue pour la production, la postproduction et la distribution de programmes vidéo, audio et interactifs.
plage Au lieu de sélectionner des plans complets, vous pouvez sélectionner une plage au sein d’un plan dans la timeline ou le navigateur d’événements. Vous pouvez appliquer des trims aux sélections de plage, leur attribuer des classements et des mots-clés et les modifier de toute autre manière. Vous pouvez ajuster les points d’entrée et de sortie d’une plage en faisant glisser l’un des bords figurant de part et d’autre de celle-ci. Dans la timeline, vous pouvez également sélectionner une plage couvrant plusieurs plans. Dans le navigateur d’événements, vous avez la possibilité de définir plusieurs plages dans un ou plusieurs plans et vous pouvez sélectionner et désélectionner des plages après les avoir établies.
outil Sélection de plage Outil de montage permettant de sélectionner une plage dans la timeline. Pour activer l’outil Sélection de plage, appuyez sur la touche R.
Glossaire 495
support à laser rouge Les graveurs et les lecteurs de DVD classiques utilisent un laser rouge pour les supports DVD. Les graveurs et les lecteurs Blu-ray utilisent un laser bleu pour fonctionner avec un support Blu-ray. La couleur bleue possède une longueur d’onde plus courte, ce qui rend possible un stockage plus important de données sur un disque, comparé aux supports laser rouge.
rendu Traiter la vidéo et l’audio avec tous les filtres ou les transitions appliqués, puis stocker le résultat sur disque sous forme de fichier de rendu. Ces fichiers de rendu sont stockés avec vos fichiers d’événements et de projets Final Cut Pro. Lors de la publication ou de l’exportation d’un projet, ceux-ci voient leur rendu effectué de façon analogue pour générer les fichiers en sortie.
montage par remplacement Dans un montage par remplacement, la sélection source remplace un plan de votre projet dans la timeline. Contrairement aux montages par écrasement, le remplacement ne fonctionne que sur des plans complets de la timeline et peut modifier la durée du projet.
résolution La résolution d’une image fait référence au nombre de pixels qu’elle contient. La résolution s’exprime en pixels, pour la largeur et la hauteur de l’image (par exemple, 640 x 360 pixels). Les images de résolution supérieure s’avèrent plus détaillées mais obligent également à des fichiers plus volumineux nécessitant plus de temps à télécharger. Vos dispositifs électroniques (ordinateur, iPhone, iPad, iPod, etc.) sous-entendent aussi une résolution écran. Dans l’idéal, vous devez adapter la résolution d’image de votre média à celle de lecture sur votre appareil.
réverbération La réverbération désigne le phénomène de persistance du son du fait des réflexions des ondes sonores sur les surfaces (murs, plafonds, fenêtres, etc.) ou les objets d’un espace, qui s’affaiblissent progressivement jusqu’à devenir inaudibles. Final Cut Pro inclut de nombreux effets audio qui ajoutent de la réverbération au son d’un plan.
RVB Abréviation de Rouge, Vert, Bleu. Espace colorimétrique couramment utilisé par les ordinateurs, sur lesquels chaque couleur est définie par la force de ses composantes de rouge, de vert et de bleu. Cet espace procède directement à la transcription en luminophores rouges, verts et bleus utilisés par les écrans d’ordinateurs. La gamme de l’espace colorimétrique RVB est très large, permettant ainsi la reproduction d’une grande variété de couleurs. Cette gamme est habituellement plus large que celle pouvant être reproduite pour la télédiffusion.
montage Ripple Le type de trim par défaut dans Final Cut Pro est le trim Ripple qui ajuste le point de départ ou d’arrivée d’un plan sans laisser de vide dans la timeline. La modification de la durée du plan est propagée vers l’extérieur, avançant ou reculant tous les plans suivants dans la timeline. De même, si vous supprimez un plan de la timeline, les plans suivants s’adaptent en amont pour fermer le vide. Les montages Ripple affectent le plan auquel le trim est appliqué, la position de tous les plans suivants sur la timeline et la durée totale du projet.
rôle Étiquettes de métadonnées que vous associez à des plans dans le navigateur d’événements ou la timeline. Elles procurent un moyen à la fois souple et performant de gérer des flux de production de montage. Les rôles peuvent être utilisés dans Final Cut Pro pour organiser des plans dans des événements et des projets, contrôler l’apparence de la timeline ou exporter des fichiers vidéo ou audio séparés (également appelés stems) en vue d’un mixage audio, de la postproduction ou d’une remise à des réseaux de diffusion.
montage Roll Montage qui modifie deux plans partageant un point de montage. Par exemple, si le plan A fait l’objet d’un cut vers le plan B, un montage Roll ajuste simultanément de la même quantité le point d’arrivée du plan A et le point de départ du plan B. La durée globale du projet reste la même.
Glossaire 496
montage brut Premier montage. Le montage brut est une première version d’un film qui regroupe ses éléments de base. La plupart du temps, un montage brut est réalisé avant l’ajout de transitions, de filtres et d’autres effets.
saturation Mesure de l’intensité de la couleur du signal vidéo.
scène Série de prises de vue qui ont lieu au même moment et au même endroit. Un programme est composé d’une série de scènes.
outil Sélectionner Pointeur par défaut en forme de flèche permettant de sélectionner des éléments dans la timeline. Vous pouvez l’utiliser pour sélectionner un plan ou un point de montage par exemple. Pour activer l’outil Sélectionner, appuyez sur la touche A.
séquence Voir projet, timeline.
menu contextuel Menu auquel vous accédez en maintenant enfoncée la touche Contrôle et en cliquant sur un élément à l’écran, ou en appuyant sur le bouton droit de la souris. Parfois appelé menu de raccourci.
plan Segment de vidéo enregistrée en continu. Un plan (ou « prise ») est la plus petite unité d’un programme.
skimmer Le skimmer permet de prévisualiser des plans dans la timeline, le navigateur d’événements ou la bibliothèque de projets sans modifier la position de la tête de lecture. Utilisez le skimmer pour survoler le contenu ou parcourir à loisir les plans pour effectuer la lecture depuis l’emplacement du pointeur en fonction de sa vitesse de déplacement. Le skimmer se présente sous la forme d’un trait vertical rose au fur et à mesure que vous déplacez le pointeur sur la zone en cours de survol. Si vous avez activé le magnétisme, le skimmer devient orange lorsqu’il est calé sur une position.
clap Plan au début d’une scène, qui identifie celle-ci à l’aide d’informations de base sur la production, telles que la prise de vue, la date et le numéro de la scène. Un clap fournit un signal audiovisuel pour la synchronisation lorsque la vidéo et l’audio sont enregistrés séparément.
montage par glissement Montage dans lequel la totalité d’un plan est déplacée, ainsi que les points de montage de part et d’autre de celui-ci. La durée du plan déplacé reste inchangée, mais la longueur des plans à sa gauche et à sa droite est modifiée en fonction de la nouvelle position du plan. La durée totale du projet et de ces trois plans reste inchangée.
montage par coulissement Montage dans lequel les positions des points de départ et d’arrivée d’un plan du projet sont modifiées simultanément sans modifier la position ou la durée du plan. Ce processus est communément désigné par le terme coulissement, car vous faites coulisser les points de départ et d’arrivée du plan au sein du métrage disponible. La partie du plan visible dans le projet change, mais pas la position du plan dans la timeline.
collection intelligente Lorsque vous recherchez des plans dans un événement à l’aide de la fenêtre Filtre, vous pouvez enregistrer vos résultats en créant une collection intelligente qui regroupe les plans correspondant aux critères de recherche. Chaque fois qu’un nouveau plan, qui satisfait les critères de recherche de la collection intelligente, est ajouté à l’événement, il est aussi automatiquement ajouté à celle-ci. Les plans qui s’affichent dans les collections intelligentes ne sont pas dupliqués. Les collections intelligentes filtrent des plans dans un événement pour vous aider à vous centrer sur les plans dont vous avez besoin pour une tâche spécifique.
Glossaire 497
magnétisme Lorsque le magnétisme est activé dans Final Cut Pro, les éléments que vous déplacez dans la timeline (notamment la tête de lecture, le skimmer et les plans sélectionnés) semblent se caler directement sur certains points de celle-ci. Cette fonction peut vous aider à aligner rapidement les montages sur d’autres éléments du projet. Le magnétisme affecte les fonctions de nombreux outils de montage dans Final Cut Pro, notamment les outils de sélection, Trim, Position, Sélection de plage et Lame de rasoir. Vous pouvez désactiver le magnétisme lorsqu’un montage de précision image par image s’avère nécessaire.
effets sonores Données audio spécifiques, telles que le son d’une porte qui se ferme ou d’un chien qui aboie, provenant de bibliothèques d’effets ou de plans que vous avez enregistrés. Les effets sonores peuvent être utilisés pour remplacer des sons dans l’audio d’un programme ou pour ajouter un son qui n’a pas été enregistré initialement.
fichiers multimédias source Fichiers d’origine (vidéo, audio et images fixes ou graphismes) que vous importez dans Final Cut Pro. Un plan utilisé dans Final Cut Pro pointe sur l’emplacement où le fichier de média source est stocké (soit sur un disque, soit sur un caméscope, une caméra ou autre appareil). Les modifications apportées aux plans dans Final Cut Pro n’influent pas sur les fichiers de média source.
effets spéciaux Effets visuels appliqués aux plans et aux projets, comme par exemple des effets d’animation, de compositing, d’incrustation et de resynchronisation.
élagage L’élagage est une opération d’étalonnage appliquant la couleur complémentaire (opposée) de la couleur rendue transparente pour neutraliser les franges bleues ou vertes ou la réflexion de la lumière qui teinte le sujet incrusté. Les commandes du curseur de Niveau de débordement contrôlent le degré d’élagage appliqué au sujet incrusté.
montage scindé Final Cut Pro permet de définir des points de départ et d’arrivée distincts pour les données vidéo et audio dans un plan individuel. Ces montages, connus sous le nom de montages scindés, représentent une technique courante dans la plupart des scènes de dialogue dans les films et les programmes télévisés. Vous pouvez utiliser les montages scindés pour introduire le son d’un plan avant l’entrée de la vidéo du plan en question ou de la scène correspondante. À l’inverse, vous pouvez faire appel à un montage scindé pour étendre l’audio d’un plan sur le plan suivant.
définition standard (SD) Fait référence aux tailles d’image vidéo NTSC et PAL d’origine. NTSC exploite 480 ou 486 lignes actives par image ; PAL, pour sa part, fait appel à 576 lignes actives. Voir aussi haute définition (HD).
stéréo Abréviation de stéréophonique. Audio comportant deux canaux différents. Les modifications du niveau sonore sont automatiquement apportées aux deux canaux simultanément.
scénarios Toutes les instances de la timeline comportent un scénario principal, qui est la séquence de plans principale que vous constituez pour créer votre film. Les scénarios constituent des séquences de plans connectés au scénario principal. Vous pouvez utiliser les scénarios aux mêmes fins que les plans connectés (comme par exemple pour créer des plans de coupe, des titres composites et d’autres graphismes, ou pour ajouter des effets sonores et de la musique).
coupe droite Coupe dans laquelle les éléments vidéo et audio sont coupés en même temps.
sous-image Une sous-image a une durée égale à 1/80 de celle d’une image vidéo et constitue donc une unité de référence plus précise lors du montage de l’audio au niveau des échantillons.
Glossaire 498
synchro (synchronisation) Relation entre l’image d’un son créé dans un plan vidéo (par exemple, les propos d’une personne) et le son correspondant dans un clip audio. La synchronisation audio est essentielle lors du montage d’un dialogue. Dans Final Cut Pro X, les plans connectés et les plans composés vous aident à maintenir la synchronisation dans votre programme.
navigateur de thèmes Navigateur multimédia de Final Cut Pro permettant d’accéder à l’ensemble des transitions et des effets de titre fournis avec Final Cut Pro, regroupés en thèmes connexes.
montage à trois points Technique de montage dans laquelle trois points de montage sur quatre sont définis dans une sélection source et un projet. Lorsque le montage est effectué, le quatrième point de montage est calculé automatiquement par Final Cut Pro.
Coupe Point de montage dans lequel le contenu vidéo ou audio d’un côté ou d’un autre du point de montage est continu.
TIFF (Tagged Image File Format) Format de fichier graphique bitmap très répandu, développé par Aldus et Microsoft, et gérant le monochrome, les niveaux de gris et les couleurs 8 et 24 bits. Ce format peut contenir des canaux alpha. Voir aussi canal alpha.
timecode Signal enregistré avec la vidéo et identifiant chaque image de manière unique. Par défaut, le timecode apparaît dans Final Cut Pro sous la forme heures: minutes: secondes: images. Il prend en charge un grand nombre de fonctions dans Final Cut Pro, notamment la lecture de timeline, la synchronisation des éléments de plans vidéo et de clips audio, le parcours de projets sur la timeline, ainsi que le déplacement et le trim appliqué à des plans.
timeline La partie inférieure de la fenêtre de Final Cut Pro contient la timeline, où vous créez votre projet de film en ajoutant et en organisant des plans, et en effectuant tous vos montages.
index de la timeline Vous pouvez afficher une liste chronologique textuelle des plans, mots-clés et marqueurs d’un projet à l’aide de l’index de la timeline. Lorsque vous sélectionnez un élément dans l’index de la timeline, la tête de lecture accède directement à l’élément en question sur la timeline.
teinte Nuance de couleur ajoutée à une image, généralement pour créer un effet, comme par exemple l’effet sépia.
navigateur de titres Navigateur multimédia de Final Cut Pro permettant d’accéder à tous les effets de titre inclus dans Final Cut Pro.
barre d’outils La barre d’outils est un ensemble de boutons et d’outils situés au centre de la fenêtre principale de Final Cut Pro. La barre d’outils comprend également le panneau de contrôle chargé d’afficher le timecode relatif au plan sélectionné dans le navigateur d’événements et à l’emplacement de la tête de lecture sur la timeline.
transcoder Tous les fichiers multimédias utilisent un format. DV, H.264 et MPEG-2 sont des exemples de format vidéo. Les fichiers vidéo présentent également de nombreuses propriétés, comme par exemple la taille d’image et la fréquence d’images vidéo, le débit des données et la fréquence d’échantillonnage audio. Si vous êtes amené à convertir un fichier de média dans un autre format ou modifier ses propriétés, vous le transcodez en fait dans le nouveau format ou transcodez ses propriétés. Compressor, une application Apple conçue pour fonctionner avec Final Cut Pro, effectue le transcodage des fichiers de média en un processus rapide et simple.
Glossaire 499
transitions Effets visuels appliqués à des points de montage afin d’atténuer le passage d’un plan un autre. Dans Final Cut Pro, vous pouvez choisir parmi différentes transitions vidéo, telles que les fondus ou les balayages, ou ajouter un fondu enchaîné entre des clips audio.
navigateur de transitions Navigateur multimédia de Final Cut Pro permettant d’accéder à toutes les transitions vidéo incluses dans Final Cut Pro.
trim Après avoir grossièrement assemblé vos plans dans l’ordre chronologique dans la timeline, vous pouvez commencer à ajuster le point de montage entre chaque paire de plans contigus. Toute opération de rallongement ou de raccourcissement d’un plan dans un projet représente une opération de trim sur le plan en question. Ceci étant dit, le trim constitue généralement un ajustement précis (qui s’applique aussi bien à une image qu’à plusieurs secondes du plan). Si vous modifiez la durée d’un plan en manipulant des durées plus longues, il s’agit toujours d’opérations de trim, bien que cela ne s’inscrive pas encore dans la phase d’affinement du montage. Dans Final Cut Pro, vous pouvez passer par un grand nombre de techniques pour effectuer le trim de plans et de points de montage sur la timeline, notamment les montages Ripple, Roll, par coulissage et par glissement.
outil Trim Outil de montage permettant d’appliquer un trim à des éléments dans la timeline. Pour activer l’outil Trim, appuyez sur la touche T.
4:2:2 8 et 10 bits sans compression Ces formats vidéo permettent de stocker de la vidéo Y’CbCr 4:2:2 8 bits ou 10 bits sans faire appel à la compression de données. En contournant la phase de compression, la charge de traitement de l’ordinateur s’en voit réduite mais cela augmente considérablement le débit des données. Un système de stockage RAID de grande capacité est généralement nécessaire pour travailler de façon efficace avec de la vidéo sans compression. Dans de nombreux cas, le format Apple ProRes s’avère particulièrement adapté. Le débit des données vidéo 4:2:2 sans compression varie en fonction de la dimension image et de la fréquence d’images. Par exemple, une dimension image de 1920 x 1080 et une fréquence d’images de 29,97 ips supposent un débit des données de 1,0 Gbit/s pour de la vidéo 4:2:2 8 bits sans compression et de 1,3 Gbit/s dans le cas de la vidéo 4:2:2 10 bits sans compression.
case de valeur Une case de valeur est un type de commande numérique qui s’affiche sous forme de nombre, souvent à droite du curseur de base. Il existe deux façons de régler une case de valeur : faire glisser le nombre pour réduire ou augmenter le paramètre ou double-cliquer sur le nombre et saisir une nouvelle valeur.
vitesse variable Vitesse qui varie de manière dynamique, en avant ou en arrière, dans un même plan.
VCR Abréviation de VideoCassette Recorder (magnétoscope). Désigne généralement un appareil grand public utilisé pour enregistrer de la vidéo à partir de sources variées. Parfois appelé VTR. Voir aussi VTR.
vecteurscope Instrument vidéo de Final Cut Pro indiquant la distribution de la couleur dans votre image sur une échelle circulaire. Le vecteurscope est utile pour comparer la teinte et l’intensité des couleurs entre deux plans à des fins d’étalonnage.
Éditeur d’animation vidéo Vous pouvez afficher l’éditeur d’animation vidéo pour des plans dans la timeline afin d’ajuster les paramètres des effets, de créer des fondus entrants ou sortants, ou de changer les effets dans le temps à l’aide d’images clés.
Visualiseur Lorsque vous lisez des plans sélectionnés dans le navigateur d’événements et la timeline, ils s’affichent dans le visualiseur.
Glossaire 500
VTR Abréviation de VideoTape Recorder (enregistreur de bande vidéo). Désigne généralement le matériel professionnel utilisé pour enregistrer de la vidéo à partir de différentes sources.
filigrane Incrustation graphique ou textuelle visible appliquée à une image ou à un plan vidéo pour indiquer qu’il ou elle est protégé(e) par la loi sur les droits d’auteur. Les filigranes servent à décourager l’usage d’images ou de plans vidéo sans l’autorisation explicite du détenteur des droits d’auteur.
WAVE (ou WAV) Format de fichiers audio le plus couramment utilisé pour stocker des données audio LPCM (linéaires à modulation d’impulsion codée) sans compression.
oscilloscope Instrument vidéo de Final Cut Pro affichant les niveaux relatifs de luminance et de chrominance dans le plan examiné. Les crêtes et les creux des formes d’onde affichées correspondent aux tâches lumineuses et aux zones sombres de votre image.
écran large Présentation de n’importe quel film avec des proportions plus larges que 4:3. Dans les salles de cinéma, 1,85 est considéré comme la norme et 2,40 comme une projection sur écran large. Pour la vidéo, 4:3 est considéré comme la norme et 16:9 (qui présente quasiment les mêmes proportions que 1,85) est considéré comme écran large. Voir aussi 4:3, 16:9.
balayage Type courant de transition vidéo. Dans un balayage, les scissions de l’écran se déplacent d’un côté de l’image à l’autre pour révéler progressivement le plan suivant. Cette transition s’avère plus voyante (mais aussi plus personnalisable) que le fondu ou le fondu enchaîné.
XDCAM Format de disque optique de Sony pour l’enregistrement de vidéo DVCAM et IMX dans des fichiers conteneurs MXF. Voir aussi DVCAM, IMX.
XDCAM EX Format de la famille XDCAM de Sony utilisant la compression vidéo MPEG-2 avec sous-échantillonnage de chrominance 4:2:0. Contrairement au format XDCAM HD, le format XDCAM EX prend en charge la vidéo 720p et permet l’enregistrement en pleine résolution HD (1920 x 1080 ou 1280 x 720). Son débit de données maximum est de 35 Mbps. Au lieu de disques optiques, les caméscopes XDCAM EX utilisent des cartes mémoire flash également appelées cartes SxS. Voir aussi HDV.
XDCAM HD422 Format de la famille XDCAM de Sony utilisant le sous-échantillonnage de chrominance 4:2:2 pour un débit vidéo de 50 Mbps. À l’instar du format XDCAM EX, il fait appel à la compression vidéo MPEG-2 en pleine résolution HD (1920 x 1080 ou 1280 x 720). Voir aussi HDV.
Y’CbCr Espace colorimétrique dans lequel de nombreux formats vidéo numériques stockent des données. Trois composantes sont stockées pour chaque pixel : une pour la luminance (Y) et deux pour les données de couleur (Cb pour les nuances bleues et Cr pour les nuances rouges). Également appelé YUV. Voir aussi pixel.
outil Zoom Outil de montage permettant d’effectuer un zoom avant ou arrière sur la timeline. Pour activer l’outil Zoom, appuyez sur la touche Z.
Final Cut Studio
Flux de travaux
K
Apple Computer, Inc.
© 2006 Apple Computer, Inc. Tous droits réservés.
Le logo Apple est une marque d’Apple Computer Inc.
déposée aux États-Unis et dans d’autres pays. En l’absence
du consentement écrit d’Apple, l’utilisation à des fins
commerciales de ce logo via le clavier (Option + 1)
pourra constituer un acte de contrefaçon et/ou de
concurrence déloyale.
Tout a été mis en oeuvre pour garantir l’exactitude des
informations de ce manuel. Apple Computer, Inc. n’est
pas responsable des erreurs d’impression.
Apple Computer, Inc.
1 Infinite Loop
Cupertino, CA 95014-2084
408-996-1010
www.apple.com
AppleScript, DVD Studio Pro, Final Cut, Final Cut Pro,
Logic, QuickTime, Shake et Soundtrack sont des marques
d’Apple Computer Inc., déposées aux États-Unis
et dans d’autres pays.
Cinema Tools, Finder et LiveType sont des marques
d’Apple Computer, Inc.
Adobe et Photoshop sont des marques ou des marques
déposées d’Adobe Systems Incorporated déposées aux
États-Unis et dans d’autres pays.
Dolby est une marque déposée de Dolby Laboratories.
D’autres noms d’entreprises et de produits mentionnés
dans ce document sont des marques de leurs propriétaires
respectifs. Les produits commercialisés par des entreprises
tierces ne sont mentionnés qu’à titre d’information,
sans aucune intention de préconisation ni de recommandation.
Apple ne se porte pas garant de ces produits et
décline toute responsabilité quant à leur utilisation et à
leur fonctionnement.
3
1
Table des matières
5 Introduction aux applications de postproduction Apple
6
Vue d’ensemble des applications de postproduction Apple
11
Utilisation de ce document
11
Exemple de flux de travaux Final Cut Studio
12
Montage de la séquence
15
Encodage de la séquence
16
Création du DVD
19 Utilisation d’applications Apple pour vos projets Final Cut Pro
19
Utilisation de Soundtrack Pro avec Final Cut Pro
20
Utilisation d’un plan unique à partir de Final Cut Pro
23
Utilisation de plusieurs pistes audio à partir de Final Cut Pro
25
Exportation d’un plan ou d’une séquence à partir de Final Cut Pro vers Soundtrack Pro
26
Utilisation de Motion avec Final Cut Pro
26
Exportation d’un plan ou d’une séquence à partir de Final Cut Pro vers Motion
28
Importation d’un projet Motion dans un projet Final Cut Pro
29
Apporter des modifications à un projet Motion déjà importé dans Final Cut Pro
30
Utilisation de Compressor avec Final Cut Pro
30
Exportation d’une séquence avec Compressor
31
Conversion de la norme vidéo d’un plan vidéo
32
Utilisation de LiveType avec Final Cut Pro
32
Importation d’un projet LiveType dans un projet Final Cut Pro
33
Apporter des modifications à un projet LiveType déjà importé dans Final Cut Pro
33
Exportation d’une séquence partielle pour LiveType
34
Utilisation de Shake avec Final Cut Pro
35
Organisation des plans importés dans Shake
36
Envoi de plans à partir de Final Cut Pro
38
Renvoi de données à Final Cut Pro
38
Utilisation de Logic Pro avec Final Cut Pro
38
Importation de fichiers XML Final Cut Pro dans Logic Pro
39
Exportation d’un fichier XML Final Cut Pro à partir de Logic Pro
4
41 Utilisation d’applications Apple pour vos projets DVD Studio Pro
41
Conversion d’un projet Final Cut Pro en DVD
42
Importation de votre projet Final Cut Pro dans DVD Studio Pro
42
Création d’un DVD HD à partir de votre projet Final Cut Pro
44
Utilisation de Motion dans votre projet DVD Studio Pro
44
Importation d’un projet Motion pour un menu d’animation
44
Apport de modifications à un projet Motion déjà importé dans DVD Studio Pro
45
Création et importation d’un projet Motion sous forme de transition alpha
50
Utilisation de Soundtrack Pro dans votre projet DVD Studio Pro
50
Enregistrement de projets Soundtrack Pro pour DVD Studio Pro
51
Utilisation de Soundtrack Pro avec des projets Motion
52
Exportation d’audio AIFF à partir de Soundtrack Pro
53
Exportation à partir de Soundtrack Pro avec Compressor
54
Utilisation de Compressor dans votre projet DVD Studio Pro
55
À propos des méthodes de flux de travaux de Compressor
55
Pourquoi créer des fichiers AC-3 ?
56
Création de fichiers AC-3 avec Compressor
58
Utilisation de LiveType dans votre projet DVD Studio Pro
58
Importation d’un projet LiveType dans DVD Studio Pro
59
Apporter des modifications à un projet LiveType déjà importé dans DVD Studio Pro
5
1
Introduction aux applications
de postproduction Apple
Apple a conçu une gamme d’applications audio et vidéo
professionnelles qui collaborent de façon homogène,
même en cas de flux de travaux des plus exigeants.
Les applications de postproduction Apple offrent de puissants outils de montage, une
conception audio révolutionnaire, des animations en temps réel, la création de DVD
nouvelle génération, ainsi que des outils de compositing maintes fois primés. Ce document
décrit le rôle de chaque application dans le processus de production de séquences
de Final Cut Pro et le processus de création de DVD de DVD Studio Pro.
Toutes ces applications, à l’exception de Shake et de Logic Pro, sont incluses dans
Final Cut Studio, un ensemble de postproduction complet et intégré.
Fonction de postproduction Application Description
Montage Final Cut Pro
Cinema Tools
Â
Montage en temps réel
pour DV, SD, HD et film
Â
Outils avancés pour film
et HD 24p
Audio Soundtrack Pro
Logic Pro
Â
Postproduction audio de qualité
professionnelle
Â
Fonctions avancées de création
musicale et de production
audio
Compositing et animations Motion
LiveType
Shake
Â
Conception d’animations
en temps réel
Â
Création d’effets de titres
animés dynamiques
Â
Composition d’effets numériques
avancés
Diffusion DVD Studio Pro
Compressor
Â
Création complète de DVD
pour les séquences SD et HD
Â
Encodage SD et HD polyvalent
et haute qualité
6
Vue d’ensemble des applications de postproduction Apple
Chacune des applications de postproduction Apple comporte des outils de postproduction
les plus modernes qui vous donnent toute la puissance dont vous avez besoin
pour réaliser les projets les plus complexes.
Final Cut Pro
Le caractère évolutif et les performances de Final Cut Pro en font l’application de montage
vidéo la plus aboutie. Vous pouvez travailler avec quasiment n’importe quel format,
de DV et HDV à HD DVCPRO en passant par la vidéo HD 10 bits non compressée.
Final Cut Pro comprend de nombreuses fonctionnalités professionnelles, telles que
des outils de montage multicaméra, des filtres avancés de correction de couleur et de
manipulation d’image en temps réel, ainsi que la prise en charge des surfaces de contrôle
audio.
Final Cut Pro constitue l’application centrale permettant de relier tous les éléments
de votre séquence. Final Cut Pro vous permet de :
Â
capturer des données vidéo et audio à partir d’une bande ;
Â
importer des fichiers de données QuickTime ;
Â
monter de la vidéo HDV de manière native ;
Â
monter des projets à une ou plusieurs caméras ;
Â
monter votre film en utilisant Cinema Tools ;
Â
incorporer en mode natif des animations créées dans Motion et des titres créés
dans LiveType ;
Â
mixer, monter et fixer l’audio à l’aide de l’intégration à Soundtrack Pro.
Une fois votre film terminé, l’intégralité de votre projet peut être :
Â
généré dans un large éventail de formats de bande de définition standard (SD)
et haute définition (HD) ;
Â
exporté dans un fichier de séquence QuickTime ;
Â
converti en fichier H.264, MPEG-2 ou MPEG-1 à l’aide de Compressor en vue de la
distribution sur DVD via DVD Studio Pro ;
Â
converti au format MPEG-1 ou MPEG-4 avec Compressor en vue d’une diffusion Web
en ligne.
7
Soundtrack Pro
Il est essentiel que l’audio de votre séquence complète parfaitement la vidéo.
Soundtrack Pro offre les outils permettant de gérer chaque aspect de la création d’une
piste audio :
Â
Un puissant Éditeur de forme d’onde permettant le montage graphique de vos fichiers
audio et leur traitement à l’aide d’actions destructives ou non destructives. L’Éditeur
de forme d’onde peut également analyser et réparer vos fichiers audio, et il prend en
charge les scripts AppleScript pour automatiser les tâches courantes.
Â
Une Timeline qui offre des fonctions complètes de montage et d’organisation
multipiste.
Â
Un Mélangeur de type console pour le mixage de vos projets multipiste.
Â
L’intégration de la fonction “aller-retour” vers les applications Final Cut Pro et Motion,
qui facilite le travail sur les données audio d’un projet.
Â
Un ensemble de modules d’effets audio professionnels que vous pouvez utiliser pour
manipuler l’audio, y compris l’égalisation, la compression, la réverbération, etc.
Â
Une bibliothèque étendue de boucles Apple Loops que vous pouvez utiliser pour créer
la bande-son de votre projet, y compris les effets sonores et les signaux musicaux.
Â
Un affichage vidéo intégré, ainsi que la prise en charge d’un affichage vidéo externe,
qui facilite l’affichage de la vidéo lorsque vous travaillez sur l’audio.
Motion
Motion est un logiciel graphique d’animation en temps réel qui permet aux artistes et
monteurs d’animer du texte, des séquences et des graphismes pour le cinéma, la vidéo
ou les menus d’animation de DVD. Utilisez Motion pour créer en toute simplicité des
animations, des graphismes et des titres animés pour vos films Final Cut Pro. En outre,
l’intégration entre DVD Studio Pro et Motion, ainsi que l’intégration entre Soundtrack Pro
et Motion, facilitent la création de menus et de transitions pour vos projets de DVD. Voici
quelques-unes des fonctionnalités de Motion :
Â
Fonctionnalités de conception en temps réel, qui vous permettent de créer des effets
saisissants avec plusieurs flux de vidéo, des filtres, du texte et des particules, sans rendu.
Â
Comportements que vous pouvez utiliser pour créer des animations naturelles
et fluides, sans images clés.
Â
Puissants effets de particules personnalisés, tels que fumée et poussière, ainsi que
des animations que vous pouvez appliquer aux éléments de votre projet.
Â
Fonctionnalités de couche et de compositing qui vous permettent d’organiser les
éléments de votre projet en un nombre illimité de couches.
Â
Prise en charge HDV native, qui préserve la qualité de la vidéo au format HDV sans
nécessiter le transcodage dans un format différent.
8
DVD Studio Pro
Le logiciel DVD Studio Pro permet de créer des titres DVD-Vidéo. La vidéo exportée
depuis Final Cut Pro et Motion, la musique et les autres éléments audio créés dans
Soundtrack Pro, ainsi que les images fixes provenant d’applications telles qu’Adobe
Photoshop peuvent être facilement organisés dans un DVD que vous pouvez lire sur
un lecteur de DVD de salon ou sur un ordinateur équipé d’un lecteur de DVD. Vous
pouvez créer des DVD répondant exactement à vos spécifications :
Â
long-métrages avec sous-titres et angles de prise de vue multiples ;
Â
événements spéciaux, tels que vidéos de mariage, de concert et de foires-expositions ;
Â
bornes interactives présentant de nombreux menus de navigation et liens
d’adresses URL ;
Â
rushes et transferts vidéo ;
Â
installations artistiques avec boucles automatiques et sélection de scène aléatoire.
Vous pouvez utiliser les modèles, styles et fonctions de transition inclus dans
DVD Studio Pro pour créer rapidement un projet de DVD, ou vous pouvez choisir
de créer manuellement votre DVD, en contrôlant de manière précise chaque aspect
du projet. Voici quelques-unes des fonctionnalités incluses :
Â
Prise en charge de la création de DVD standard et de DVD contenant des données HD,
ce qui vous permet de choisir le type de DVD le mieux adapté à la diffusion prévue.
 Interface utilisateur évolutive pouvant être configurée en fonction de vos besoins,
ce qui vous permet de décider des outils et affichages dont vous avez besoin.
 Prise en charge de fonctionnalités sophistiquées, notamment les angles vidéo
et flux audio multiples, les sous-titres, ainsi que la possibilité de créer des DVD
en plusieurs langues.
 Outils de création avancés, tels qu’un éditeur VTS qui vous permet de définir précisément
la structure de votre DVD, ainsi que la prise en charge de scripts sophistiqués,
notamment la possibilité de partitionner les GPRM en autant de registres que le
nécessitent vos scripts.
 Intégration à Motion et LiveType, ce qui simplifie la création de votre projet, en vous
permettant de tester différentes variantes d’un menu d’animation ou d’un effet de
texte animé.
9
Compressor
Compressor est un élément essentiel du processus de compression vidéo (transcodage)
auquel il confère rapidité, efficacité et commodité tout en vous offrant davantage
d’options de préréglages de compression, de réglages et de formats de sortie.
Compressor inclut également une fonction de conversion haute qualité de normes,
pouvant être utilisée pour :
 Créer un transcodage haute qualité d’un plan vidéo à partir de son format natif vers
le format de la séquence du projet. Par exemple, vous pouvez disposer d’un plan PAL
que vous devez utiliser dans un projet NTSC ; Compressor peut ainsi créer une version
NTSC haute qualité du plan PAL.
 Créer deux versions d’un projet. Par exemple, vous pouvez monter votre séquence
à l’aide de sources vidéo HD, puis utiliser Compressor pour exporter les versions HD
et SD de la séquence, de sorte à pouvoir créer un DVD en résolution SD et un DVD
en résolution HD.
Lorsqu’il est utilisé sur des ordinateurs sur lesquels DVD Studio Pro ou Final Cut Studio
est installé, Compressor inclut également des fonctions d’encodage distribué et AC-3.
 L’encodeur AC-3 est utilisé pour encoder un large éventail de configurations de
canaux audio, tels que la stéréo ou le son surround 5.1, en flux audio Dolby Digital
adaptés à une utilisation avec DVD Studio Pro.
 L’encodage distribué, qui répartit les tâches d’encodage sur plusieurs systèmes,
réduit le temps nécessaire pour les tâches d’encodage.
LiveType
LiveType vous permet de créer facilement des titres élaborés de qualité professionnelle
pour les utiliser dans vos projets Final Cut Pro et DVD Studio Pro. Il inclut des modèles
de projet et du contenu animé de qualité diffusion, libre de droit, que vous pouvez personnaliser
afin de créer rapidement et facilement des effets de texte dynamique.
Vous pouvez importer directement un projet LiveType à la fois dans Final Cut Pro
et dans DVD Studio Pro. Une fois un projet LiveType importé dans Final Cut Pro et
DVD Studio Pro, vous pouvez l’ouvrir de nouveau dans LiveType pour le modifier,
et Final Cut Pro et DVD Studio Pro mettent automatiquement à jour les projets
avec les modifications apportées.
Cinema Tools
Cinema Tools offre des outils de montage de projets film et 24p dans Final Cut Pro.
Cinema Tools étend les fonctionnalités de Final Cut Pro, en offrant des fonctions
précédemment réservées aux systèmes de montage haut de gamme ou très spécialisés.
Consultez la documentation de Cinema Tools pour savoir comment utiliser les
listes télécinéma, supprimer le pulldown 3:2 lors de la capture de plans, ou encore
exporter des listes de films.
10
Shake
Shake est une application de composition et d’effets visuels haute qualité qui utilise
les noeuds, pour le cinéma et la vidéo. Shake prend en charge la plupart des formats
graphiques standard et gère facilement les séquences d’images haute résolution et
avec une profondeur de bits élevée, de même que les fichiers QuickTime.
Parmi les nombreux outils intégrés de Shake, citons les incrusteurs standard permettant
l’affichage d’écrans bleus et verts, une suite complète d’outils de correction de couleur,
des fonctionnalités pour la resynchronisation d’animations et la remasterisation de format,
les fonctionnalités de suivi, d’adoucissement et de stabilisation des animations, des
outils intégrés de peinture procédurale, ainsi qu’un environnement de rotoscoping et de
masquage permettant le contrôle complet des caches animés et fixes.
Final Cut Pro inclut la possibilité d’envoyer un ou plusieurs plans (également appelés “clips”)
vers Shake, où ils peuvent être traités et, une fois rendus, mis à jour dans Final Cut Pro.
Remarque : Shake est commercialisé séparément et n’est pas inclus dans Final Cut Studio.
Logic Pro
Logic Pro est un studio musical complet que vous pouvez utiliser pour enregistrer,
arranger, mixer et produire des projets musicaux. Logic Pro vous permet de créer des
arrangements musicaux à l’aide d’instruments MIDI et logiciels, ainsi que des enregistrements
audio d’instruments acoustiques et de voix, des boucles Apple Loops et
d’autres fichiers audio préenregistrés.
Logic Pro peut importer et exporter des fichiers audio individuels dans différents formats.
Pour les projets plus complexes impliquant Final Cut Pro, Logic Pro inclut également
la possibilité d’importer et d’exporter des groupes de clips audio et des informations
associées, à l’aide du format d’échange XML de Final Cut Pro. Le format d’échange XML
de Final Cut Pro prend en charge les images clés, les marqueurs, la position, les filtres et
les données d’automatisation.
Remarque : Logic Pro est commercialisé séparément et n’est pas inclus dans
Final Cut Studio.
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Utilisation de ce document
Ce document contient des informations générales sur chacune des applications de
postproduction Apple, ainsi que des informations spécifiques sur les situations les plus
courantes dans lesquelles vous utiliserez plusieurs des différentes applications à la fois.
 La section “Utilisation d’applications Apple pour vos projets Final Cut Pro” à la page 19
traite des flux de travaux qu’il est possible d’utiliser lors de la génération d’une séquence.
 La section “Utilisation d’applications Apple pour vos projets DVD Studio Pro” à la
page 41 traite des flux de travaux qu’il est possible d’utiliser lors de la création d’un
DVD à partir d’une séquence.
Remarque : les manuels d’utilisation de toutes les applications, y compris celles livrées
sans manuel papier, se trouvent dans le dossier Documentation des disques d’installation,
ou dans le menu Aide de chaque application. Reportez-vous à ces documents pour des
instructions détaillées sur l’utilisation des applications.
Pour accéder au manuel d’utilisation à l’écran d’une application :
m Dans l’application, choisissez le manuel d’utilisation de l’application dans le menu Aide.
Exemple de flux de travaux Final Cut Studio
Cette section présente un exemple de flux de travaux pour un projet de séquence
à distribuer sur DVD. Elle comprend les situations les plus courantes que vous serez
amené à rencontrer. Consultez les chapitres suivants pour plus d’informations sur
les options de flux de travaux.
À propos des “allers-retours” entre projets
Les allers-retours entre projets font référence à la possibilité d’intégrer et d’ouvrir des
fichiers de projet d’une application alors que vous travaillez dans une autre application.
De nombreuses applications de postproduction Apple peuvent directement importer
des fichiers de projet les unes à partir des autres. Par exemple, vous pouvez importer
un projet de titre créé dans LiveType dans un projet Final Cut Pro. Cette opération est
beaucoup plus efficace que d’afficher la séquence LiveType et de l’exporter sous forme
de séquence QuickTime chaque fois que vous apportez des modifications. Si vous vous
rendez compte qu’il est nécessaire de modifier un projet LiveType alors que vous êtes
en train de travailler dans Final Cut Pro, vous pouvez ouvrir le projet dans LiveType en
procédant directement à partir de Final Cut Pro. Une fois le projet LiveType enregistré,
toutes les modifications effectuées apparaissent automatiquement dans Final Cut Pro.
Important : l’utilisation du projet d’une application dans une autre application nécessite
que la version la plus récente des deux applications soit installée sur l’ordinateur.
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L’utilisation des applications de postproduction Apple pour créer une séquence destinée
à être distribuée sur DVD implique trois étapes principales :
 Montage de la séquence : vous pouvez utiliser nombre des applications pour créer
la séquence.
 Final Cut Pro : capturez les images et montez la séquence.
 LiveType : créez les titres d’ouverture.
 Motion : ajoutez un effet de compositing.
 Soundtrack Pro : nettoyez l’audio et ajoutez des effets sonores.
 Compressor : convertissez la norme vidéo d’un plan vidéo.
 Encodage de la séquence : vous pouvez utiliser Compressor pour encoder la vidéo
et l’audio dans des ressources compatibles avec le format DVD.
 Création du DVD : vous pouvez utiliser plusieurs applications pour créer le DVD utilisé
pour distribuer la séquence.
 DVD Studio Pro : configurez les menus et les pistes.
 Motion : créez des arrière-plans de menu d’animation.
 Soundtrack Pro : créez l’audio d’arrière-plan pour les menus.
Montage de la séquence
La première partie de la création de cet exemple de projet consiste à monter la
séquence. Lors du montage de votre séquence dans Final Cut Pro, vous pouvez utiliser
les autres applications de postproduction Apple pour améliorer votre projet.
Étape 1 : Capture et montage dans Final Cut Pro
La capture et le montage de la vidéo et de l’audio de votre projet occupent la plus
grande partie de votre temps. La familiarisation avec les sources avant de démarrer
ce processus permet de limiter la quantité de vidéo et d’audio inutilisée que vous
capturez, ce qui permet de gagner en temps et en espace disque.
Étape 2 : Création des titres d’ouverture dans LiveType
Vous pouvez tirer parti de LiveType pour créer des graphismes animés attractifs pour
les titres de vos séquences.
Bien que vous puissiez utiliser les outils de texte intégrés de Final Cut Pro pour créer les
titres d’ouverture de votre séquence, vous pouvez choisir d’appliquer aux titres un effet
animé particulier. L’utilisation de LiveType pour créer les titres d’ouverture vous permet
d’utiliser un large éventail d’effets sur le texte et permet le contrôle complet de l’aspect
des titres.
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L’importation de projets LiveType dans Final Cut Pro a lieu de la même façon que
l’importation des autres ressources ; le projet LiveType se comporte comme n’importe
quel autre plan (ou “clip”) pouvant être utilisé dans votre projet. Si vous devez apporter
des modifications au projet LiveType alors que vous travaillez dans Final Cut Pro, vous
pouvez facilement ouvrir le projet dans LiveType, apporter les modifications, puis enregistrer
le projet et revenir à Final Cut Pro ; le plan du projet LiveType est automatiquement
mis à jour afin d’inclure les modifications apportées au projet LiveType.
Pour plus d’informations, consultez la section “Utilisation de LiveType avec Final Cut Pro”
à la page 32.
Étape 3 : Ajout d’un effet de compositing dans Motion
Final Cut Pro permet l’ajout d’un large éventail d’effets à votre séquence. Cependant,
si vous avez besoin d’un contrôle précis sur un effet multicouche complexe ou si vous
souhaitez ajouter une animation sophistiquée ou des effets de particule, l’utilisation
de Motion peut faire toute la différence.
Par exemple, si votre séquence comporte une section contenant un groupe d’images
fixes que vous devez faire apparaître, puis disparaître sur un arrière-plan synchronisé,
vous pouvez utiliser Motion pour créer les effets. Vous pouvez définir les points d’entrée
et de sortie dans la Timeline de Final Cut Pro afin d’identifier la zone dans laquelle l’effet
apparaît, puis exporter cette section de votre séquence vers Motion afin de l’utiliser
comme arrière-plan. Dans Motion, vous pouvez facilement ajouter et configurer tous
les aspects des couches, même l’ajout d’effets de particules, et voir la lecture en temps
réel. Une fois que vous êtes satisfait du résultat, enregistrez-le en tant que projet Motion
sans l’arrière-plan. Lorsque vous revenez à Final Cut Pro, vous pouvez importer le projet
Motion et le placer dans la Timeline. Vous pouvez ensuite revenir au projet Motion et
apporter des modifications ; Final Cut Pro est automatiquement mis à jour afin d’inclure
les modifications apportées.
Pour plus d’informations, consultez la section “Utilisation de Motion avec Final Cut Pro”
à la page 26.
Étape 4 : Nettoyage de l’audio et ajout d’effets dans Soundtrack Pro
Outre l’utilisation de Soundtrack Pro pour créer une bande-son originale pour votre
séquence, vous pouvez l’utiliser pour travailler avec l’audio existant de différentes
façons. Deux des plus courantes sont le nettoyage de l’audio d’un clip (ou “plan”)
et l’ajout d’un effet à une séquence.
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Nettoyage de l’audio d’un clip
Soundtrack Pro inclut un Éditeur de forme d’onde pour l’utilisation de l’audio d’un clip.
L’Éditeur de forme d’onde vous permet d’appliquer, de manière destructive ou non, un
large éventail d’actions à l’audio, ce qui facilite sa réparation ou l’amélioration d’un clip
audio. Les actions peuvent inclure les effets audio, tels que l’égalisation, la compression
ou la réverbération, ainsi que les processus tels que la réduction du bruit, l’ajout de bruit
ambiant, l’insertion de silence ou la conversion d’un fichier stéréo en mono.
Vous pouvez monter les clips audio de manière destructive ou non dans Soundtrack Pro.
Pour les tâches répétitives, vous pouvez également utiliser l’un des scripts inclus dans
Soundtrack Pro ou créer vos propres scripts dans l’Éditeur de forme d’onde.
Pour plus d’informations, consultez la section “Utilisation d’un plan unique à partir de
Final Cut Pro” à la page 20.
Ajout d’effets à un plan ou une séquence
Vous pouvez également utiliser Soundtrack Pro pour ajouter des effets audio sophistiqués
à votre séquence. Vous pouvez par exemple améliorer le son ambiant d’une prise,
modifier l’égalisation ou ajouter de la compression ou de la réverbération. Vous pouvez
traiter un plan individuel, un ensemble de plans que vous sélectionnez dans la Timeline
de Final Cut Pro ou la séquence entière.
À partir de Final Cut Pro, vous envoyez le ou les plans sélectionnés, ou la séquence,
vers Soundtrack Pro où vous travaillerez sur les données audio dans la Timeline et le
Mélangeur. Une fois que vous avez terminé, vous enregistrez le projet Soundtrack Pro et
vous exportez un mixage à utiliser à la place de l’audio Final Cut Pro exportée à l’origine.
Pour plus d’informations, consultez la section “Utilisation de plusieurs pistes audio à
partir de Final Cut Pro” à la page 23.
Étape 5 : Conversion de la norme vidéo d’un plan vidéo
Vous pouvez parfois être amené à intégrer un plan vidéo dans une séquence avec une
norme vidéo différente. Par exemple, si vous montez un projet HD 1080i et que vous
devez inclure un plan NTSC 480i, le plan NTSC doit être mis à l’échelle à la taille d’image
1080i. Vous pouvez faire cela dans Final Cut Pro en ajoutant le plan à la séquence puis
en le rendant, mais pour obtenir la meilleure qualité, vous devez utiliser Compressor
pour mettre la vidéo à l’échelle.
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Pour utiliser Compressor pour mettre à l’échelle un plan vidéo, vous devez l’ajouter à
un lot Compressor et affecter un préréglage correspondant aux réglages vidéo de la
séquence (taille d’image vidéo, fréquence d’images et format). Vous devez également
configurer la sous-fenêtre Contrôles d’images dans l’Inspecteur Compressor, laquelle
configure Compressor pour qu’il effectue un changement d’échelle haute qualité sur
la vidéo. Une fois les opérations Compressor terminées, vous pouvez importer le plan
mis à l’échelle dans votre projet Final Cut Pro et l’ajouter à la séquence sans qu’il soit
nécessaire de le rendre.
Pour plus d’informations, consultez la section “Conversion de la norme vidéo d’un plan
vidéo” à la page 31.
Encodage de la séquence
Une fois que vous avez terminé la séquence, vous devez encoder la vidéo et l’audio
dans des formats compatibles avec DVD.
Compressor constitue la méthode préférée d’exportation de la séquence, car il offre
le plus d’options et la qualité la plus élevée. Un autre avantage de l’exportation avec
Compressor réside dans le fait que vous n’avez pas besoin de rendre d’abord la
séquence ; elle est automatiquement rendue si nécessaire lors de l’exportation.
La clé de l’exportation avec Compressor consiste à sélectionner et à configurer les préréglages
appropriés. Les préréglages définissent la façon dont la vidéo et l’audio sont
encodées. Compressor inclut divers préréglages que vous pouvez utiliser ; vous pouvez
également créer vos propres préréglages personnalisés, ou modifier la configuration
d’un préréglage existant.
Vous pouvez même appliquer plusieurs préréglages à la séquence, ce qui permet
de générer plusieurs versions de la vidéo et de l’audio. Par exemple, si votre séquence
utilise des ressources HD, vous pouvez choisir un préréglage afin de fournir une sortie
SD (pour la création d’un DVD standard) et une sortie HD (pour la création d’un DVD
à l’aide de résolutions vidéo HD).
Pour plus d’informations, consultez la section “Exportation d’une séquence avec
Compressor” à la page 30.
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Création du DVD
La création d’un DVD commence par la planification de ce que doit contenir le DVD et
de la façon dont il sera lu par l’utilisateur. Une fois que vous avez exporté votre séquence
Final Cut Pro, vous pouvez rapidement créer des DVD simples ; il n’est même pas nécessaire
d’inclure un menu.
Pour la plupart des projets de DVD, vous ajouterez au moins un menu d’ouverture
et, le plus souvent, des bonus et des diaporamas.
Si vous prévoyez de créer à la fois une version SD et une version HD de votre projet,
vous devez commencer par créer la version SD. Étant donné que la version HD peut
contenir des ressources SD, vous pouvez simplement enregistrer la version SD en tant
que version HD, puis remplacer tout ou partie des ressources SD par des ressources HD.
Vous pouvez créer les éléments de votre projet de DVD dans l’ordre qui vous convient ;
cependant, commencer par créer les menus présente des avantages. Étant donné que
les menus offrent la majeure partie des options de navigation, le fait de les mettre en
place permet de s’assurer que les pistes (qui contiennent les séquences) et les diaporamas
sont accessibles et configurés correctement lorsqu’ils atteignent la fin.
Étape 1 : Création d’arrière-plans de menu d’animation dans Motion
Les menus de votre DVD peuvent être des images statiques simples ou de la vidéo
d’animation. Dans les deux cas, vous pouvez également ajouter de l’audio aux menus.
La seule exigence d’un menu est qu’il comporte les boutons nécessaires pour clarifier
l’accès aux pistes, diaporamas et autres menus du DVD.
Par exemple, vous pouvez utiliser Motion pour créer un arrière-plan de menu d’animation
à partir d’une petite partie de la séquence. Vous pouvez y ajouter des filtres, tels
que des effets d’adoucissement et de colorisation, ainsi que du texte et des boutons.
Une approche courante consiste à faire commencer le menu par une introduction, par
exemple en faisant arriver les boutons et le texte dans le désordre, puis en les positionnant
afin de permettre à l’utilisateur d’effectuer une sélection. Dans Motion, vous pouvez
configurer un marqueur qui définit un point de bouclage, de sorte que lorsque le
menu s’affiche, plutôt que de boucler au début du menu une fois la fin atteinte, il revient
au point de bouclage que vous avez défini, ce qui évite une nouvelle lecture de la section
d’introduction.
Une fois que vous avez créé un menu d’animation dans Motion, vous pouvez importer
le projet Motion dans votre projet DVD Studio Pro. Vous traitez alors le projet comme
n’importe quelle autre ressource, par exemple en le faisant glisser vers un menu afin de
le définir comme arrière-plan. Si vous devez apporter des modifications au projet Motion,
vous pouvez double-cliquer dessus dans DVD Studio Pro afin de l’ouvrir dans Motion.
Une fois que vous avez apporté les modifications et enregistré le projet, ce dernier est
automatiquement mis à jour dans le projet DVD Studio Pro.
17
Consultez la section “Utilisation de Motion dans votre projet DVD Studio Pro” à la
page 44 pour plus d’informations, notamment sur la création de transitions alpha
avec Motion.
Étape 2 : Création des pistes principales dans DVD Studio Pro
La création d’une piste dans DVD Studio Pro peut simplement consister à importer les
ressources vidéo et audio dans votre projet, puis à les faire glisser sur le menu qui comportera
le bouton permettant d’accéder à la piste. DVD Studio Pro peut automatiquement
créer la piste, placer un bouton sur le menu et lier le bouton à la piste.
Vous pouvez configurer la piste de différentes façons, par exemple en ajoutant des
marqueurs de chapitre afin de faciliter la navigation, ou en définissant ce qui se passe
lorsque l’utilisateur appuie sur les boutons de la télécommande.
Étape 3 : Création de l’audio d’un menu dans Soundtrack Pro
L’ajout d’audio à vos menus, même ceux qui utilisent des arrière-plans fixes, est un
moyen simple de rendre le DVD plus attractif. Soundtrack Pro comprend un ensemble
étendu de boucles Apple Loops à partir desquelles vous pouvez rapidement créer des
clips audio libres de droit, parfaits pour l’audio d’un menu. Vous pouvez également
ajouter des effets à l’audio, lesquels peuvent être utiles pour les menus d’animation
qui nécessitent que l’audio coïncide avec des actions telles que les boutons qui se
positionnent à leur place.
Vous pouvez exporter l’audio directement à partir de Soundtrack Pro sous forme de
fichiers audio AIFF ou, lors de l’exportation avec Compressor, sous forme de fichiers
Dolby Digital AC-3. En outre, vous pouvez tirer parti de l’intégration de Soundtrack Pro
à Motion afin de coordonner facilement l’audio du menu avec sa vidéo et garantir ainsi
une complémentarité parfaite.
Pour plus d’informations, consultez les sections “Utilisation de Soundtrack Pro dans
votre projet DVD Studio Pro” à la page 50 et “Utilisation de Soundtrack Pro avec des
projets Motion” à la page 51.
Étape 4 : Gravure du DVD à l’aide de DVD Studio Pro
Une fois que vous avez terminé le projet, vous êtes prêt à le graver sur un disque. Au cours
du processus de création, vous pouvez simuler le projet afin de vous assurer que ses éléments
fonctionnent comme prévu. Cependant, la lecture des fichiers compilés réels constitue
le meilleur test du projet. Vous pouvez utiliser DVD Studio Pro pour créer le projet sans
graver réellement un disque, puis lire le projet avec le Lecteur DVD d’Apple afin de le
tester. Une fois que vous êtes satisfait du projet, vous pouvez le graver sur un DVD.
19
1 Utilisation d’applications Apple
pour vos projets Final Cut Pro
Les applications de postproduction Apple offrent
des outils précieux pour vous permettre d’améliorer
vos projets Final Cut Pro.
Final Cut Pro en soi est une solution de montage complète. Elle inclut :
 le compositing de graphismes avec des fonctions d’animation ;
 des fonctions de création de titres textuels ;
 des fonctions de montage et de mixage audio.
Les applications de postproduction Apple améliorent cependant considérablement ces
fonctions, et permettent la création de séquences très sophistiquées et complexes avec
Final Cut Pro.
Utilisation de Soundtrack Pro avec Final Cut Pro
Vous pouvez utiliser Soundtrack Pro avec vos projets Final Cut Pro de deux façons
élémentaires : pour la création d’audio et pour la réparation, l’amélioration et le
mixage audio.
Vous pouvez utiliser Soundtrack Pro pour chaque aspect de la création d’audio pour un
projet, de l’enregistrement au traitement et au mixage audio avancés. Soundtrack Pro
vous permet d’ouvrir des clips audio directement à partir de Final Cut Pro puis, lorsque
vous avez terminé de travailler sur l’audio dans Soundtrack Pro et enregistré le projet,
ce dernier est automatiquement mis à jour dans Final Cut Pro, ce qui rend l’aller-retour
entre les deux applications rapide et simple.
20
Vous pouvez utiliser différentes approches de l’utilisation de l’audio du projet
Final Cut Pro dans Soundtrack Pro ; la méthode choisie dépend de votre situation :
 Avez-vous besoin de travailler sur un plan unique ? Final Cut Pro offre plusieurs méthodes
permettant d’ouvrir un plan dans l’Éditeur de forme d’onde Soundtrack Pro, dans
lequel vous pouvez analyser et traiter l’audio avec un large éventail d’outils puissants.
 Devez-vous travailler sur l’audio à partir de plusieurs pistes ou ajouter du contenu tel que
des effets sonores ou une voix-off ? Vous pouvez ouvrir un plan, un groupe de plans
Final Cut Pro ou encore une séquence entière dans la Timeline de Soundtrack Pro, dans
laquelle vous pouvez ajouter des pistes supplémentaires d’effets sonores, des bruitages,
des voix-off et de la musique, ainsi qu’analyser et traiter les clips audio provenant
de Final Cut Pro. Vous pouvez ensuite effectuer un mixage final avec Soundtrack Pro.
 Devez-vous appliquer le même processus à plusieurs fichiers audio ? Vous pouvez envoyer
un ou plusieurs clips audio Final Cut Pro à un script Soundtrack Pro, lequel peut effectuer
un large éventail d’actions sur l’audio, par exemple ajouter de la réverbération ou
supprimer les bruits parasites.
Utilisation d’un plan unique à partir de Final Cut Pro
Vous pouvez utiliser trois méthodes courantes pour ouvrir un plan (ou “clip”) dans
l’Éditeur de forme d’onde Soundtrack Pro : envoi à l’éditeur, ouverture dans l’éditeur
et envoi à un script Soundtrack Pro.
 Si vous envoyez le plan vers l’Éditeur de forme d’onde Soundtrack Pro, un projet
Soundtrack Pro est créé, vous permettant d’apporter des modifications non
destructives à l’audio dans l’Éditeur de forme d’onde.
 Si vous ouvrez le fichier dans l’Éditeur de forme d’onde, toute modification est appliquée
de manière non destructive au fichier audio lorsque vous l’enregistrez.
 Si vous envoyez le plan vers un script Soundtrack Pro, le plan s’ouvre dans l’Éditeur de
forme d’onde, les actions du script sont exécutées, le plan est enregistré avec les modifications
et l’Éditeur de forme d’onde passe à l’arrière-plan afin que vous puissiez continuer
d’utiliser Final Cut Pro. Ce processus est non destructif lorsque les clips sont des
projets Soundtrack Pro ; il est destructif lorsque les clips sont des fichiers audio bruts.
Envoi d’un clip audio de Final Cut Pro vers l’Éditeur de forme d’onde
Soundtrack Pro
L’envoi d’un clip audio de Final Cut Pro vers l’Éditeur de forme d’onde Soundtrack Pro
crée un projet de fichier audio Soundtrack Pro, avec l’extension de fichier “.stap”, laquelle
contient les modifications que vous avez apportées à l’audio. Le clip audio original n’est
pas affecté par ce que vous faites dans l’Éditeur de forme d’onde.
Important : pour cela, Final Cut Pro et Soundtrack Pro doivent être installés sur le
même ordinateur.
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Pour envoyer un clip vers l’Éditeur de forme d’onde :
1 Maintenez la touche Contrôle enfoncée et cliquez sur le clip dans le Navigateur
ou la Timeline de Final Cut Pro, puis choisissez Envoyer à > “Projet de fichier audio
Soundtrack Pro” dans le menu contextuel.
Une zone de dialogue vous invite à enregistrer le clip en tant que projet de fichier
audio Soundtrack Pro.
2 Tapez un nom ou utilisez le nom par défaut et cliquez sur Enregistrer.
Le projet s’ouvre dans l’Éditeur de forme d’onde Soundtrack Pro.
3 Modifiez l’audio en fonction de vos besoins.
4 Choisissez Fichier > Enregistrer afin d’enregistrer le projet avec les modifications.
Une zone de dialogue apparaît pour vous permettre de choisir si le projet doit inclure
une copie du clip audio source ou une référence à ce dernier.
 L’introduction du clip audio source rend le projet autonome (indépendant du clip
audio source original), mais a pour effet d’augmenter la taille du fichier de projet.
 L’introduction d’une référence au clip audio source permet de créer un fichier
de projet plus petit, mais le projet risque de ne plus être lisible si le fichier source
original est déplacé ou supprimé.
5 Sélectionnez la méthode audio source à utiliser pour le projet, puis cliquez sur OK.
Ce projet Soundtrack Pro apparaît à présent dans le Navigateur Final Cut Pro et remplace
le plan dans la Timeline (si vous l’avez sélectionné à cet endroit à l’origine). Pour effectuer
des modifications supplémentaires, vous devez cliquer sur le plan en maintenant la touche
Contrôle enfoncée, puis choisir Envoyer à > “Projet de fichier audio Soundtrack Pro”
dans le menu contextuel (même si le projet est déjà ouvert dans Soundtrack Pro). Cela
permet de s’assurer que le projet Soundtrack Pro reste connecté au projet Final Cut Pro.
Important : si le plan contient à la fois des données vidéo et audio, la version de
Final Cut Pro utilisée a une incidence sur votre capacité à effectuer des modifications
supplémentaires. Dans Final Cut Pro 5.0 et 5.0.1, vous devez supprimer le lien entre la
vidéo et l’audio afin de pouvoir à nouveau utiliser la commande “Envoyer au projet de
fichier audio Soundtrack Pro”. Dans Final Cut Pro 5.0.2 ou ultérieur, le lien entre la vidéo
et l’audio est automatiquement supprimé après l’utilisation de la commande “Envoyer
au projet de fichier audio Soundtrack Pro”.
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Ouverture d’un clip audio Final Cut Pro directement dans l’Éditeur
de forme d’onde Soundtrack Pro
L’ouverture d’un clip audio à partir de Final Cut Pro dans l’Éditeur de forme d’onde de
Soundtrack Pro, à l’aide de la commande Ouvrir dans l’Éditeur, ouvre le clip audio original
dans l’Éditeur de forme d’onde. Toute modification que vous apportez entraîne une
modification destructive du fichier lorsque vous l’enregistrez.
Remarque : le réglage Fichiers audio sous l’onglet Éditeurs externes de la fenêtre
Réglages système de Final Cut Pro détermine quelle application s’ouvre lorsque vous
utilisez la commande Ouvrir dans l’éditeur. Assurez-vous que ce réglage est configuré
sur Soundtrack Pro pour la procédure qui suit. En outre, si le plan comporte à la fois de
la vidéo et de l’audio, vous devez d’abord dissocier la vidéo et l’audio, ou configurer le
réglage Fichiers vidéo de l’onglet Éditeurs externes sur Soundtrack Pro.
Important : pour cela, Final Cut Pro et Soundtrack Pro doivent être installés sur le
même ordinateur.
Pour ouvrir un clip audio Final Cut Pro directement dans l’Éditeur de forme d’onde :
1 Tout en maintenant la touche Contrôle enfoncée, cliquez sur le clip audio dans
le Navigateur ou la Timeline de Final Cut Pro, puis choisissez Ouvrir dans l’éditeur
dans le menu contextuel.
Le clip audio s’ouvre dans l’Éditeur de forme d’onde Soundtrack Pro.
2 Modifiez l’audio en fonction de vos besoins.
3 Choisissez Fichier > Enregistrer afin d’enregistrer le fichier avec les modifications.
Lorsque vous revenez à Final Cut Pro, le plan inclut les modifications que vous avez
apportées dans l’Éditeur de forme d’onde.
Important : il s’agit d’un processus destructif qui modifie le fichier original.
Application d’un script Soundtrack Pro à un plan dans Final Cut Pro
Vous pouvez appliquer un script Soundtrack Pro à vos clips audio lors de l’utilisation
de Final Cut Pro. Lorsque vous envoyez un plan au script Soundtrack Pro, il s’ouvre dans
l’Éditeur de forme d’onde, les actions du script sont exécutées et le plan est enregistré
avec les modifications. Ce processus est non destructif lorsque les plans (ou “clips”) sont
des projets Soundtrack Pro ; il est destructif lorsque les plans sont des fichiers audio bruts.
Les scripts Soundtrack Pro sont des droplets AppleScript qui peuvent être créés dans
Soundtrack Pro et modifiés dans l’Éditeur de script, ce qui facilite la création et la personnalisation
des scripts.
Important : pour cela, Final Cut Pro et Soundtrack Pro doivent être installés sur le
même ordinateur.
23
Pour modifier un plan à l’aide d’un script Soundtrack Pro :
m Tout en maintenant la touche Contrôle enfoncée, cliquez sur le plan dans le Navigateur
ou la Timeline de Final Cut Pro, choisissez Envoyer à > Script Soundtrack Pro dans le
menu contextuel, puis choisissez dans le sous-menu le script que vous souhaitez utiliser.
Vous pouvez sélectionner dans Final Cut Pro plusieurs plans à modifier avec le script.
Lorsque vous envoyez plusieurs plans à un script Soundtrack Pro, chaque plan est
ouvert, modifié, enregistré et fermé.
Vous pouvez également répéter le dernier script que vous avez utilisé pour modifier
un plan, ce qui facilite la modification de plusieurs plans avec les mêmes actions.
Pour modifier un plan avec le dernier script utilisé :
m Tout en maintenant la touche Contrôle enfoncée, cliquez sur le plan dans le Navigateur
ou la Timeline de Final Cut Pro, puis choisissez Envoyer à > “Dernier script Soundtrack Pro”
dans le menu contextuel.
Utilisation de plusieurs pistes audio à partir de Final Cut Pro
Vous pouvez envoyer un groupe de plans ou une séquence à la Timeline de
Soundtrack Pro, ce qui vous permet de créer un mixage multipiste complet
avec automatisation des effets, niveaux et balance. Ce processus implique :
 Dans Final Cut Pro, la création d’un projet multipiste Soundtrack Pro à partir
d’un groupe de plans ou d’une séquence.
 La modification du projet dans Soundtrack Pro.
 L’exportation à partir de Soundtrack Pro d’un clip audio que vous pouvez importer
dans votre projet Final Cut Pro afin de l’utiliser à la place de l’audio dans le groupe
original de plans ou de séquences.
Remarque : lorsque vous créez un projet multipiste Soundtrack Pro à partir d’un groupe
de plans ou d’une séquence dans Final Cut Pro, le niveau de volume des plans ainsi que
les images clés ou les fondus enchaînés éventuels sont envoyés avec le plan. Pour les
clips mono, la position de balance est également envoyée. Les effets Final Cut Pro basés
sur des plans (tels que les filtres et les enveloppes de modification de vitesse) ainsi que
les générateurs Final Cut Pro ne sont pas inclus dans le projet multipiste Soundtrack Pro.
Important : pour cela, Final Cut Pro et Soundtrack Pro doivent être installés sur le
même ordinateur.
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Pour envoyer un groupe de plans ou une séquence vers l’Éditeur multipiste :
1 Sélectionnez la séquence dans le Navigateur Final Cut Pro ou sélectionnez les plans
dans la Timeline.
2 Cliquez sur la sélection en maintenant la touche Contrôle enfoncée, puis choisissez
Envoyer à > “Projet multipiste Soundtrack Pro” dans le menu contextuel.
Une zone de dialogue apparaît avec plusieurs réglages.
3 Sélectionnez “Ouvrir dans l’Éditeur multipiste Soundtrack Pro” afin d’ouvrir le projet
dans Soundtrack Pro une fois qu’il est enregistré.
4 Sélectionnez Inclure la vidéo d’arrière-plan afin d’inclure la vidéo d’arrière-plan de
la séquence avec le projet.
5 Tapez un nom pour le projet ou utilisez le nom par défaut, puis cliquez sur Enregistrer.
Un fichier de projet multipiste Soundtrack Pro portant l’extension “.stmp” est
alors enregistré.
Remarque : il s’agit d’un petit fichier qui fait référence aux ressources utilisées par
Final Cut Pro. Ces ressources doivent être disponibles lorsque ce fichier s’ouvre dans
Soundtrack Pro.
Si vous sélectionnez “Ouvrir dans l’Éditeur multipiste de Soundtrack Pro”, la sélection
s’ouvre dans la Timeline de Soundtrack Pro.
6 Modifiez l’audio en fonction de vos besoins.
7 Choisissez Fichier > Enregistrer afin d’enregistrer le projet avec les modifications.
Exportez ensuite le clip audio que vous allez utiliser dans votre projet Final Cut Pro.
8 Sélectionnez Fichier > Exporter > Exporter le mixage.
9 Tapez un nom et cliquez sur Exporter.
Cette opération exporte un fichier audio que vous pouvez à présent importer dans
votre projet Final Cut Pro afin de l’utiliser à la place de l’audio dans les plans ou la
séquence sélectionné(e)s. Un fichier audio exporté à partir d’un projet multipiste
Soundtrack Pro fait référence au fichier de projet à partir duquel il a été exporté.
Cela s’avère utile si vous devez modifier ultérieurement le fichier audio.
Pour apporter des modifications au fichier audio à partir de Final Cut Pro :
1 Cliquez sur le fichier audio tout en maintenant la touche Contrôle enfoncée,
puis sélectionnez Ouvrir dans l’éditeur dans le menu contextuel.
Une zone de dialogue apparaît pour vous permettre de choisir s’il faut ouvrir le fichier
audio comme un fichier audio normal ou bien ouvrir le fichier de projet multipiste
Soundtrack Pro à partir duquel ce fichier audio a été exporté.
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Remarque : le réglage Fichiers audio sous l’onglet Éditeurs externes de la fenêtre
Réglages système de Final Cut Pro détermine quelle application s’ouvre lorsque vous
utilisez la commande Ouvrir dans l’éditeur. Assurez-vous que ce réglage est configuré
sur Soundtrack Pro dans les étapes précédentes.
2 Choisissez Ouvrir le projet.
Le projet Soundtrack Pro original s’ouvre.
Une fois que vous avez effectué vos modifications, enregistrez le projet et utilisez la
commande Exporter le mixage pour exporter un nouveau clip audio (en utilisant le
même nom et le même emplacement que celui ouvert dans le projet Final Cut Pro).
Cela permet de garantir que cette nouvelle version du fichier audio apparaîtra automatiquement
dans le projet Final Cut Pro.
Exportation d’un plan ou d’une séquence à partir
de Final Cut Pro vers Soundtrack Pro
Final Cut Pro inclut la possibilité d’exporter un plan ou une séquence en vue d’une utilisation
dans Soundtrack Pro. Cette procédure est surtout utile lorsque vous ne prévoyez
pas d’ouvrir le plan ou la séquence ultérieurement dans Final Cut Pro. L’exportation de
cette façon crée une séquence QuickTime contenant la vidéo (le cas échéant) et l’audio.
Pour exporter des séquences ou des plans de Final Cut Pro pour les utiliser
dans Soundtrack Pro :
1 Dans le Navigateur ou la Timeline, sélectionnez la séquence ou le plan à exporter
vers Soundtrack Pro.
2 Sélectionnez Fichier > Exporter > Pour Soundtrack.
3 Choisissez une destination et tapez un nom de fichier pour la séquence QuickTime.
Par défaut, les marqueurs audio sont exportés avec la séquence ou le plan lors de
l’exportation vers Soundtrack Pro. Vous pouvez cependant choisir de ne pas exporter
les marqueurs en sélectionnant Aucun dans le menu local Marqueurs. Vous pouvez
également choisir d’exporter d’autres types de marqueurs. Toutefois, les marqueurs
audio sont les seuls types de marqueurs visibles lorsque vous ouvrez la séquence ou
le plan dans Soundtrack Pro.
4 Cliquez sur Enregistrer.
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Utilisation de Motion avec Final Cut Pro
Final Cut Pro prend en charge l’échange de plans et de séquences entre Final Cut Pro
et Motion. Les applications sont étroitement intégrées de telle façon que lorsque vous
utilisez Motion et Final Cut Pro sur le même ordinateur, vous avez la possibilité de travailler
sur votre projet Motion dans les deux applications à la fois, sans avoir à vous soucier du
transfert des fichiers entre les applications. Vous pouvez également exporter des plans
afin de les confier à une autre personne qui se chargera de la création d’animations
professionnelles pendant que vous continuez à monter votre film avant d’importer le
projet Motion terminé dans votre séquence.
Exportation d’un plan ou d’une séquence à partir
de Final Cut Pro vers Motion
Vous pouvez exporter des plans et des séquences Final Cut Pro dans des projets Motion
en sélectionnant la commande Envoyer vers un projet Motion. Cette commande est
utile pour :
 transférer les données capturés vers Motion depuis le Navigateur Final Cut Pro ;
 transférer des éléments ou une séquence depuis un projet Final Cut Pro vers Motion
dans le but de créer une animation.
Pour envoyer des plans ou des séquences de Final Cut Pro vers un projet Motion :
1 Sélectionnez les éléments ou la séquence à exporter vers Motion en effectuant l’une
des opérations suivantes :
 Sélectionnez un ou plusieurs éléments dans le Navigateur (au moins un élément doit
être un plan).
 Sélectionnez une séquence dans le Navigateur.
 Sélectionnez plusieurs éléments dans la Timeline (celle-ci doit être active).
2 Sélectionnez Fichier > Envoyer à > Projet Motion.
3 Dans la zone de dialogue qui apparaît :
a Choisissez un emplacement et saisissez un nom pour le nouveau projet Motion.
b Vous pouvez également sélectionner les options suivantes :
 Lancer Motion : lorsque vous sélectionnez cette option, les plans ou les séquences
que vous exportez s’ouvrent sous forme de projet dans Motion (Final Cut Pro reste
ouvert également).
 Incorporer le contenu de Motion : lorsque vous sélectionnez cette option, Final Cut Pro
ouvre le projet Motion sous forme de plan dans Final Cut Pro. Le plan situé dans
Final Cut Pro est automatiquement mis à jour pour refléter les modifications apportées
au plan dans Motion. Si les deux applications sont ouvertes et que vous visualisez
le plan Motion dans Final Cut Pro, vous remarquerez que le contenu a été mis
à jour avec les modifications apportées et enregistrées dans Motion.
27
Remarque : lorsque des projets Motion sont incorporés dans Final Cut Pro, Final Cut Pro
reflète tout changement apporté au projet dans Motion, mais Motion ne reflète pas
les changements apportés (par exemple, l’utilisation de filtres et de titres) au plan d’un
projet Motion dans Final Cut Pro.
4 Cliquez sur Enregistrer.
Si vous ne sélectionnez pas l’option Incorporer le contenu de Motion, tout élément
exporté apparaît sous forme de séquence imbriquée dans le Navigateur et tout élément
de la Timeline reste inchangé.
Exportation des propriétés
Lorsque vous sélectionnez les plans à envoyer à Motion, les propriétés suivantes sont
conservées avec le projet exporté.
Lors de l’exportation vers Motion, Final Cut Pro n’envoie pas les propriétés omises
de la liste ci-dessus, telles que les filtres, les générateurs, les changements de vitesse
ou de time remap, et les images fixes.
Résultats de l’exportation dans Final Cut Pro
Dans le Navigateur, la séquence ou le groupe d’éléments exporté vers Motion devient
le plan d’un projet Motion unique et porte l’extension d’un nom de fichier Motion.
Si l’élément était sélectionné dans la Timeline au moment où vous l’avez exporté et
que l’option Incorporer le contenu de Motion était sélectionnée, le nouveau plan de
projet Motion apparaît également dans la Timeline. En outre, le contenu du plan de
projet Motion est mis à jour à mesure que les modifications y sont enregistrées dans
Motion. Si l’option Incorporer le contenu de Motion n’était pas sélectionné, le contenu
de la Timeline reste identique.
Propriétés exportées
Vidéo  Données.
 Toute information de temps, notamment les fréquences d’image
et les points d’entrée et de sortie.
 Marqueurs .
 Toutes les caractéristiques standard d’animation, notamment
l’échelle, la position, la rotation, les modes de compositing et
l’opacité, ainsi que le type d’image clé pour chacun de ces paramètres
(linéaire ou non linéaire).
Audio1 Â Données.
 Marqueurs.
 Images clés.
1 L’audio exporté vers Motion n’est pas importé lorsque vous transférez à nouveau le projet Motion dans Final Cut Pro.
En effet, l’audio dans Motion n’est destiné qu’à la lecture et aux marqueurs. Pour cette raison, veillez à conserver les
clips audio.
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L’audio associé au plan de projet Motion demeure exactement comme il était avant
l’exportation. Ainsi, si vous avez exporté des plans sélectionnés dans la Timeline, l’audio
demeure sur les mêmes pistes audio. Veillez à conserver cet audio dans votre film, car il
ne sera pas réimporté dans Final Cut Pro avec le projet Motion.
Importation d’un projet Motion dans un projet Final Cut Pro
Que l’application Motion soit installée ou pas sur votre ordinateur, vous pouvez importer
des projets Motion dans Final Cut Pro de la même façon que n’importe quelles
autres données.
Pour importer un projet Motion dans Final Cut Pro, procédez de l’une des façons
suivantes :
m Faites glisser le projet Motion dans le Navigateur ou la Timeline de Final Cut Pro.
m Choisissez Fichier > Importer > Fichiers, puis sélectionnez le projet Motion dans la zone
de dialogue qui apparaît et cliquez sur Choisir.
Remarque : n’oubliez pas qu’il est inutile d’importer à nouveau des projets Motion
dans Final Cut Pro si l’option Incorporer le contenu de Motion est sélectionnée lors
de l’exportation. Dans ce cas, le projet Motion qui apparaît dans Final Cut Pro reflète
automatiquement toute modification apportée et enregistrée dans Motion.
Même si vous ne pouvez pas éditer le contenu du plan d’un projet Motion importé
ou incorporé dans Final Cut Pro, vous pouvez le prévisualiser dans votre film, le placer
dans votre séquence, l’ajuster, lui ajouter des transitions et lui appliquer des titres et
des filtres.
Lorsqu’un projet Motion est importé ou incorporé dans Final Cut Pro :
 Final Cut Pro affiche le projet sous forme de plan avec toutes les couches du projet
Motion superposées. Le plan de projet Motion apparaît dans le Navigateur avec
une extension Motion. Si le projet est incorporé et se trouve déjà dans la Timeline,
il apparaît également dans la Timeline.
 L’audio dans Motion n’est pas importé dans Final Cut Pro.
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 Si les propriétés du projet (par exemple, la largeur et la hauteur de l’image) ont été
modifiées dans Motion, les nouvelles propriétés sont reflétées dans le projet Motion
dans Final Cut Pro.
Apporter des modifications à un projet Motion déjà importé
dans Final Cut Pro
Lorsque vous travaillez dans Final Cut Pro, vous pouvez ouvrir le plan d’un projet
Motion depuis le Navigateur ou la Timeline afin de le modifier dans Motion.
Important : pour cela, Final Cut Pro et Motion doivent être installés sur le même
ordinateur.
Pour ouvrir le plan d’un projet Motion dans Motion depuis Final Cut Pro :
m Sélectionnez le plan, cliquez dessus tout en maintenant la touche Contrôle enfoncée,
puis sélectionnez Ouvrir dans l’éditeur dans le menu contextuel.
Le plan du projet Motion et l’audio associé à celui-ci dans Final Cut Pro s’ouvrent dans
Motion. Une fois que vous avez modifié et enregistré le projet dans Motion, Final Cut Pro
utilise automatiquement la nouvelle version.
Important : si vous utilisez une autre méthode pour ouvrir le projet dans Motion,
il ne sera plus connecté au projet Final Cut Pro.
Remarque : si vous utilisez le Gestionnaire de données dans Final Cut Pro, sachez
qu’il ne peut pas déplacer vers un nouvel emplacement les fichiers de données source
référencés par le plan d’un projet Motion.
À propos du codec Animation
Vous serez souvent amené à utiliser Motion pour créer des projets dotés de canaux alpha.
Le codec Animation est un codec sans perte conçu pour être utilisé avec des images
générées par ordinateur, mais qui fonctionne également avec des images vidéo normales.
Cela permet d’obtenir un excellent niveau de qualité au détriment des performances
(les plans utilisant le codec Animation ne sont souvent pas lisibles en temps réel). L’un des
avantages principaux du codec Animation provient du fait qu’il prend en charge un canal
alpha que Final Cut Pro peut utiliser pour contrôler la transparence du plan.
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Utilisation de Compressor avec Final Cut Pro
Il existe différentes situations dans lesquelles Compressor peut contribuer à votre projet
Final Cut Pro :
 Exportation de la séquence : Compressor offre différents formats pour l’exportation
d’une séquence, notamment ceux spécialement conçus pour la distribution Web
et DVD.
 Mise à l’échelle d’images vidéo : Compressor inclut une fonction de mise à l’échelle
et de conversion de normes de haute qualité, qui permet de convertir de la vidéo
afin de la faire correspondre à une séquence.
Exportation d’une séquence avec Compressor
Compressor convertit les séquences QuickTime aux formats suivants :
 Pour les DVD : MPEG-1, MPEG-2 SD et HD, H.264 et AC-3 (pour l’audio).
 Pour la diffusion sur le Web : diffusion QuickTime à l’aide des formats H.264, MPEG-1
et MPEG-4.
Compressor vous permet de générer des ressources audio et vidéo de haute qualité à
importer dans DVD Studio Pro. Les marqueurs de chapitre et de compression ajoutés
à votre séquence Final Cut Pro peuvent être inclus dans les fichiers MPEG résultants.
Vous pouvez également ajouter ces marqueurs dans Compressor. Une fois importés
dans DVD Studio Pro, les marqueurs de chapitre apparaissent automatiquement dans
l’éditeur de piste.
Important : pour cela, Final Cut Pro et Compressor doivent être installés sur le même
ordinateur.
Pour exporter à partir de Final Cut Pro dans Compressor :
1 Dans le Navigateur, sélectionnez une séquence à exporter.
2 Sélectionnez Fichier > Exporter > Compressor.
Compressor s’ouvre avec la séquence que vous avez exportée depuis Final Cut Pro
en tant que source dans sa fenêtre Lot.
3 Sélectionnez un préréglage à appliquer à la séquence.
Dans certains cas, vous pourrez utiliser un préréglage correspondant exactement à
vos besoins, tandis que dans d’autres cas, vous devrez soit modifier un préréglage,
soit en créer un personnalisé. Le préréglage définit tous les aspects de la conversion.
Vous pouvez également affecter plusieurs préréglages à une séquence. Par exemple,
vous pouvez souhaiter disposer d’une version AIFF et d’une version AC-3 de l’audio.
4 Configurez le réglage de destination.
Tant que la destination est réglée sur la valeur par défaut (source), le nouveau fichier
est enregistré au premier niveau du disque système.
31
5 Configurez le nom du fichier de sortie si vous préférez autre chose que le nom par défaut.
6 Cliquez sur Soumettre.
Conversion de la norme vidéo d’un plan vidéo
Vous pouvez parfois être amené à intégrer un plan vidéo dans une séquence ayant une
norme vidéo différente. Par exemple, si vous montez un projet HD 1080i et que vous
devez inclure un plan NTSC 480i, le plan NTSC doit être mis à l’échelle à la taille d’image
1080i. Vous pouvez faire cela dans Final Cut Pro en ajoutant le plan à la séquence puis
en le rendant, mais pour obtenir la meilleure qualité, vous devez utiliser Compressor
pour mettre la vidéo à l’échelle.
Pour utiliser Compressor afin de mettre un plan vidéo à l’échelle :
1 Ouvrez Compressor.
2 Pour importer le plan dans la fenêtre Lot, effectuez l’une des opérations suivantes :
 Cliquez sur le bouton Importer un fichier et choisissez le fichier dans la zone de
dialogue de sélection.
 Faites glisser le fichier d’une fenêtre du Finder vers la fenêtre Lot.
3 Sélectionnez un préréglage à appliquer au plan.
Dans certains cas, vous pourrez utiliser un préréglage correspondant exactement à vos
besoins, tandis que dans d’autres cas, vous devrez soit modifier un préréglage, soit en
créer un personnalisé. Le préréglage définit la taille de l’image vidéo, la fréquence d’images
et le format d’encodage utilisé lors de la conversion. L’Inspecteur de Compressor
contient une sous-fenêtre Contrôles d’images qui vous permet de définir le niveau de
qualité de la conversion.
4 Configurez le réglage de destination.
Par défaut, le nouveau fichier est enregistré dans le même emplacement que l’original.
5 Configurez le nom du fichier de sortie si vous préférez autre chose que le nom par
défaut.
6 Cliquez sur Soumettre.
Une fois les opérations Compressor terminées, vous pouvez importer le plan mis
à l’échelle dans votre projet Final Cut Pro et l’ajouter à la séquence sans qu’il soit
nécessaire de le rendre.
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Utilisation de LiveType avec Final Cut Pro
Comme Motion, Final Cut Pro inclut la prise en charge de l’échange de plans et de
séquences entre Final Cut Pro et LiveType. Les applications sont étroitement intégrées
de telle façon que lorsque vous utilisez LiveType et Final Cut Pro sur le même ordinateur,
vous avez la possibilité de travailler sur votre projet LiveType dans les deux applications
à la fois, sans avoir à vous soucier du transfert des fichiers entre les applications.
Vous pouvez également exporter des plans afin de les confier à une autre personne qui
se chargera de la création d’animations professionnelles pendant que vous continuez à
monter votre film avant d’importer le projet LiveType terminé dans votre séquence.
Importation d’un projet LiveType dans un projet Final Cut Pro
Grâce à l’importation de fichiers de projets LiveType dans Final Cut Pro, vous n’avez
plus besoin de rendre une séquence QuickTime de votre titre LiveType chaque fois
que vous souhaitez l’utiliser dans Final Cut Pro.
Pour importer un projet LiveType dans Final Cut Pro, procédez de l’une des façons
suivantes :
m Sélectionnez Fichier > Importer (ou appuyez sur Commande + I) et sélectionnez
le projet LiveType à importer dans Final Cut Pro, puis cliquez sur Choisir.
m Dans le Finder, faites glisser un fichier de projet LiveType dans le Navigateur
de Final Cut Pro.
Le fichier de projet LiveType apparaît sous forme de plan dans le Navigateur
de Final Cut Pro.
Un fichier de projet LiveType dans Final Cut Pro ressemble à n’importe quel autre plan
de votre séquence. Au besoin, vous pouvez reconnecter le média (dans ce cas, le fichier
de projet LiveType réel sur le disque) au projet LiveType de votre séquence, comme
vous le feriez avec n’importe quel autre plan Final Cut Pro. Les projets LiveType dans
Final Cut Pro peuvent être organisés dans le Navigateur, ouverts dans le Visualiseur,
montés en séquences, ajustés, copiés et collés. Les projets LiveType conservent des
relations normales entre le plan master et le plan associé.
Les projets LiveType peuvent être lus dans Final Cut Pro comme les autres plans.
Cependant, lorsqu’ils sont montés en séquences, les projets LiveType apparaissent
avec une barre de rendu rouge dans la Timeline, ce qui vous oblige à rendre ces
portions de séquence pour pouvoir les lire.
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Apporter des modifications à un projet LiveType déjà importé
dans Final Cut Pro
Bien que vous puissiez effectuer des tâches de montage normales avec un projet
LiveType dans Final Cut Pro, le contenu du titre LiveType ne peut pas être modifié
à partir de Final Cut Pro (les réglages de titre LiveType peuvent uniquement être
modifiés dans l’application LiveType). Final Cut Pro permet d’ouvrir rapidement des
plans LiveType directement dans l’application LiveType en vue d’en modifier le titre.
Important : pour cela, Final Cut Pro et LiveType doivent être installés sur le même
ordinateur.
Pour ouvrir et modifier un projet LiveType dans LiveType, à partir de Final Cut Pro :
1 Dans le Navigateur de Final Cut Pro ou dans une séquence, appuyez sur Contrôle
et cliquez sur le plan du projet LiveType dont vous souhaitez modifier les réglages
de titre, puis choisissez Ouvrir dans l’éditeur dans le menu contextuel.
Le fichier de projet LiveType est ouvert dans l’application LiveType.
2 Dans LiveType, apportez toutes les modifications nécessaires au titre LiveType.
3 Enregistrez le fichier de projet LiveType.
4 Retournez à Final Cut Pro.
Final Cut Pro rétablit automatiquement les liens des plans de projet LiveType qui font
référence au projet LiveType modifié. Dans Final Cut Pro, vous pouvez immédiatement
observer les modifications apportées au titre LiveType. Grâce à cette méthode, il est
inutile de vous reconnecter au fichier de projet LiveType chaque fois que vous le modifiez
dans une application autre que Final Cut Pro.
Remarque : la colonne Créateur du Navigateur de Final Cut Pro indique l’application
qui sera lancée si vous choisissez “Ouvrir dans l’éditeur” dans le menu contextuel d’un
plan. Pour afficher la colonne Créateur, tout en maintenant la touche Contrôle enfoncée,
cliquez sur un en-tête de colonne du Navigateur à droite de la colonne Nom, puis
choisissez Afficher le créateur dans le menu contextuel. Pour les plans LiveType, le créateur
est automatiquement défini sur LiveType.
Exportation d’une séquence partielle pour LiveType
Vous pouvez utiliser LiveType pour créer des titres que Final Cut Pro peut disposer
sur la vidéo d’arrière-plan d’une séquence. Cependant, ce processus est beaucoup
plus facile si, lors de la création du titre dans LiveType, vous pouvez voir la vidéo
d’arrière-plan sur laquelle il sera placé.
Vous pouvez exporter une section de votre séquence Final Cut Pro, définie par des
points d’entrée et de sortie, en vue d’une utilisation en tant que vidéo d’arrière-plan
lors de la création du titre dans LiveType.
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Important : pour cela, Final Cut Pro et LiveType doivent être installés sur le même
ordinateur.
Pour exporter une séquence partielle pour LiveType et créer un titre dessus :
1 Dans la Timeline de Final Cut Pro, définissez les points d’entrée et de sortie afin
de définir la section de vidéo sur laquelle le titre LiveType doit apparaître.
2 Sélectionnez Fichier > Exporter > Pour LiveType.
3 Nommez la portion de séquence que vous exportez, puis cliquez sur Enregistrer.
4 Dans LiveType, choisissez Fichier > “Placer un film en fond” afin d’importer la séquence
exportée à partir de Final Cut Pro et la placer dans la deuxième piste.
5 Dans la Timeline de LiveType, sélectionnez la première piste et créez votre effet de titre.
6 Une fois l’effet terminé, enregistrez le projet.
Assurez-vous que le réglage Rendre le fond dans la fenêtre Propriétés du projet n’est
pas sélectionné lorsque vous enregistrez le projet LiveType. Par défaut, ce réglage n’est
pas sélectionné. Vous pouvez vérifier cela en choisissant Édition > Propriétés du projet.
7 Importez le projet LiveType dans le projet Final Cut Pro original et placez-le dans la
piste V2 de la Timeline, à l’emplacement défini par les points d’entrée et de sortie.
Le titre apparaît sur la vidéo d’arrière-plan exactement comme lors de la création
du projet LiveType.
Utilisation de Shake avec Final Cut Pro
Le fait de tirer parti des puissantes fonctions de compositing et d’effets visuels de Shake
lors du montage d’une séquence dans Final Cut Pro peut faire la différence, en particulier
lors de l’utilisation d’une vidéo difficile à incruster ou lorsque vous avez besoin du suivi
d’animation ou du rotoscoping. Final Cut Pro inclut une méthode spécialement conçue
pour rendre efficace et simple l’envoi de plans à Shake.
Par exemple, vous pouvez utiliser Final Cut Pro pour superposer un groupe de plans que
vous souhaitez convertir en composition simple à l’aide de Shake. Final Cut Pro facilite la
configuration de points d’entrée et de sortie pour chaque plan, via la détermination de
la façon dont ils se chevauchent. Vous pouvez ensuite envoyer les données à Shake avec
les informations de timing, ce qui vous évite d’avoir à recréer l’organisation des données
dans Shake.
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Organisation des plans importés dans Shake
Indépendamment de la façon dont vous déplacez les plans Final Cut Pro dans Shake, la
façon dont ils sont assemblés dans le script Shake nouvellement créé varie selon qu’ils
ont été organisés de manière séquentielle dans une même piste vidéo, ou superposés
verticalement à l’aide de plusieurs pistes vidéo.
Les plans Final Cut Pro importés sont organisés dans l’arborescence des noeuds à l’aide
des noeuds Select et MultiLayer :
 Les plans montés de manière séquentielle dans la même piste vidéo sont connectés
à un noeud Select unique. Le noeud Select est responsable de la configuration du
timing de chaque plan, notamment le point d’entrée des données, le point de sortie
des données et la position dans la Timeline de Shake.
 Les plans à l’origine superposés sur plusieurs pistes vidéo entraînent la création d’un
noeud Select correspondant dans le script Shake pour chaque piste vidéo contenant
un plan.
Remarque : les points de montage réels de chaque noeud FileIn associé au noeud
Select sont stockés dans le paramètre de branche. Les données stockées dans ce
paramètre ne sont pas modifiables ; toute tentative de les modifier peut entraîner
des résultats imprévisibles.
 Chaque noeud Select est connecté à un noeud MultiLayer unique, qui détermine
les plans qui se trouvent au premier plan de la composition et ceux qui se trouvent
à l’arrière-plan.
Si vous souhaitez modifier la position temporelle des plans importés à partir de
Final Cut Pro dans Shake, vous devez utiliser l’onglet Contrôle du temps.
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Important : les clips et pistes audio des fichiers QuickTime originaux ne sont pas importés
dans Shake. Tout changement de timing que vous effectuez dans Shake entraîne
la désynchronisation des données des plans ajustés par rapport à l’audio du fichier de
projet Final Cut Pro original.
Envoi de plans à partir de Final Cut Pro
Pour envoyer un ou plusieurs plans sélectionnés (ou une séquence unique)
de Final Cut Pro vers Shake, vous devez utiliser la commande Envoyer à Shake
(dans Final Cut Pro).
Pour envoyer un ou plusieurs plans, ou une séquence, de Final Cut Pro vers Shake :
1 Organisez la Timeline du projet de façon à pouvoir sélectionner uniquement les plans
que vous prévoyez d’envoyer.
2 Effectuez l’une des opérations suivantes :
 Sélectionnez un ou plusieurs plans à exporter dans la Timeline.
 Sélectionnez une séquence dans le Navigateur.
3 Effectuez l’une des opérations suivantes :
 Sélectionnez Fichier > Envoyer à > Shake.
 Cliquez sur les plans ou la séquence sélectionné(e)s en maintenant la touche Contrôle
enfoncée, puis choisissez Envoyer à > Shake dans le menu contextuel.
Données et effets non pris en charge
Bien que QuickTime soit le format de fichier utilisé pour tous les échanges de données
entre Final Cut Pro et Shake, tous les aspects de QuickTime ne sont pas pris en
charge. Les données et réglages suivants ne sont pas importés dans Shake à partir
de Final Cut Pro :
 Pistes audio QuickTime
 Fichiers audio autonomes
 Fichiers d’image fixe
 Générateurs
 Modes de compositing
 Les effets d’animation
 Filtres
 Transitions
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4 Lorsque la zone de dialogue Envoyer à Shake apparaît, sélectionnez les options
appropriées :
 Nom de la séquence résultante : nommez la séquence créée dans le fichier de projet
Final Cut Pro pour contenir les données sélectionnées lorsque vous cliquez sur Exporter.
Cela n’est applicable que si vous avez sélectionné un ou plusieurs plans dans la
Timeline ; aucune nouvelle séquence n’est créée si vous sélectionnez une séquence
dans le Navigateur.
 Enregistrer comme script Shake : tapez un nom et choisissez un emplacement pour
la création du script Shake.
 Enregistrer l’espace réservé pour séquence QuickTime (FileOut) sous : tapez un nom
et choisissez un emplacement pour l’espace réservé de la séquence QuickTime qui
correspondra au noeud FileOut dans le script Shake nouvellement créé.
5 Cochez la case Lancer Shake si vous souhaitez ouvrir automatiquement le script Shake
nouvellement créé et commencer à l’utiliser.
Important : pour cela, Final Cut Pro et Shake doivent être installés sur le même
ordinateur.
6 Cliquez sur Exporter.
Lorsque vous cliquez sur Exporter, plusieurs actions se produisent :
 Si vous avez sélectionné un plan ou un groupe de plans dans la Timeline, une nouvelle
séquence contenant des copies des données sélectionnées apparaît dans votre projet
Final Cut Pro.
 Un script Shake est créé sur le disque.
 Un fichier d’espace réservé QuickTime est créé sur le disque.
 Si vous avez sélectionné un plan ou un groupe de plans dans la Timeline, le fichier
d’espace réservé QuickTime apparaît sous la forme d’un plan sur une nouvelle piste
vidéo (désactivée) créée dans la piste située la plus en haut de votre séquence (les
données originales restent à leur place).
Le plan d’espace réservé QuickTime de votre projet Final Cut Pro correspond aux
données qui seront finalement rendues par Shake, en particulier à partir du noeud
FileOut qui apparaît à la fin du script Shake généré.
Plage de temps des scripts générés à partir de Final Cut Pro
Le paramètre global de plage de temps du script Shake créé par la commande Envoyer
à Shake est automatiquement réglé sur la plage d’images appropriée pour les données
auxquelles elle fait référence.
Important : il est déconseillé de cliquer sur le bouton Auto pour mettre à jour la plage
de temps. Cela peut entraîner le référencement de davantage d’images que prévu, en
fonction de la durée totale des fichiers de données source.
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Renvoi de données à Final Cut Pro
Lorsque vous avez terminé d’utiliser le script Shake généré par Final Cut Pro, vous devez
rendre le noeud FileOut créé initialement. Le fichier de données nouvellement rendu
prend la place du fichier d’espace réservé QuickTime, prêt à être utilisé par le projet
Final Cut Pro original.
Lorsque vous rouvrez le fichier de projet Final Cut Pro contenant le fichier d’espace
réservé QuickTime original, vous devez utiliser la commande Relier les données afin
de relier le plan de votre séquence aux données rendues par Shake.
Utilisation de Logic Pro avec Final Cut Pro
Logic Pro inclut de nombreux outils que vous pouvez utiliser lors de la création de la
musique de vos projets Final Cut Pro. Logic Pro peut importer et exporter des fichiers
audio individuels dans différents formats. Pour les projets plus complexes impliquant
Final Cut Pro, vous pouvez utiliser le format d’échange XML Final Cut Pro afin d’importer
et d’exporter des morceaux avec plusieurs pistes audio, en conservant toutes les
informations de position de région, de nom de région, ainsi que les données d’automatisation
du volume et de la balance.
Importation de fichiers XML Final Cut Pro dans Logic Pro
Vous pouvez exporter une séquence ou un groupe de plans à partir de Final Cut Pro
en tant que fichier XML, puis importer le fichier XML dans Logic Pro.
Pour exporter une séquence Final Cut Pro en tant que fichier XML :
1 Sélectionnez une séquence à exporter dans le Navigateur Final Cut Pro.
2 Sélectionnez Fichier > Exporter > XML.
3 Choisissez le format XML à utiliser dans le menu local Format, puis cliquez sur OK.
Le choix par défaut est “Apple XML Interchange Format, version 2”.
4 Nommez le fichier, choisissez sa destination, puis cliquez sur Enregistrer.
Pour importer un fichier XML dans Logic Pro :
1 Dans Logic Pro, choisissez Fichier > Importer.
2 Localisez le fichier XML, puis cliquez sur Choisir.
L’audio de la séquence s’ouvre dans Logic Pro.
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Exportation d’un fichier XML Final Cut Pro à partir
de Logic Pro
Vous pouvez exporter l’audio du morceau actuel en tant que fichier au format d’échange
XML de Final Cut Pro, que vous pouvez ensuite importer dans un projet Final Cut Pro.
Pour exporter le morceau actuel vers Logic Pro en tant que fichier XML :
1 Dans Logic Pro, choisissez Fichier > Exporter > Morceau vers Final Cut Pro/XML.
2 Nommez le fichier, choisissez sa destination, puis cliquez sur Exporter.
Pour importer un fichier XML dans Final Cut Pro :
1 Dans Final Cut Pro, choisissez Fichier > Importer > XML.
2 Localisez le fichier XML, puis cliquez sur Choisir.
Une séquence contenant l’audio exportée apparaît dans le Navigateur de Final Cut Pro.
Remarque : les pistes d’instruments audio sont toujours renvoyées vers les fichiers
audio. Les pistes MIDI sont ignorées. Si nécessaire, le rebond bascule automatiquement
en mode temps réel (comme lorsqu’un mode E/S ou Instrument externe est utilisé).
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1 Utilisation d’applications Apple
pour vos projets DVD Studio Pro
Peu importe la qualité de votre séquence si personne ne peut
la voir. Les applications de postproduction Apple offrent des
outils précieux pour vous aider à créer votre propre projet
DVD Studio Pro.
DVD Studio Pro permet de créer rapidement et facilement des DVD professionnels de
différents styles. La création de votre projet est entièrement personnalisable mais vous
pouvez, si vous êtes pressé par le temps, modifier un des modèles fournis pour terminer
votre DVD encore plus vite.
Conversion d’un projet Final Cut Pro en DVD
Une fois que vous avez terminé le montage de votre séquence dans Final Cut Pro, vous
pouvez commencer à créer un DVD basé sur cette séquence. Bien que la création d’un
simple DVD à partir de la séquence soit une opération rapide et facile, vous devrez
tenir compte de différents problèmes :
 Vous devez convertir la séquence en ressources compatibles avec le format DVD. À l’exception
d’une séquence HDV, la vidéo et l’audio d’une séquence doivent être transcodées
en ressources compatibles avec le format DVD. Il existe plusieurs approches ; cependant,
le plus souvent, la meilleure méthode consiste à exporter à partir de Final Cut Pro via
Compressor. Vous disposez ainsi du maximum d’options et du contrôle le plus étendu
sur le processus.
 Si votre séquence est au format HD, vous devez choisir une norme DVD. Vous pouvez choisir
de créer un DVD traditionnel à l’aide de ressources en définition standard (SD), ce qui
nécessite la conversion de la vidéo en résolutions d’images SD, ou un DVD spécialisé
utilisant des ressources haute définition (HD). L’avantage de la création d’un DVD SD
est qu’il peut être lu dans les lecteurs de DVD actuels. L’avantage de la création d’un
DVD HD est que vous pouvez conserver la qualité HD ; en revanche, les méthodes de
lecture seront limitées (l’une des options de lecture est le Lecteur DVD d’Apple). Une
réponse consiste à utiliser Compressor pour encoder les ressources appropriées, de
façon à pouvoir créer des supports avec les deux normes DVD.
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 Vous devez déterminer les autres éléments qui seront contenus dans le DVD. Pour un DVD
simple, vous souhaiterez probablement qu’un menu soit le premier élément à apparaître
lors de la lecture du disque. Vous pouvez également décider d’ajouter des scènes
supprimées ou d’autres séquences complémentaires pouvant nécessiter un montage
supplémentaire avant la création du DVD.
Importation de votre projet Final Cut Pro dans DVD Studio Pro
L’exportation de vos séquences de Final Cut Pro vers Compressor pour créer des ressources
compatibles avec le format DVD de haute qualité pour DVD Studio Pro, notamment
la conversion de sources HD, vous offre davantage de flexibilité d’encodage que
l’importation directe de la séquence dans DVD Studio Pro. Compressor crée de la vidéo
MPEG-2, à la fois pour les projets SD et HD, de la vidéo H.264 pour les projets HD et de
l’audio Dolby Digital AC-3.
Consultez la section “Exportation d’une séquence avec Compressor” à la page 30 pour
plus d’informations sur l’exportation à partir de Final Cut Pro avec Compressor. Consultez
la section “Création de fichiers AC-3 à partir d’audio Final Cut Pro” à la page 57 pour
plus d’informations sur la création d’audio stéréo et 5.1 surround.
Une fois que vous avez exporté la séquence à l’aide de Compressor, vous pouvez
importer les fichiers encodés dans votre projet DVD Studio Pro. Il existe différentes
façons de faire cela. Les méthodes les plus courantes sont détaillées ici.
Pour importer des fichiers encodés dans DVD Studio Pro, effectuez l’une des
opérations suivantes :
m Faites glisser les fichiers d’une fenêtre du Finder vers l’onglet Ressources de DVD Studio Pro.
m Cliquez sur Importer sous l’onglet Ressources de DVD Studio Pro, puis choisissez les
fichiers dans la zone de dialogue Importer les ressources.
Une fois les fichiers importés, vous pouvez les affecter aux menus et pistes en fonction
des besoins.
Création d’un DVD HD à partir de votre projet Final Cut Pro
Il existe trois formats d’acquisition HD courants qui sont utilisés avec les projets HD :
HD DVCPRO, HD non compressé et HDV. Le format que vous utilisez affecte le déroulement
du montage jusqu’à la distribution du projet.
Utilisation du format HD DVCPRO ou de sources non compressées
Étant donné que le format HD DVCPRO et la vidéo HD non compressée donnent des
tailles de fichier supérieures, les fichiers dans ces formats doivent être encodés selon
un format approprié pour pouvoir être utilisés. DVD Studio Pro prend en charge deux
formats pour l’utilisation dans les projets HD : HD MPEG-2 et H.264.
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 Le format HD MPEG-2 présente la même structure élémentaire que le format MPEG-2
utilisé avec les DVD SD, à ceci près qu’il utilise une gamme de débits plus élevée et
qu’il prend en charge les tailles d’image du format vidéo HD.
 Le format H.264, également connu sous le nom de AVC ou MPEG-4 partie 10, utilise un
processus d’encodage deux fois plus efficace que le processus d’encodage MPEG-2.
En comparaison avec l’encodage MPEG-2, cela signifie qu’avec l’encodeur H.264 vous
pouvez :
 utiliser un débit inférieur pour obtenir la même qualité, ce qui donne des fichiers
plus petits ;
 utiliser le même débit et obtenir une qualité supérieure avec la même taille de fichier.
Vous pouvez exporter votre projet HD DVCPRO à partir de Final Cut Pro à l’aide de
Compressor (comme cela est décrit dans la section “Exportation d’une séquence avec
Compressor” à la page 30) ou exporter une séquence QuickTime du projet et l’importer
directement dans DVD Studio Pro.
Comme dans le cas des projets SD Final Cut Pro, l’avantage de passer par Compressor
est que vous contrôlez davantage le processus d’encodage. Vous pouvez décider si vous
souhaitez créer des fichiers HD MPEG-2 ou H.264, et vous pouvez même utiliser l’encodage
distribué pour réduire la durée du processus d’encodage.
Important : l’encodage distribué est disponible uniquement sur les ordinateurs sur
lesquels Final Cut Studio, DVD Studio Pro ou Shake est installé.
Si vous choisissez d’importer votre séquence HD DVCPRO QuickTime directement dans
DVD Studio Pro, l’encodeur MPEG intégré encode automatiquement la vidéo au format
HD MPEG-2.
Utilisation de sources HDV
Le format HDV est basé sur une configuration du format MPEG-2 prise en charge par
DVD Studio Pro. Cela signifie que si vous procédez à l’acquisition et au montage de la
vidéo au format HDV, aucun transcodage n’est nécessaire pour une utilisation dans un
projet HD. Non seulement cela permet de gagner du temps, mais cela réduit également
le risque d’introduire des défauts dans la vidéo au cours du transcodage.
La capacité de Final Cut Pro à monter de manière native des sources HDV fait de ce flux
de travaux un moyen attractif de créer des projets DVD à l’aide de ressources HD.
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Utilisation de Motion dans votre projet DVD Studio Pro
Dans Motion, vous pouvez facilement créer des plans utilisables dans DVD Studio Pro.
Les projets Motion peuvent être utilisés comme menus d’animation complexes (notamment
un marqueur pour définir le point de bouclage du menu), comme graphismes
animés dans les zones de dépôt et comme transitions entre des éléments tels que les
boutons et leurs cibles, ou les diapositives d’un diaporama. DVD Studio Pro peut importer
et prévisualiser des projets Motion non rendus. Une fois un projet Motion importé
dans DVD Studio Pro, vous pouvez l’ouvrir de nouveau dans Motion pour le modifier et
DVD Studio Pro met automatiquement à jour les projets avec les modifications apportées.
Importation d’un projet Motion pour un menu d’animation
Vous importez les projets Motion dans DVD Studio Pro de la même façon que vous
importez la plupart des ressources.
Pour importer un projet Motion dans DVD Studio Pro, procédez de l’une des façons
suivantes :
m Faites glisser le projet Motion dans l’onglet Ressources ou l’éditeur de menu de
DVD Studio Pro.
Lorsque vous faites glisser le projet Motion dans l’éditeur de menu, vous pouvez alors
choisir la façon dont DVD Studio Pro l’utilise dans la Drop Palette qui apparaît.
m Choisissez Fichier > Importer > Ressource, puis sélectionnez le projet Motion dans
la zone de dialogue.
m Ajoutez le dossier contenant votre projet Motion à l’onglet Vidéo de la palette
DVD Studio Pro. Vous pouvez ensuite ajouter le projet en le faisant glisser dans l’emplacement
adéquat, par exemple dans l’éditeur de menu, l’onglet Ressources ou la Timeline.
Apport de modifications à un projet Motion déjà importé
dans DVD Studio Pro
Une fois le projet Motion importé, vous pouvez l’ouvrir à nouveau dans Motion à partir
de l’onglet Ressources de DVD Studio Pro. Cela permet d’apporter plus rapidement et
plus facilement des modifications à votre projet.
Important : pour cela, DVD Studio Pro et Motion doivent être installés sur le même
ordinateur.
Pour ouvrir un projet Motion dans Motion, à partir de DVD Studio Pro, effectuez
l’une des opérations suivantes :
m Sélectionnez le projet dans l’onglet Ressources, puis choisissez Fichier > Ressource >
Ouvrir dans l’éditeur.
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m Cliquez sur le projet sous l’onglet Ressources tout en maintenant la touche Contrôle
enfoncée, puis sélectionnez Ouvrir dans l’éditeur dans le menu contextuel.
m Double-cliquez sur le projet dans l’onglet Ressources.
Si vous modifiez le projet dans Motion et que vous l’enregistrez, DVD Studio Pro se met
automatiquement à jour afin d’inclure ces modifications.
Création et importation d’un projet Motion sous forme
de transition alpha
DVD Studio Pro comprend une fonction Transition alpha. Cela vous permet de créer
des transitions personnalisées pour vos menus, pistes et diaporamas.
Toutes les transitions ont une image de début et de fin en fonction de leur emplacement.
Les transitions standard ont la capacité de transformer les images vidéo de début
et de fin, permettant ainsi d’ajouter une grande variété d’effets, tels que les effets de
rotation ou de flou, directement à la vidéo. Une transition alpha ne transforme pas directement
les images vidéo de début et de fin ; elle effectue simplement la transition entre
le début et la fin en se basant sur des séquences QuickTime que vous créez.
La création d’une transition alpha requiert une à trois séquences QuickTime, en fonction
du type de transition que vous souhaitez créer.
 Souhaitez-vous remplacer les images de début et de fin par une séquence vidéo au cours
de la transition ? Si vous souhaitez par exemple afficher une transition dans laquelle
un disque DVD traverse l’écran en tournant sur lui-même, vous devez disposer d’une
ressource vidéo contenant de telles images.
 Souhaitez-vous que les images de début et de fin apparaissent en même temps au cours
de la transition ? Dans l’exemple du DVD tournant sur lui-même, vous pouvez choisir
d’afficher l’image de début autour du DVD et l’image de fin au centre de ce dernier.
Pour afficher les images de début et de fin en même temps, vous avez besoin d’un
cache vidéo d’arrière-plan.
 Souhaitez-vous une transition par simple balayage utilisant une forme personnalisée ? Vous
pouvez utiliser un cache vidéo d’arrière-plan pour créer une transition par balayage
dont vous pouvez choisir la forme et l’apparence des bords (nets ou adoucis).
La transition alpha contient les éléments suivants :
 le dossier de ressources ;
 la ressource vidéo ;
 la ressource de cache vidéo ;
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 le cache vidéo d’arrière-plan.
Chaque composant est décrit dans l’une des sections suivantes.
Dossier de ressources
Les projets et les séquences vidéo Motion utilisés en tant que transitions alpha dans
DVD Studio Pro sont traités différemment des projets et des séquences vidéo Motion
utilisés dans les menus et les pistes. Une fois ouvert, DVD Studio Pro recherche les dossiers
de ressources de transition situés dans des zones spécifiques de votre disque dur.
Tout dossier contenant des projets ou des séquences vidéo Motion appropriés est
automatiquement ajouté en tant que transitions alpha et devient disponible pour vos
projets DVD.
Outre le fait de contenir les séquences vidéo à l’origine des transitions alpha, le dossier
de ressources donne son nom à la transition. Tous les fichiers du dossier doivent porter
le même nom que le dossier, suivi de “_cache” s’il s’agit de ressources de cache vidéo et
de “_cache_arrière-plan” s’il s’agit de caches vidéo d’arrière-plan, afin de les distinguer.
Lorsque vous ouvrez DVD Studio Pro, il recherche les dossiers de ressources dans deux
emplacements :
 À la racine de votre disque dur, dans : /Bibliothèque/Application Support/
DVD Studio Pro/Transitions/
 Dans votre dossier Départ, dans : Utilisateurs/nom d’utilisateur/Bibliothèque/Application
Support/DVD Studio Pro/Transitions/
Remarque : si vous ajoutez un dossier de ressources lorsque DVD Studio Pro est ouvert,
il n’est pris en compte qu’à la prochaine ouverture de DVD Studio Pro.
L’image DVD provient de la ressource
vidéo et une ressource
de cache vidéo détermine à
quel endroit la vidéo d’arrièreplan
apparaît.
Image de début
(en rouge dans
cet exemple)
Image de fin (en bleu
dans cet exemple)
Le cache vidéo d’arrièreplan
(non visible) détermine
si l’arrière-plan affiche
la vidéo de début ou
de fin.
47
Ressource vidéo
La ressource vidéo est nécessaire si vous souhaitez remplacer les images de début et de
fin par n’importe quelle séquence vidéo au cours de la transition. Si vous souhaitez, par
exemple, afficher une transition pendant laquelle un DVD traverse l’écran en tournant
sur lui-même, l’image du DVD volant sera fournie par la ressource vidéo.
La ressource vidéo doit porter le même nom que celui du dossier des ressources
et elle peut avoir une extension de fichier. Si le nom du dossier contenant les ressources
est “DVD tournant“, le nom de fichier de la ressource vidéo sera par exemple
“DVD tournant.mov”.
Il existe deux aspects facultatifs pour la ressource vidéo : un canal alpha et un point
de commutation.
Dans l’exemple du DVD tournant sur lui-même, vous pouvez faire en sorte que les images
vidéo de début et de fin soient visibles à travers le centre du DVD et autour du bord
extérieur. Pour cela, vous devez utiliser un canal alpha afin que DVD Studio Pro sache
quelle partie de la ressource vidéo il doit afficher et quelle partie il doit masquer.
Ce canal alpha peut être fourni de deux manières : soit en l’incorporant à la ressource
vidéo, soit en tant que ressource de cache vidéo distincte (voir “Ressource de cache
vidéo”, ci-après).
Important : lorsque le canal alpha est incorporé à la ressource vidéo, assurez-vous que
la sortie vidéo est prémultipliée.
Si votre transition ne nécessite pas que les images vidéo de début et de fin se trouvent
à l’écran simultanément, vous pouvez ajouter un marqueur de point de commutation
à la ressource vidéo afin de contrôler à quel moment la transition passe de l’affichage
de l’image de début à celui de l’image de fin. Si vous souhaitez que les images vidéo de
début et de fin s’affichent simultanément à l’écran, vous devez utiliser un cache vidéo
d’arrière-plan (voir section “Cache vidéo d’arrière-plan” à la page 49).
La ressource vidéo fournit une
transition vidéo en plus des
images de début et de fin.
La ressource vidéo peut
contenir un canal alpha
pour déterminer l’endroit
où doit apparaître
l’arrière-plan.
48
Si le dossier des ressources de transition ne contient pas de cache vidéo d’arrière-plan,
DVD Studio Pro effectue les opérations suivantes pour définir le point de commutation :
 DVD Studio Pro commence par examiner la ressource vidéo afin de voir s’il y a un
marqueur nommé TransitionSwitchPoint. S’il est présent, ce marqueur est utilisé
comme point de commutation. Vous pouvez ajouter ce marqueur à la ressource
vidéo dans Motion en sélectionnant Transition DVD Alpha dans le menu local Type
du menu Modifier le marqueur.
 S’il n’est pas présent, DVD Studio Pro recherche la présence de marqueurs dans
la ressource vidéo. S’il est présent, le premier marqueur est utilisé comme point
de commutation.
 Si aucun marqueur n’est présent dans la ressource vidéo, le point de commutation
est configuré sur le point milieu de la ressource vidéo.
Ressource de cache vidéo
La ressource de cache vidéo n’est nécessaire que lorsqu’une ressource vidéo sans canal
alpha est utilisée par la transition. Le fait de disposer d’une ressource de cache vidéo
distincte peut s’avérer particulièrement utile lorsque la ressource vidéo est une
séquence normale plutôt qu’une animation.
La ressource de cache vidéo doit porter le même nom que le dossier des ressources,
suivi de “_cache” et éventuellement d’une extension de fichier. Si le nom du dossier
contenant les ressources vidéo est “DVD tournant”, le nom de fichier de la ressource
de cache vidéo sera par exemple “DVD tournant_cache.mov”.
La ressource de cache vidéo doit être monochrome. Les blancs permettent d’identifier
la ressource vidéo à utiliser et les noirs servent à identifier l’emplacement des images
vidéo de début et de fin. Vous pouvez également utiliser des niveaux intermédiaires
entre le blanc et le noir pour définir une transparence et ajouter des bords adoucis.
Les zones blanches définissent
l’endroit où la
ressource vidéo apparaît.
Les zones noires définissent
l’endroit où apparaît
la vidéo d’arrière-plan
(image de début ou de
fin, en fonction du point
d’alternance ou du cache
vidéo d’arrière-plan).
Les zones grises définissent
également l’endroit
où la ressource vidéo
apparaît, mais en transparence.
49
Cache vidéo d’arrière-plan
Le cache vidéo d’arrière-plan peut être utilisé de deux façons :
 Vous pouvez l’utiliser conjointement avec la ressource vidéo pour contrôler les parties
de l’écran devant afficher l’image vidéo de début et les parties devant afficher
l’image vidéo de fin.
 Vous pouvez également l’utiliser comme seule séquence vidéo du dossier des ressources
de la transition afin de fournir une transition par balayage. Comme lorsqu’il
est utilisé avec la ressource vidéo, le cache vidéo d’arrière-plan contrôle les parties de
l’écran devant afficher l’image vidéo de début et les parties devant afficher l’image
vidéo de fin.
Le cache vidéo d’arrière-plan doit porter le même nom que le dossier des ressources de
la transition suivi de “_cache_arrière-plan” et d’une extension de fichier. Si le nom du dossier
contenant les ressources vidéo de la transition est “DVD tournant”, le nom de fichier
de la ressource de cache vidéo sera par exemple “DVD tournant_cache_arrière-plan.mov”.
Le cache vidéo d’arrière-plan doit être monochrome. Les blancs permettent d’identifier
l’image vidéo de début et les noirs servent à identifier l’emplacement de l’image vidéo
de fin. De façon générale, le cache vidéo d’arrière-plan doit débuter avec un écran entièrement
blanc et terminer avec un écran entièrement noir. Vous pouvez également utiliser
des niveaux intermédiaires entre le blanc et le noir pour définir une transparence et
ajouter des bords adoucis.
Les zones blanches définissent
l’emplacement
de l’image de début de
la vidéo d’arrière-plan.
Les zones noires définissent
l’emplacement de
l’image de fin de la vidéo
d’arrière-plan.
50
Utilisation de Soundtrack Pro dans votre projet
DVD Studio Pro
La création d’un DVD impose diverses exigences audio complexes parfaitement gérées
par Soundtrack Pro :
 Audio destiné aux menus : une façon simple de rendre vos menus DVD plus attrayants
consiste à leur ajouter du son. Vous pouvez ajouter du son à vos menus animés et à la
plupart de vos menus fixes. Lorsque vous créez vos menus à l’aide de Motion, l’intégration
entre Soundtrack Pro et Motion facilite la création de sons correspondant aux
actions du menu, notamment des effets sonores tels qu’un souffle ou un bruit sourd
lors du passage ou de l’atterrissage des éléments de menu.
 Audio destiné aux diaporamas : vous pouvez rendre vos diaporamas plus accrocheurs
en y ajoutant un fond musical. Vous pouvez en effet créer des clips audio individuels
pour chaque diapo ou un seul clip audio pour l’ensemble du diaporama.
 Audio compatible avec le format DVD : les projets DVD imposent des exigences audio
spécifiques. Soundtrack Pro peut créer des fichiers audio AIFF non compressés compatibles
avec le format DVD, que vous pouvez utiliser directement dans vos projets
DVD. Ces fichiers requièrent une fréquence d’échantillonnage de 48 kilohertz (kHz) et
un codage 16 ou 24 bits. En outre, Soundtrack Pro inclut la possibilité d’exporter via
Compressor, ce qui facilite la création de tout élément, de la simple stéréo aux fichiers
audio Dolby Digital AC-3 au format 5.1 surround. Pour plus d’informations, consultez
la section “Exportation à partir de Soundtrack Pro avec Compressor” à la page 53.
Il existe différentes méthodes permettant d’enregistrer un projet Soundtrack Pro en
vue d’une utilisation dans DVD Studio Pro. En général, le choix consiste à déterminer
si vous souhaitez enregistrer un projet avec des liens intégrés qui facilitent sa réouverture
et sa modification, ou si vous souhaitez effectuer un simple enregistrement.
Enregistrement de projets Soundtrack Pro pour DVD Studio Pro
Voici la description d’une méthode d’enregistrement d’un projet multipiste Soundtrack Pro
qui facilite le retour au projet Soundtrack Pro original si des modifications doivent être
effectuées ultérieurement.
Pour enregistrer et exporter un projet multipiste Soundtrack Pro :
1 Configurez l’audio dans la Timeline et le Mélangeur.
2 Choisissez Fichier > Enregistrer sous.
3 Tapez un nom pour le fichier.
4 Cliquez sur Enregistrer.
Les réglages actuels sont ainsi enregistrés sous forme de projet multipiste Soundtrack Pro
avec l’extension de fichier “.stmp”. Ensuite, exportez le fichier audio que vous allez importer
dans DVD Studio Pro.
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5 Sélectionnez Fichier > Exporter > Exporter le mixage.
6 Tapez un nom pour le fichier.
7 Configurez la profondeur de bits sur 16 bits ou 24 bits, et la fréquence d’échantillonnage
sur 48 kHz.
8 Cliquez sur Exporter.
Cela permet d’enregistrer un fichier audio lié au fichier de projet précédemment enregistré,
ce qui peut s’avérer utile si vous devez apporter ultérieurement des modifications
au fichier audio.
Important : la procédure suivante nécessite que DVD Studio Pro et Soundtrack Pro
soient installés sur le même ordinateur.
Pour apporter des modifications au fichier audio lié à partir de DVD Studio Pro :
1 Cliquez sur le fichier audio dans l’onglet Ressources tout en maintenant la touche
Contrôle enfoncée, puis sélectionnez Ouvrir dans l’éditeur dans le menu contextuel.
Une zone de dialogue apparaît pour vous permettre de choisir s’il faut ouvrir le fichier
audio comme un fichier audio normal ou bien ouvrir le fichier de projet multipiste
Soundtrack Pro du projet.
2 Cliquez sur Ouvrir le projet.
Le projet Soundtrack Pro original s’ouvre.
Une fois que vous avez effectué vos modifications, enregistrez le projet et utilisez la
commande Exporter le mixage pour exporter un nouveau clip audio (en utilisant le
même nom et le même emplacement que celui ouvert dans le projet DVD Studio Pro).
Cela permet de garantir que cette nouvelle version du fichier audio apparaîtra automatiquement
dans le projet DVD Studio Pro.
Utilisation de Soundtrack Pro avec des projets Motion
L’intégration entre Soundtrack Pro et Motion facilite la création d’audio qui vient en
complément des effets que vous pouvez ajouter à votre projet Motion. La capacité
d’aller-retour est particulièrement utile si vous devez modifier le timing des effets
du projet et que vous avez besoin de modifier également l’audio.
Il arrive fréquemment que le menu d’animation soit basé sur une séquence d’arrière-plan
incluant déjà de l’audio, par exemple un court plan de la séquence principale.
Important : pour cela, Soundtrack Pro et Motion doivent être installés sur le même
ordinateur.
52
Pour envoyer l’audio d’un projet Motion vers Soundtrack Pro :
1 Cliquez sur l’onglet Audio dans la sous-fenêtre Projet de Motion.
2 Sélectionnez la piste audio à envoyer à Soundtrack Pro.
3 Choisissez Édition > Envoyer l’audio vers Soundtrack.
4 Tapez un nom de fichier, choisissez une destination, puis cliquez sur “Enregistrer sous
Audio Soundtrack”.
Un projet audio Soundtrack Pro est ainsi créé, avec l’extension de fichier “.stap”, qui s’ouvre
automatiquement dans l’Éditeur de forme d’onde Soundtrack Pro avec la vidéo Motion, de
sorte que vous puissiez appliquer des actions et coller les effets sonores comme nécessaire.
Une fois que vous avez terminé l’audio, il vous suffit d’enregistrer le projet audio dans
Soundtrack Pro. Lorsque vous revenez dans Motion, l’audio est automatiquement mis
à jour afin d’inclure les modifications. Il s’agit d’un processus non destructif (le fichier
audio original n’est pas modifié).
Exportation d’audio AIFF à partir de Soundtrack Pro
Vous pouvez choisir d’exporter vers un projet un mixage de toutes les pistes pour lesquelles
vous n’avez pas coupé le son ou d’exporter individuellement des pistes stéréo.
Pour exporter un mixage à partir d’un projet Soundtrack Pro multipiste :
1 Configurez les pistes et le Mélangeur. Cela consiste notamment à désactiver l’audio
des pistes que vous ne souhaitez pas exporter.
2 Sélectionnez Fichier > Exporter > Exporter le mixage.
Une zone de dialogue s’ouvre pour indiquer les réglages du fichier audio exporté.
3 Configurez les réglages d’exportation.
S’il s’agit d’un projet DVD, sélectionnez le réglage de profondeur de bits audio de 16 bits
ou 24 bits et une fréquence d’échantillonnage de 48 kHz.
4 Cliquez sur Exporter.
Pour exporter une seule piste Soundtrack Pro :
1 Sélectionnez la piste à exporter.
2 Sélectionnez Fichier > Exporter > Exporter la piste sélectionnée.
Une zone de dialogue s’ouvre pour indiquer les réglages de la piste exportée.
3 Configurez les réglages d’exportation.
S’il s’agit d’un projet DVD, sélectionnez le réglage de profondeur de bits audio de 16 bits
ou 24 bits et une fréquence d’échantillonnage de 48 kHz.
4 Cliquez sur Exporter.
Si aucune piste n’est sélectionnée, vous pouvez exporter la totalité des pistes, des bus
et des sorties en une seule étape.
53
Pour exporter simultanément l’ensemble des pistes, bus et sorties Soundtrack Pro :
1 Assurez-vous qu’aucune piste n’est sélectionnée.
2 Sélectionnez Fichier > Exporter > Exporter tous les objets du mélangeur.
Une zone de dialogue s’ouvre pour indiquer les réglages des pistes exportées.
3 Configurez les réglages d’exportation.
S’il s’agit d’un projet DVD, sélectionnez le réglage de profondeur de bits audio de 16 bits
ou 24 bits et une fréquence d’échantillonnage de 48 kHz.
4 Cliquez sur Exporter.
Un fichier AIFF individuel est exporté pour chaque piste, chaque bus et chaque sortie
dont le son n’est pas désactivé.
Exportation à partir de Soundtrack Pro avec Compressor
L’exportation à partir de Soundtrack Pro avec Compressor offre des options supplémentaires,
notamment la possibilité d’exporter des fichiers audio AC-3. Consultez la section
“Pourquoi créer des fichiers AC-3 ?” à la page 55 pour plus d’informations sur les avantages
des fichiers audio au format AC-3 dans vos projets DVD.
Il existe deux types courants de fichiers AC-3 que vous pouvez créer avec Soundtrack Pro :
stéréo et son surround 5.1.
Les fichiers stéréo AC-3 sont généralement les plus faciles à créer, en particulier si les
canaux de gauche et de droite sont déjà configurés. Dans ce cas, vous devez simplement
choisir un préréglage Compressor à utiliser ; l’association des canaux est gérée
automatiquement.
Les fichiers audio Surround 5.1 nécessitent l’association des canaux de sortie physiques
Soundtrack Pro avec les canaux de son surround. Vous devez d’abord configurer vos
sorties afin qu’elles génèrent l’audio adéquat sur les canaux physiques appropriés.
Important : pour cela, Compressor et Soundtrack Pro doivent être installés sur le même
ordinateur.
Pour exporter depuis Soundtrack Pro via Compressor :
1 Sélectionnez Fichier > Exporter > Avec Compressor.
2 Tapez un nom pour le fichier de sortie dans le champ Enregistrer sous.
3 Sélectionnez Conserver la vidéo ou Encoder la vidéo.
 Si vous sélectionnez Conserver la vidéo, la vidéo n’est pas transcodée ; elle est
simplement copiée vers le nouveau fichier.
 Si vous sélectionnez Encoder la vidéo, la vidéo est transcodée avec le préréglage
sélectionné.
54
4 Choisissez un préréglage à utiliser dans le menu local Conserver la vidéo ou Encoder
la vidéo (en fonction de l’option sélectionnée).
Vous pouvez modifier le préréglage ou en créer un nouveau personnalisé en cliquant
sur Modifier les préréglages. Compressor s’ouvre.
5 Si vous exportez un fichier audio multicanal, cliquez sur “Modifier la présentation des
canaux” pour ouvrir la zone de dialogue d’affectation de canal, choisissez le canal de
sortie physique pour chaque canal du fichier exporté, puis cliquez sur OK.
6 Cliquez sur Exporter.
Utilisation de Compressor dans votre projet
DVD Studio Pro
Même si vous pouvez importer directement des séquences QuickTime dans
DVD Studio Pro et utiliser son encodeur MPEG intégré pour créer de la vidéo MPEG
à partir des séquences, Compressor permet de bénéficier d’une plus grande souplesse
lors de l’encodage. Les avantages offerts par Compressor pour coder vos ressources
DVD Studio Pro incluent notamment :
 Réglages d’encodage supplémentaires : Compressor contient plusieurs réglages
d’encodage MPEG qui ne sont pas disponibles avec l’encodeur MPEG intégré,
notamment plusieurs réglages de structure GOP (groupe d’images).
 Encodage de sources 24p et HD pour les projets DVD SD : Compressor peut encoder des
flux MPEG 24 ips au format NTSC. En outre, Compressor vous permet de réaliser une
conversion vers le bas haute qualité de sources HD, facilitant ainsi la création de projets
SD traditionnels de haute qualité à partir de séquences Final Cut Pro.
 Encodage de sources HD pour les projets de DVD HD : Compressor peut encoder de la
vidéo HD non compressée et DVCPRO dans les flux vidéo MPEG-2 ou H.264 requis
par DVD Studio Pro.
 Encodage de séquences audio AC-3 : Compressor peut encoder de l’audio dans des
flux audio Dolby Digital AC-3. L’utilisation d’audio compressée dans vos projets DVD
réduit l’espace disque requis. Étant donné que les fichiers AC-3 nécessitent un débit
nettement inférieur aux fichiers audio AIFF créés par l’encodeur audio intégré à
DVD Studio Pro, cela vous permet d’utiliser un débit supérieur pour les ressources
vidéo.
 Vidéo MPEG-1 : même si le format MPEG-2 permet d’obtenir des projets DVD SD de
qualité optimale, le format MPEG-1 peut constituer une solution de remplacement
satisfaisante lorsque vous devez faire tenir plus de vidéo sur le DVD. La résolution et
le débit inférieurs du format MPEG-1 permettent d’obtenir des fichiers moins volumineux
qu’avec le format MPEG-2. Compressor peut créer des fichiers vidéo MPEG-1
que DVD Studio Pro peut importer et utiliser en tant que ressources pour les pistes
de vos projets SD.
55
À propos des méthodes de flux de travaux de Compressor
Vous pouvez utiliser deux flux de travaux dans Compressor :
 Méthode normale : utilisez les fenêtres de Compressor pour configurer tous les
aspects du codage. Vous pouvez choisir parmi des réglages préconfigurés, appelés
préréglages, ou créer des réglages personnalisés. Vous pouvez également configurer
un lot de fichiers pour l’encodage. Le lot peut inclure de multiples fichiers de données
source ou un seul fichier de données et les résultats codés peuvent adopter de nombreux
formats. Consultez la section “Exportation d’une séquence avec Compressor” à
la page 30 pour plus d’informations sur le processus.
 Méthode avec droplet : vous pouvez créer des droplets qui serviront de raccourcis
pour effectuer le codage. Les droplets facilitent grandement l’encodage de routine
en imposant de faire glisser les fichiers à encoder sur l’icône de Droplet, sans qu’il
soit nécessaire d’ouvrir d’abord Compressor. Ce dernier est créé à partir d’un préréglage
ou d’un groupe de préréglages et d’une destination.
Consultez la documentation de Compressor pour en savoir plus sur ces méthodes.
Pourquoi créer des fichiers AC-3 ?
Lors de la création de projets DVD, il arrive souvent que la quantité de ressources soit
supérieure à la capacité de votre DVD. Une solution consiste à utiliser des données audio
compressées plutôt que des données audio PCM et AIFF non compressées. L’utilisation
de données audio compressées peut :
 Réduire la quantité d’espace disque de DVD requise par vos ressources audio.
 Réduire la bande passante dédiée à l’audio lors de la lecture du DVD, ce qui permet
d’utiliser un débit vidéo plus élevé.
 Permettre d’inclure du son surround Dolby Digital dans votre projet.
Compressor inclut un encodeur Dolby Digital AC-3 capable de créer des fichiers audio
contenant un à six canaux (son surround 5.1). L’encodeur AC-3 contient toutes les fonctions
nécessaires à la création d’audio AC-3 compatible avec le format DVD à partir de
fichiers audio non compressés.
Important : l’encodeur AC-3 peut uniquement créer des fichiers surround 5.1 à partir des
sources appropriées. Il ne peut pas créer du son surround 5.1 à partir d’une source stéréo.
Idéalement, les fichiers source sont de l’audio non compressé (format AIFF ou PCM par
exemple) avec une fréquence d’échantillonnage de 48 kHz. Cependant, Compressor peut
utiliser des fichiers audio déjà compressés. Il est possible d’avoir des fichiers source distincts
pour chaque canal, ce qui est souvent le cas pour le codage 5.1, ou d’utiliser des
fichiers source contenant un ou plusieurs canaux audio.
56
Création de fichiers AC-3 avec Compressor
La façon dont vous créez le fichier AC-3 varie selon que vous utilisez un fichier audio
unique comme source ou plusieurs fichiers audio (comme c’est souvent le cas pour
le son surround).
Utilisation d’un fichier audio unique
Vous pouvez utiliser les méthodes décrites dans la section “À propos des méthodes de
flux de travaux de Compressor” à la page 55 pour encoder un flux AC-3 à partir d’un
fichier source unique, avec Compressor qui affecte automatiquement les canaux audio.
Lorsque vous sélectionnez un préréglage AC-3, Compressor associe automatiquement
les canaux gauche et droit.
Utilisation de plusieurs fichiers audio source
L’encodage d’un fichier AC-3 à partir de plusieurs fichiers source est un peu différent de
l’encodage à partir d’un fichier audio unique, car Compressor ne peut pas savoir automatiquement
quel fichier affecter à quel canal. En outre, avec l’exception étudiée dans
la section “Utilisation de plusieurs fichiers source avec des codes d’identification de
canal” à la page 57, lorsque vous faites glisser plusieurs fichiers audio vers la fenêtre
Lot, Compressor crée une tâche distincte pour chaque fichier.
Pour encoder un fichier AC-3 à partir de plusieurs fichiers source :
1 Cliquez sur le bouton “Importer un groupe de sons Surround” de la fenêtre Lot.
La zone de dialogue d’association audio apparaît.
2 Cliquez sur une icône représentant un haut-parleur afin d’ouvrir la zone de dialogue
de sélection, puis sélectionnez le fichier pour ce canal audio.
3 Continuez avec les autres icônes de haut-parleur jusqu’à ce que vous ayez affecté
des fichiers à chaque canal que vous souhaitez utiliser dans le fichier AC-3.
4 Cliquez sur OK afin de fermer la zone de dialogue d’association audio.
5 Configurez les réglages AC-3 dans l’Inspecteur.
6 Cliquez sur Soumettre dans la fenêtre Lot.
57
Utilisation de plusieurs fichiers source avec des codes d’identification
de canal
Compressor inclut la possibilité d’affecter automatiquement des fichiers audio aux
canaux de son surround si leur nom de fichier contient des codes d’identification de
canaux. Les codes d’identification des canaux apparaissent avant l’extension du fichier
(si elle est présente), comme illustré dans l’exemple suivant :
En faisant glisser un ensemble de fichiers avec les codes d’identification de canaux vers
la fenêtre Lot de Compressor, vous pouvez créer une entrée de lot unique qui associe
automatiquement les fichiers aux canaux appropriés pour un encodage de son surround.
Création de fichiers AC-3 à partir d’audio Final Cut Pro
Lorsque vous devez encoder de l’audio à partir de Final Cut Pro pour une utilisation
dans un DVD, vous pouvez soit exporter l’audio directement vers Compressor, soit
exporter les fichiers audio AIFF afin de les ouvrir dans Compressor.
L’exportation de l’audio directement vers Compressor est le même processus que
l’exportation de la vidéo directement vers Compressor. La différence est que vous
sélectionnez un préréglage AC-3 à la place (ou en plus) d’un préréglage vidéo. Cette
méthode fonctionne uniquement lorsque vous utilisez un fichier audio unique pour
l’audio AC-3 et que vous pouvez vous baser sur Compressor pour affecter les canaux
audio. Pour plus d’informations, consultez la section “Utilisation de Compressor avec
Final Cut Pro” à la page 30.
L’exportation de fichiers audio AIFF séparés est nécessaire lorsque vous devez pouvoir
affecter les fichiers aux canaux audio, par exemple avec le son surround (5.1).
Pour exporter des fichiers audio adaptés au codage en son surround 5.1, vous devez
passer plusieurs fois par la phase d’exportation. Vous pouvez par exemple exporter
un fichier stéréo contenant le son pour les canaux avant droit et gauche, un deuxième
fichier contenant le son pour les canaux arrière droit et gauche, un troisième fichier
contenant le son pour le canal central et un quatrième fichier contenant le son pour
le canal LFE (Low Frequency Effects).
Exemples de noms de fichiers Canal Identificateur
MonFilm-L.aif Avant gauche -L
MonFilm-R.aif Avant droit -R
MonFilm-C.aif Avant centre -C
MonFilm-RL.aif Surround gauche -RL
MonFilm-RR.aif Surround droit -RR
MonFilm-RC.aif Surround centre -RC
MonFilm-LFE.aif Effets basse fréquence
(subwoofer)
-LFE
58
Pour exporter plusieurs fichiers audio Final Cut Pro pour l’encodage AC-3 :
1 Activez les pistes audio à exporter.
Pensez à désactiver les pistes que vous ne souhaitez pas exporter car Final Cut Pro
fusionne toutes les pistes activées en un seul fichier stéréo.
2 Sélectionnez Fichier > Exporter > Audio vers AIFF.
3 Configurez le fichier de sortie et cliquez sur Enregistrer.
Remarque : avant de lancer l’exportation, veillez à sélectionner une fréquence
d’échantillonnage de 48 kHz.
Utilisation de LiveType dans votre projet DVD Studio Pro
Vous pouvez utiliser LiveType pour créer des arrière-plans avec du texte pour les menus
d’animation ou pour créer des titres vidéo que vous pouvez placer dans des zones de
dépôt. Cela facilite la création de titres passionnants, avec un large éventail d’effets,
notamment le rebond, l’étirement et le grincement.
DVD Studio Pro tire automatiquement parti de l’arrière-plan transparent si votre projet
LiveType en utilise un. Cela permet à DVD Studio Pro de composer les caractères de
texte sur les autres éléments de menu lorsque votre projet LiveType est ajouté à une
zone de dépôt. Vous pouvez même configurer la zone de dépôt à la même taille que
la taille d’image vidéo du menu, de sorte que le texte apparaisse exactement comme
dans LiveType.
Importation d’un projet LiveType dans DVD Studio Pro
Grâce à l’importation de fichiers de projets LiveType dans DVD Studio Pro, vous n’avez
plus besoin de rendre une séquence QuickTime de votre titre LiveType chaque fois que
vous souhaitez l’utiliser dans DVD Studio Pro.
Pour importer un projet LiveType dans DVD Studio Pro, procédez de l’une des façons
suivantes :
m Faites glisser le projet LiveType dans l’onglet Ressources ou l’éditeur de menu de
DVD Studio Pro.
Lorsque vous faites glisser le projet LiveType dans l’éditeur de menu, vous pouvez alors
choisir la façon dont DVD Studio Pro l’utilise dans la Drop Palette qui apparaît.
m Choisissez Fichier > Importer > Ressource, puis sélectionnez le projet LiveType dans
la zone de dialogue qui apparaît et cliquez sur Choisir.
m Ajoutez le dossier contenant votre projet LiveType à l’onglet Vidéo de la palette
DVD Studio Pro. Vous pouvez ensuite ajouter le projet en le faisant glisser dans l’emplacement
adéquat, par exemple dans l’éditeur de menu, l’onglet Ressources ou la Timeline.
59
Apporter des modifications à un projet LiveType déjà importé
dans DVD Studio Pro
Bien que vous puissiez effectuer des tâches normales de création de DVD avec un projet
LiveType, le contenu des titres LiveType ne peut pas être modifié dans DVD Studio Pro.
Les réglages de titre LiveType ne peuvent être en effet modifiés que dans l’application
LiveType. DVD Studio Pro permet d’ouvrir rapidement des plans LiveType directement
dans l’application LiveType en vue d’en modifier le titre.
Important : pour cela, DVD Studio Pro et LiveType doivent être installés sur le même
ordinateur.
Pour ouvrir et modifier un projet LiveType dans LiveType, à partir de DVD Studio Pro :
1 Effectuez l’une des opérations suivantes :
 Sélectionnez le projet LiveType dans l’onglet Ressources, puis choisissez Fichier >
Ressource > Ouvrir dans l’éditeur.
 Cliquez sur le projet LiveType sous l’onglet Ressources tout en maintenant la touche
Contrôle enfoncée, puis sélectionnez Ouvrir dans l’éditeur dans le menu contextuel.
 Double-cliquez sur le projet LiveType dans l’onglet Ressources.
2 Dans LiveType, apportez toutes les modifications nécessaires au titre LiveType.
3 Enregistrez le fichier de projet LiveType.
4 Retournez à DVD Studio Pro.
Toute modification apportée au projet dans LiveType est automatiquement reflétée
dans DVD Studio Pro.
Apple Loops Utility
User Manual
Apple Computer, Inc.
© 2005 Apple Computer, Inc. All rights reserved.
Under the copyright laws, this manual may not be
copied, in whole or in part, without the written consent
of Apple. Your rights to the software are governed by
the accompanying software license agreement.
The Apple logo is a trademark of Apple Computer, Inc.,
registered in the U.S. and other countries. Use of the
“keyboard” Apple logo (Option-Shift-K) for commercial
purposes without the prior written consent of Apple
may constitute trademark infringement and unfair
competition in violation of federal and state laws.
Every effort has been made to ensure that the
information in this manual is accurate. Apple Computer,
Inc. is not responsible for printing or clerical errors.
Apple Computer, Inc.
1 Infinite Loop
Cupertino, CA 95014-2084
408-996-1010
www.apple.com
Apple, the Apple logo, AppleScript, DVD Studio Pro,
iTunes, Final Cut, Final Cut Pro, FireWire, Logic, Mac,
Mac OS, Macintosh, QuickTime, and Soundtrack are
trademarks of Apple Computer, Inc., registered in the
U.S. and other countries.
Finder is a trademark of Apple Computer, Inc.
Apple Care is a service mark of Apple Computer, Inc.,
registered in the U.S. and other countries.
Production stills from the films “Koffee House Mayhem”
and “A Sus Ordenes” provided courtesy of Refuge Films.
“Koffee House Mayhem” © 2004 Jean-Paul Bonjour;
“A Sus Ordenes” © 2004 Eric Escobar.
http://www.refugefilms.com
Other company and product names mentioned herein
are trademarks of their respective companies. Mention
of third-party products is for informational purposes
only and constitutes neither an endorsement nor a
recommendation. Apple assumes no responsibility with
regard to the performance or use of these products.
3
1
Using Apple Loops Utility
Some audio files you use in Soundtrack Pro can include metadata called
tags.
Tags
provide information about the audio recorded in a file. Soundtrack Pro uses tags in one
of two ways:
Â
To help locate files using the Search feature in Soundtrack Pro
Â
To provide information that Soundtrack Pro uses when matching the file’s tempo and
key to the project tempo and key, for the best possible playback quality
Both AIFF and WAV file formats can include tags. Libraries of audio files created for use
with loop-based music software are usually tagged, and Soundtrack Pro recognizes the
tags used in most popular file formats.
What Is Apple Loops Utility?
Apple Loops Utility is a companion application to Soundtrack Pro that you can use to
view and manage tags in audio files. You can add and change tags using
Apple Loops Utility; you can also tag multiple files, a process known as
batch tagging
.
Apple Loops Utility can read both AIFF and WAV file formats. When you save changes
you make to either type of file, the file is saved as an AIFF file, the default file format for
Soundtrack Pro. The set of tags you can work with using Apple Loops Utility includes all
of the tags in WAV files tagged for use with Sony’s ACID music application, as well as
additional tags.
Tagged audio files can also contain information about
transients.
Transients indicate
where beats occur in the file, and Soundtrack Pro uses transients to play back audio
files at the highest level of quality. Apple Loops Utility can detect transients present in
an audio file, and you can use Apple Loops Utility to add markers for additional
transients and move them to new locations.
4
The Apple Loops Utility Interface
The interface consists of a window with two tabs: the Tags tab and the Transients tab.
The bottom of the window includes a set of playback controls and file management
buttons. Apple Loops Utility also includes an Assets drawer, located to the right of the
main window, where you manage open files.
Playback controls Assets drawer
Tabs Main window
5
Tags Tab
The Tags tab includes areas for different types of tags, and also includes a set of
playback controls you can use to listen to a file open in Apple Loops Utility. Listening to
a file can help you decide which tags are appropriate for the file.
Property Tags
Â
Number of Beats field:
Displays the number of beats in the file.
Â
File Type buttons:
Set the file type, which can be Non-looping or Looping.
Â
Key pop-up menu:
Sets the key of the file.
Â
Scale Type pop-up menu:
Sets the file’s scale type. The choices are Major, Minor, Good
for Both, and Neither.
Â
Time Signature pop-up menu:
Sets the file’s time signature. The choices are 4/4, 3/4,
5/4, 6/8, and 7/8.
Â
Author field:
Displays the name of the file’s author. You can enter a new name by
typing in the field.
Â
Copyright field:
Displays the file’s copyright data, if it exists. You can enter new data
by typing in the field.
Â
Comment field:
Displays any comments about the file. You can enter comments by
typing in the field.
6
Search Tags
These tags are used by the Search feature in Soundtrack Pro when you search for files
matching specific criteria.
Â
Genre pop-up menu:
Displays choices for the musical genre of the file.
Â
Instrumentation list:
Displays choices for the musical instrument or instrument
category recorded in the file. Selecting an instrument category in the left column
displays the list of instruments in that category in the right column.
File Info
This area of the Tags tab includes rows with Kind, Length, Date Modified, Sample Rate,
Channels, Tempo, and File Location information. This information is for viewing only,
and cannot be edited in the Tags tab.
Descriptors
Descriptors are complementary pairs of keywords describing the mood or character of
the music recorded in the file. Each pair of keywords has a row of buttons, allowing you
to choose either one keyword from the pair, or neither keyword.
Transients Tab
The Transients tab contains a large waveform display, with a Beat ruler and a horizontal
scroll bar. Markers indicate the position of transients in the file. Typically, transients
correspond to the peaks or most pronounced amplitude changes in a sound’s
waveform. The Transients tab includes controls for the beat division and sensitivity with
which Apple Loops Utility detects transients in the file. You can also listen to the file
using the playback controls to help determine where transients occur.
Waveform of audio file
Transient marker
Sensitivity slider
Transient Division
pop-up menu
7
The Transients tab includes the following controls:
Â
Transient Division pop-up menu:
Sets the beat value at which Apple Loops Utility
detects transients.
Â
Sensitivity slider:
Sets the degree of sensitivity at which Apple Loops Utility detects
transients.
Assets Drawer
The Assets drawer lists the files open in Apple Loops Utility. The drawer, which is open
when you open Apple Loops Utility, contains a Name column with the name of each
open file, and a Changes column, which indicates any files to which you have applied
changes.
Add File and Remove
File buttons
Changes column
8
Playback and File Management Controls
The bottom of the Apple Loops Utility window contains a set of playback controls so
that you can listen to the file in Apple Loops Utility. The playback controls do not affect
the file’s tags, only the playback of the selected file.
Â
Go to Beginning button:
Starts playback from the beginning of the selected file.
Â
Play button:
Plays back the selected file.
Â
Stop button:
Stops playback of the selected file.
Â
Key pop-up menu:
Transposes the selected file to a new key for playback.
Â
Tempo slider:
Sets the playback tempo of the selected file. You can also enter a value
in the field.
Â
Volume slider:
Sets the playback volume of the selected file. You can also enter a
value in the field.
When multiple files are selected, the playback controls are not available. You cannot
play more than one file at a time.
There are two additional buttons at the bottom of the window, the Assets button and
the Save button.
Â
Assets button:
Shows and hides the Assets drawer.
Â
Save button:
Saves your changes to the currently selected files in the Assets drawer.
Play button
Stop button
Assets button
Go to Beginning button
Tempo slider Volume slider
Key pop-up menu
9
Opening Files in Apple Loops Utility
You can open audio files from within Apple Loops Utility, or directly from a
Soundtrack Pro project. You can have up to 2000 files open at the same time. When
you open files in Apple Loops Utility, the files are displayed in the File list of the
Assets drawer.
To open an audio file in Apple Loops Utility, do one of the following:
m
Choose File > Open, then select the file in the Open dialog.
m
Choose File > Open Recent, then choose a file from the submenu.
m
Click the Add File button in the Assets drawer.
m
Drag files from the Finder to the Assets drawer.
To open an audio file from Soundtrack Pro into Apple Loops Utility:
m
Control-click the file in Soundtrack Pro, then choose Open in Apple Loops Utility from
the shortcut menu.
To open multiple files in Apple Loops Utility, do one of the following:
m
Choose File > Open, then Shift-click the files in the Open dialog.
m
Drag the volume or folder containing the files from the Finder to the Assets drawer.
You can have multiple Apple Loops Utility windows open at the same time so that you
can compare different files. Each time you open an Apple Loops Utility window, an
Open dialog appears, letting you choose the file or files to open in that window. You
can change the open window behavior in the Apple Loops Utility Preferences window.
See “Apple Loops Utility Preferences” on page 14 for more information.
10
Tagging Files in Apple Loops Utility
To tag files, you select the files in the Assets drawer, and then make changes to the
selected files’ tags in the Tags tab. When you change the settings in the Tags tab, the
changes are applied only to the currently selected files.
When you make changes to a file’s tags, a dot appears in the Changes column next to
the filename to indicate that the file has been changed. You can select a file or group of
files and make one or several changes, and then select another file or group of files and
make different changes. Apple Loops Utility remembers all the changes you make as
you work with different files. When you finish making changes, you can save changes
to only the currently selected files, or save changes to all files marked in the Changes
column of the Assets drawer.
Note:
Changing a file’s tags has no effect on the actual audio data recorded in the file.
Changing the tag for the number of beats, for example, only changes the information
used when Soundtrack Pro searches for files, not the actual number of beats recorded
in the audio file. Similarly, changing the tag for key has no effect on the actual musical
key of the audio file.
To tag a single audio file:
1
Select the file in the Assets drawer. (If the drawer is closed, click the Assets button to
open it.)
Note:
When a single file is selected, you can use the Up and Down Arrow keys to move
up and down the files in the Assets drawer. You can listen to the file using the playback
controls.
2
Make the changes you want to the file’s tags in the Tags tab.
See “Tags Tab” on page 5 for information about the options in the Tags tab.
3
Click Save to save changes to the selected file, or click Save All to save all changes.
11
Tagging Multiple Files
When multiple files are selected, only the tags that apply to all the selected files can be
changed. Items in the Tags tab that do not apply to all the currently selected files are
dimmed and unavailable.
Each tag has a checkbox. Select the checkbox next to the tags for which you want to
save changes.
To tag multiple files:
1
Select the files in one of the following ways:
Â
Shift-click to select adjacent files in the Assets drawer.
Â
Command-click to select nonadjacent files in the Assets drawer.
Â
Press Command-Shift-A to select all files in the Assets drawer.
2
Make the changes you want to the available tags for the selected files in the Tags tab.
See “Tags Tab” on page 5 for information about the options in the Tags tab.
3
Select the checkboxes next to the tags for which you want to save changes.
4
Click Save to save changes to the selected files, or click Save All to save all changes.
There are many keyboard shortcuts to simplify the task of tagging files. For a complete
list of keyboard shortcuts, see “Apple Loops Utility Keyboard Shortcuts” on page 15.
Working With Transients
Transients are the points in an audio file where beats occur. Typically, transients occur
at the widest areas of a waveform in the waveform display. During playback,
Soundtrack Pro adjusts looping files using a technique called
stretching
to achieve the
best audio quality, based on the loop’s transients. Non-looping files are not affected by
stretching.
When you open a file in Apple Loops Utility, it looks for transients at every 16th note
position, based on the file’s tags for tempo and the number of beats. You can change
the beat value at which Apple Loops Utility detects transients using the Transient
Division pop-up menu.
To display a file in the Transients tab:
m
Select the file in the Assets drawer, then click the Transients tab.
The Transients window can display only one file. If multiple files are selected, no
waveform is displayed in the window. The waveform display in the Transients tab
displays both the transients detected by Apple Loops Utility and transients you add to
the file. You can add transients and move existing transients in the Transients tab.
To add a new transient:
m
Click in the darker area above the Beat ruler in the waveform display.
12
To move a transient marker:
m
Drag the marker by its handle in the area above the Beat ruler.
To change the beat value of detected transients:
m
Choose a beat value from the Transient Division pop-up menu.
Choosing a larger beat value results in fewer transients being detected. Choosing a
smaller beat value results in more transients being detected, if they are present in the
audio recorded in the file.
Sometimes transients occur at points in the audio file other than on a beat value. You
can have Apple Loops Utility detect additional transients in the file using the Sensitivity
slider. When you increase the sensitivity of transient detection, Apple Loops Utility
considers points of higher amplitude in the waveform as transients, regardless of
whether or not they occur at a beat value.
To change the sensitivity of transient detection:
m
Drag the Sensitivity slider to the left to decrease the sensitivity, or to the right to
increase the sensitivity of transient detection.
To remove a transient, do one of the following:
m
Click the transient’s handle in the area above the Beat ruler, then press the Delete key.
m
Drag the transient out of the area above the Beat ruler.
13
Saving Changes to Files
When you save changes in Apple Loops Utility, you can save changes to only the
currently selected files, or to all files marked in the Changes column of the Assets
drawer. Any other file tags are unchanged. This is especially useful when working with a
large group of files.
When saving multiple files, the checkbox next to the tag must be selected if changes to
that tag are to be saved. For information about tagging multiple files, see “Tagging
Files in Apple Loops Utility” on page 10.
To save changes to the currently selected files:
m Click the Save button.
Saving changes to a large number of files may take several minutes.
To save all changes:
m Click the Save All button in the Assets drawer.
To save multiple files to the same directory:
1 Choose File > Save As.
2 Navigate to the directory where you want to save the files, then click Save.
When you save multiple files using the Save As dialog, the files are saved to the
selected directory, and their names are unchanged.
When you save changes to files in the WAV format, by default they are converted to the
AIFF format and saved in the same location as the original WAV files. The new AIFF files
have the same name as the WAV files, but with the .aiff file suffix. You can change this
default behavior in the Apple Loops Utility Preferences window. See the following
section, “Apple Loops Utility Preferences,” for more information.
Removing Files From the Assets Drawer
You can remove files from the Assets drawer.
To remove files:
m Select the file or files in the Assets drawer, then click the Remove File button at the top
of the drawer (or press the Delete key).
If you remove files to which you have applied changes, a dialog appears letting you
choose whether to save or discard your changes.
14
Apple Loops Utility Preferences
You can set preferences for the startup behavior and default file saving behavior in the
Apple Loops Utility Preferences window.
Startup
 Show Open Panel On Launch: When selected, an Open dialog appears each time you
open Apple Loops Utility.
Saving
 When Converting a WAV to AIFF:
 Show Conversion Alert: Shows the conversion alert dialog when you try to save a
WAV file.
 Close WAV and Edit AIFF: Automatically converts the WAV to an AIFF, closes the WAV
file, and opens the AIFF for editing.
 Keep Working in WAV: Leaves the WAV file open.
15
Apple Loops Utility Keyboard Shortcuts
General and File
Navigation
Key command Function
Creates a new, blank Apple Loops Utility window and opens the
Open dialog.
Opens the Open dialog, from which you open files in
Apple Loops Utility.
Closes the current window.
Closes the selected files.
Saves changes to the currently selected files. If any of the files are
WAV files, a dialog appears asking if you want to continue editing
the files as WAV files or save them as AIFF files.
Opens the Save As dialog to save the currently selected file with a
new name.
Saves all open files.
Selects the file above the current file in the Assets drawer.
Selects the file below the current file in the Assets drawer.
Selects all files in the Assets drawer.
x + N
x + O
x + W
x + shift + W
x + S
x + shift + S
x + option + S
x + shift + A
Key command Function
Makes the Tags tab active.
Makes the Transients tab active.
Makes the Assets drawer active.
F1
F2
F3
16
Key and Scale Type Tagging
Key command Function
Turns on keyboard tagging.
Sets the key to A.
Sets the key to A# (A-sharp).
Sets the key to B.
Sets the key to C.
Sets the key to C# (C-sharp).
Sets the key to D.
Sets the key to D# (D-sharp).
Sets the key to E.
Sets the key to F.
Sets the key to F# (F-sharp).
Sets the key to G.
Sets the key to G# (G-sharp).
Sets the scale type to Major.
Sets the scale type to Minor.
Sets the scale type to Both.
Sets the scale type to Neither.
esc
A
shift + A
B
C
shift + C
D
shift + D
E
F
shift + F
G
shift + G
M
shift + M
shift + B
N
17
Descriptor Tagging
For the following descriptor keyboard shortcuts, pressing the key once selects the first
(left) item, pressing the key again selects the second (right) item, and pressing the key
a third time selects Neither (the center button).
Key command Function
Single/Ensemble
Part/Fill
Acoustic/Electric
Dry/Processed
Clean/Distorted
Cheerful/Dark
Relaxed/Intense
Grooving/Arrhythmic
Melodic/Dissonant
Sets Batch Tagging to All.
Sets Batch Tagging to None.
1
2
3
4
5
6
7
8
9
F5
F6
18
Transients
Key command Function
Increases sensitivity.
Decreases sensitivity.
Increases sensitivity five times.
Decreases sensitivity five times.
Nudges the selected marker by one pixel to the left.
Nudges the selected marker by one pixel to the right.
Selects the previous marker.
Selects the next marker.
DVD Studio Pro 4
User Manual
Copyright © 2009 Apple Inc. All rights reserved.
Your rights to the software are governed by the
accompanying software license agreement. The owner or
authorized user of a valid copy of Final Cut Studio software
may reproduce this publication for the purpose of learning
to use such software. No part of this publication may be
reproduced or transmitted for commercial purposes, such
as selling copies of this publication or for providing paid
for support services.
The Apple logo is a trademark of Apple Inc., registered in
the U.S. and other countries. Use of the “keyboard” Apple
logo (Shift-Option-K) for commercial purposes without
the prior written consent of Apple may constitute
trademark infringement and unfair competition in violation
of federal and state laws.
Every effort has been made to ensure that the information
in this manual is accurate. Apple is not responsible for
printing or clerical errors.
Note: Because Apple frequently releases new versions
and updates to its system software, applications, and
Internet sites, images shown in this manual may be slightly
different from what you see on your screen.
Apple
1 Infinite Loop
Cupertino, CA 95014
408-996-1010
www.apple.com
Apple, the Apple logo, Apple Cinema Display,
DVD Studio Pro, Exposé, Final Cut, Final Cut Pro,
Final Cut Studio, FireWire, GarageBand, iDVD, iMovie,
iPhoto, iTunes, Keynote, LiveType, Logic, Mac, Macintosh,
Mac OS, Panther, PowerBook, QuickTime, Soundtrack,
SuperDrive, and Tiger are trademarks of Apple Inc.,
registered in the U.S. and other countries.
DVD@CCESS and Finder are trademarks of Apple Inc.
AppleCare and iTunes Store are service marks of Apple Inc.,
registered in the U.S. and other countries.
Adobe and Photoshop are trademarks or registered
trademarks of Adobe Systems Incorporated in the U.S.
and/or other countries.
“Dolby,” “Pro Logic,” and the double-D symbol are
trademarks of Dolby Laboratories. Confidential
Unpublished Works, © 1992–1997 Dolby Laboratories, Inc.
All rights reserved.
Other company and product names mentioned herein
are trademarks of their respective companies. Mention of
third-party products is for informational purposes only
and constitutes neither an endorsement nor a
recommendation. Apple assumes no responsibility with
regard to the performance or use of these products.
Preface 11 Welcome to DVD Studio Pro
11 About DVD Studio Pro
11 About DVD Studio Pro Documentation
11 Additional Resources
Chapter 1 13 Overview of Using DVD Studio Pro
13 Moving from iDVD to DVD Studio Pro
14 About Standard and High Definition DVDs
15 About DVD Studio Pro and HD Resolution DVDs
17 HD Video Assets
19 Brief Overview of the DVD Creation Process
25 What Makes a DVD Authoring System?
25 Hard Disk Storage
25 SCSI Devices
26 DVD Burners
29 DLT Drives
29 External Video and Audio Monitoring
31 Audio and Video Assets
Chapter 2 33 Planning Your Project
33 Investigating Existing DVDs
34 Determining Your Target Audience and Playback Device
34 Deciding Which DVD Standard to Use
35 Deciding Which Video Standard to Use
35 Deciding What Content to Include
35 Creating a Storyboard
37 Designing the Menus and Buttons
37 Making Sure Your Content Will Fit
42 General DVD Limitations
Chapter 3 45 How Do You Do That?
45 Creating a Simple DVD
47 Creating a Play One or Play All Project
50 Grabbing a Still Image from Your Movie
3
Contents
51 Adding Easter Eggs to Your Menus
Chapter 4 53 Preparing Video Assets
53 Introduction to Preparing Video Sources
54 NTSC or PAL?
55 Using 24 fps Video
56 Choosing an Aspect Ratio
60 About MPEG Video
61 Encoding Video Materials for DVD
68 Using the Integrated MPEG Encoder
74 Encoding Video for Multi-Angle Tracks
76 Adding Markers to Your Video
80 About H.264 Video
81 About HDV Video
82 DVD Video Source Settings Summary
Chapter 5 87 Preparing Audio Assets
87 Introduction to Preparing Audio Sources
88 Audio Formats Not Supported by the DVD Specification
88 Audio Formats Supported by the DVD Specification and DVD Studio Pro
91 Using Multiple Audio Formats in Your Project
91 Required Audio Formats for SD Projects
92 DVD Audio Source Settings Summary
Chapter 6 95 Preparing Menu Assets
95 Introduction to Preparing Menu Sources
96 What Is a Menu?
96 Creating a Menu
97 Creating Graphics to Use in Menus
101 Creating Overlays
106 Creating a Layered Menu
106 Creating Video for Motion Menus
107 Defining the Menu Loop Point
108 Creating Shapes
112 Creating Graphics for Drop Zones and Buttons
Chapter 7 113 Preparing Slideshow Assets
113 Slideshow File Formats
114 Aspect Ratio and Resolution
114 Colors
114 Audio
Chapter 8 115 Preparing Alpha Transitions
115 Introduction to Preparing Alpha Transitions
4 Contents
116 Transition Asset Folder
117 Asset Movie
118 Asset Matte Movie
119 Background Matte Movie
119 About Alpha Transition Durations
120 About NTSC and PAL Alpha Transitions
Chapter 9 121 Starting a Project
121 Opening DVD Studio Pro
124 Setting DVD Studio Pro Preferences
138 Creating a New Project
143 Opening an Existing Project
145 Video Standards of the World
145 Changing a Project’s Video Standard
146 Changing a Project’s DVD Standard
Chapter 10 149 The DVD Studio Pro Interface
150 Introduction to the DVD Studio Pro Interface
152 Configuring the Interface
154 Working with the Quadrants
157 Working with the Tabs
161 Overview of the Quadrant Tabs
167 Inspector
168 Palette
174 Toolbar
177 Drop Palette
177 Comparing the Outline and Graphical Project Views
178 Using the Outline Tab
180 Using the Graphical Tab
190 Managing Elements Using the Outline and Graphical Tabs
Chapter 11 195 Importing and Managing Assets
195 How DVD Studio Pro Manages Assets
201 About the Assets Tab
207 Importing Assets
213 Removing Selected Assets
213 Renaming Assets
214 Refreshing Still and QuickTime Assets
216 Opening Assets in Their Editor
216 Identifying an Asset
216 Previewing Assets
218 Asset Inspector
Contents 5
Chapter 12 219 Introduction to Creating Menus
219 About Menus
224 About the Menu Editor
231 Starting and Working with a Menu
Chapter 13 241 Creating Menus Using the Standard Method
242 About Standard Menus
243 Choosing the Menu’s Background
246 Choosing the Menu’s Overlay
248 Understanding Color Mapping
256 Configuring the Menu Inspector for Standard Menus
265 Adding Buttons to Your Menu
281 Configuring Button Navigation
285 Adding Drop Zones to Your Menu
288 Working with Assets in Buttons and Drop Zones
288 Adding Text Objects to a Menu
291 Adding Audio to a Menu
292 Configuring the Menu’s Drop Shadow Settings
293 Configuring Motion Menu Settings
296 Options in the Drop Palette for Standard Menus
296 Drop Palette for Standard Menus—Dragging Assets
304 Drop Palette for Standard Menus—Dragging Project Elements
309 Drop Palette for Standard Menus—Dragging Templates and Styles
Chapter 14 313 Using Templates, Styles, and Shapes to Create Your Menus
313 Introduction to Templates, Styles, and Shapes
314 What Are Templates and Styles?
316 Templates and Styles in the Palette
321 Applying a Template or Style
323 Setting Default Styles
324 Creating a Template or Style
326 Importing Templates and Styles
327 Deleting Templates and Styles
329 Managing Shapes
Chapter 15 335 Creating Menus Using the Layered Method
335 About Layered Menus
336 Choosing the Menu’s Background
338 Choosing the Menu’s Overlay
338 About the Menu Inspector for Layered Menus
343 Adding Buttons to Your Layered Menu
344 About Layered Menu Button Properties
6 Contents
348 Options in the Drop Palette for Layered Menus
349 Drop Palette for Layered Menus—Dragging Assets
353 Drop Palette for Layered Menus—Dragging Project Elements
Chapter 16 357 Using Advanced Menu Features
357 Adding Intro and Transition Clips to Menus
364 Using Languages with Menus
Chapter 17 369 Creating and Editing Tracks
370 About Track Limits in a DVD
370 Working with a Track’s Assets
371 How Many Tracks Should You Have?
371 About Subtitle Streams
371 DVD Studio Pro Tools for Working with Tracks
372 Creating Tracks
373 Opening Tracks
373 Setting Track Properties
377 About the Track Editor
377 Configuring the Track Editor
380 Understanding Time Information in the Track Editor
384 Supported Asset Types
386 Adding Video and Audio Assets
390 Editing Video and Audio Clips
392 Setting Stream Properties
393 Exporting an MPEG Clip
393 Working with Markers
394 About Marker Placement
395 Creating and Editing Markers
397 Adding Markers to a Track Without a Video Clip Assigned
397 Importing Markers from an Editor
399 Importing Markers from a Text List
399 About the Marker Types
401 Setting Marker Properties
403 Introduction to Stories
404 Creating a Story for a Track
404 Using the Story Editor
405 Setting Story Properties
407 Setting Story Entry Properties
407 Simulating a Story
408 Adding Alternate Video Streams
410 Using Still Clip Transitions
413 Viewing a Track
Contents 7
Chapter 18 417 Creating Slideshows
417 Introduction to Slideshows
418 Want Your Slideshows to Do More?
418 File Formats for Slideshows
419 Adding a Slideshow to Your Project
420 Creating a Slideshow Using the Menu Editor
421 Working with Slides in a Slideshow
424 Adding Audio to Your Slideshow
427 Working with Slideshows
437 Setting Slideshow Properties
440 Setting Slide Properties
441 Previewing a Slideshow
442 Simulating a Slideshow
Chapter 19 443 Creating Subtitles
443 Introduction to Subtitles
445 Importing Older DVD Studio Pro Subtitles
445 Subtitles and Overlays
445 About Subtitles and Closed Captions
446 Subtitle Stream Basics
448 Subtitle Inspector
454 What Happens with Different Aspect Ratios?
455 Viewing Subtitles
457 Creating Subtitles with DVD Studio Pro
463 Importing Graphics Files for Subtitles
464 Creating and Importing Subtitle Files
465 Importing a Subtitle File
467 Creating an STL Format Subtitle File
471 Creating Buttons over Video
473 Configuring a Button over Video Subtitle Clip
Chapter 20 477 Creating Scripts
477 Introduction to Scripts
478 Pre-Scripts
479 Scripting Overview
480 The Scripting User Interface
481 About the Script Tab
484 About the Script Inspector
485 About the Script Command Inspector
486 Creating and Testing Scripts
489 Script Command Details
499 System Parameter Register Memories List
8 Contents
500 System Parameter Register Memories Details
511 Using Bit-Wise Operations
512 General Purpose Register Memories
517 Scripting Examples
525 Language Code Table
Chapter 21 531 Establishing Connections
531 About Connections
532 Connections Tab
533 Connection Items
537 Making Connections
540 Connection Details
540 Source Details
547 Target Details
Chapter 22 549 Finishing a Project
549 About the Final Steps of DVD Creation
550 Should You Burn, Build, Format, or Build and Format?
552 Options for Testing Your Project
552 Simulating Your Project
559 Setting Disc Properties
566 Building Your Project
575 Emulating Your Project Using DVD Player
577 Setting Disc Format Properties
577 About DVD-ROM Discs
580 About Dual-Layer Discs
584 About Two-Sided Discs
584 Formatting Your Project
590 Reading a DLT Drive
Chapter 23 591 Using Advanced Features
591 VTS Editor
598 DVD@CCESS
602 User Operations
607 Display Condition
612 Remote Control Settings
614 Line 21 Settings for Closed Captions
Appendix A 617 Keyboard Shortcuts
618 General Interface and Application Controls
619 General Project Controls
620 Adding Project Elements
621 Scrolling Through Lists
Contents 9
622 Assets Tab
622 Connections Tab
623 Graphical Tab
624 Log Tab
624 Menu Tab (Menu Editor)
626 Outline Tab
627 Palette
627 Script Tab (Script Editor)
627 Simulator
628 Slideshow Tab (Slideshow Editor)
628 Story Tab (Story Editor)
628 Subtitle Editor
629 Track Tab (Track Editor)
631 Viewer Tab
Appendix B 633 Importing Other Projects
633 Importing DVD Studio Pro 2 and DVD Studio Pro 3 Projects into DVD Studio Pro 4
Appendix C 635 Calculating Disc Space Requirements
635 Calculating a Project’s Disc Space Requirements
640 Using the Calculated Bit Rate
Appendix D 641 Transition Parameters
641 Transition Duration
641 Video Transition
642 Alpha Transitions
642 Standard Transitions
Glossary 647
10 Contents
DVD Studio Pro is software for authoring DVD-Video titles. It is both powerful and easy
to use.
This preface covers the following:
• About DVD Studio Pro (p. 11)
• About DVD Studio Pro Documentation (p. 11)
• Additional Resources (p. 11)
About DVD Studio Pro
DVD Studio Pro lets you work with audio, video, graphics, and text materials that you
have already created and edited and orchestrate them into a DVD that can be played on
a DVD player or a suitably equipped computer.
If you have used such production tools as Final Cut Pro, Adobe Photoshop, Media 100,
or Discreet cleaner, DVD Studio Pro will be easy for you to learn. You can use
DVD Studio Pro for everything from constructing sophisticated training materials, corporate
presentations, sales tools with web links, or high-quality event videos, to preparing a
motion picture for release on DVD.
About DVD Studio Pro Documentation
DVD Studio Pro comes with documentation that will help you get started as well as
provide detailed information about the application.
• DVD Studio Pro User Manual: This is a comprehensive document that describes the
DVD Studio Pro interface, commands, and menus, and gives step-by-step instructions
for creating DVD Studio Pro projects and for accomplishing specific tasks. It is written
for users of all levels of experience.
Additional Resources
Along with the documentation that comes with DVD Studio Pro, there are a variety of
other resources you can use to find out more about the application.
11
Welcome to DVD Studio Pro
Preface
DVD Studio Pro Website
For general information and updates, as well as the latest news on DVD Studio Pro, go
to:
• http://www.apple.com/finalcutstudio/dvdstudiopro
Apple Service and Support Websites
For software updates and answers to the most frequently asked questions for all Apple
products, go to the general Apple Support web page. You’ll also have access to product
specifications, reference documentation, and Apple and third-party product technical
articles.
• http://www.apple.com/support
For software updates, documentation, discussion forums, and answers to the most
frequently asked questions for DVD Studio Pro, go to:
• http://www.apple.com/support/dvdstudiopro
For discussions forums for all Apple products from around the world, where you can
search for an answer, post your question, or answer other users’ questions, go to:
• http://discussions.apple.com
12 Preface Welcome to DVD Studio Pro
DVD Studio Pro plays a key part in delivering your video projects to your viewers. This
chapter covers many of the basics you need to know about to author and burn successful
DVDs.
This chapter covers the following:
• Moving from iDVD to DVD Studio Pro (p. 13)
• About Standard and High Definition DVDs (p. 14)
• About DVD Studio Pro and HD Resolution DVDs (p. 15)
• HD Video Assets (p. 17)
• Brief Overview of the DVD Creation Process (p. 19)
• What Makes a DVD Authoring System? (p. 25)
• Hard Disk Storage (p. 25)
• SCSI Devices (p. 25)
• DVD Burners (p. 26)
• DLT Drives (p. 29)
• External Video and Audio Monitoring (p. 29)
• Audio and Video Assets (p. 31)
Moving from iDVD to DVD Studio Pro
The Apple entry-level DVD authoring application is iDVD. It allows you to create simple
DVD-Video titles with some of the most popular features found in Hollywood-style releases,
without having to know any technical details about the process. The interface and feature
set are configured to make the process nearly foolproof.
Eventually, however, you will find yourself requiring features beyond those that iDVD
offers. DVD Studio Pro gives you access to a wide range of professional features outlined
in the DVD specification:
• Support for multiple video, audio, and subtitle streams, making it easy to create discs
that support multiple languages or add features such as a director’s commentary
13
Overview of Using DVD Studio Pro 1
• Additional menu functionality. For example, you can create and add up to 36 buttons,
control the navigation between them, and have more flexibility when assigning their
functions.
• Alternate ways to play back movies. You can use the DVD Studio Pro story feature to
control how a movie plays.
• Support for web interactivity. You can embed links to websites or other documents
into your DVD title.
• Many advanced features supported by the DVD specification, such as dual-layer discs
and copy protection
DVD Studio Pro offers several workflows and work styles for creating DVD projects,
including templates and the drag-and-drop method used within iDVD. This makes
DVD Studio Pro easy to learn while still providing the advanced features you need.
About Standard and High Definition DVDs
Standard definition (SD) DVDs provided most viewers with their first digital video
experience. The great video quality, interactive menus, and surround sound audio found
on current DVDs set a high standard for viewer expectations. Meanwhile, the establishment
of high definition (HD) video format standards and the increasing availability of HD
broadcasts have led to more and more viewers having HD video monitors, and even
higher expectations for DVDs.
These expectations, along with the development of improved compression technologies
and a blue laser technology that greatly increases a disc’s storage capacity, have led to
the ability of recording HD video onto a DVD.
14 Chapter 1 Overview of Using DVD Studio Pro
But Aren’t DVDs Already High Definition?
In addition to traditional 4:3 aspect ratio video, traditional DVDs support widescreen
16:9 video, which is often mistaken for being high definition. The 16:9 video used on
current DVDs, however, is the same resolution as the 4:3 video, which is the same as
the standard NTSC and PAL broadcast resolutions. The 16:9 video must be anamorphic,
which makes it appear horizontally squashed when viewed on a 4:3 monitor.
This leads to a logical next question—what constitutes high definition video? While
most HD video formats use a 16:9 aspect ratio, what generally defines whether or not
they are HD is the resolution.
Video resolutions that result in more pixels per frame than are used in SD-based DVDs
are considered high definition. There are two common HD vertical resolutions: 720 lines
and 1080 lines (used for both NTSC and PAL). These compare to NTSC’s 480 lines and
PAL’s 576 lines for SD video.
As with SD-based DVDs, the scanning method used on HD-based DVDs can be interlaced,
with a video frame containing one field with the odd lines and another field with the
even lines, or progressive, where each frame is complete. Not all HD formats support
progressive scanning, however. See Supported Video Resolutions for details on supported
SD and HD video formats, including frame rates and scanning methods.
See About DVD Studio Pro and HD Resolution DVDs and HD Video Assets for more
information about creating HD projects in DVD Studio Pro.
About DVD Studio Pro and HD Resolution DVDs
In addition to supporting standard definition (SD) format video DVDs, DVD Studio Pro
supports creating high definition (HD) format video DVDs.
With the exception of support for HD video resolutions and the number of buttons on
menus and button over video subtitles, HD projects in DVD Studio Pro have the same
limits as SD projects.
There are two aspects to creating DVDs with HD content: what you can put into the DVD
video zone and the DVD disc media.
DVD Video Zone with HD Content
While the contents of the DVD video zone for an HD-based DVD (HVDVD_TS) are similar
to those of an SD-based DVD video zone (VIDEO_TS), there are some important differences:
• HD-based DVDs support a broad range of video resolutions, including most of those
used in SD-based DVDs. See Supported Video Resolutions for a complete list of
supported resolutions.
Chapter 1 Overview of Using DVD Studio Pro 15
• In addition to supporting SD MPEG-2 video encodes, HD-based DVDs support HD
MPEG-2 and H.264 video encodes. These are discussed in HD Video Assets.
Blue Laser Disc Media
Due to the improved video resolution possible with HD video, the encoded video files
for HD resolution DVDs can be larger than those used with SD resolution DVDs. For that
reason, a media format based on a blue laser was designed specifically for DVD projects
containing HD video. See the following table for a comparison of SD and HD disc sizes.
Disc Red laser capacity Blue laser capacity
Single-sided, single-layer 4.7 GB 15 GB
Single-sided, dual-layer 8.54 GB 30 GB
In addition to blue laser based DVD media, an HD project’s DVD video zone can be written
to DVD media based on the red lasers used by traditional DVDs. (The obvious limitation
is that you will not be able to fit as much video data on the disc.)
Important: SD-based DVD players are not able to play DVD projects containing HD content,
whether they are on red or blue laser media. Additionally, only HD projects on special 3x
DVD-ROM red laser media are officially supported in the HD DVD specification. You can
burn HD projects to traditional red laser media on your system; however, the discs might
not play in all HD DVD players.
Supported Video Resolutions
All video resolutions supported by SD-based DVDs are also supported by HD-based DVDs.
This means that an HD-based DVD can use an HD video resolution for the main feature,
then use an SD video resolution for extras. The following list includes the SD and HD
video resolutions supported by DVD Studio Pro.
Note: MPEG-1 encoded video files are not supported in HD projects.
NTSC
Frame rates with an “i” indicate the interlaced scanning method; those with a “p” indicate
the progressive scanning method.
Resolution Frame rate Aspect ratio Notes
352 x 240 29.97i 4:3 Also known as SIF format
352 x 480 29.97i 4:3 Also known as 1/2 D1
704 x 480 29.97i 4:3, 16:9 Also known as Cropped D1; 16:9 is anamorphic
720 x 480 29.97i 4:3, 16:9 Also known as Full D1; 16:9 is anamorphic
720 x 480 59.94p 16:9 HD only, also known as 480p; is anamorphic
1280 x 720 59.94p 16:9 HD only, also known as 720p
1440 x 1080 29.97i 16:9 HD only; 16:9 is anamorphic
16 Chapter 1 Overview of Using DVD Studio Pro
Resolution Frame rate Aspect ratio Notes
1920 x 1080 29.97i 16:9 HD only, also known as 1080i
PAL
Frame rates with an “i” indicate the interlaced scanning method; those with a “p” indicate
the progressive scanning method.
Resolution Frame rate Aspect ratio Notes
352 x 288 25i 4:3 Also known as SIF format
352 x 576 25i 4:3 Also known as 1/2 D1
704 x 576 25i 4:3, 16:9 Also known as Cropped D1; 16:9 is anamorphic
720 x 576 25i 4:3, 16:9 Also known as Full D1; 16:9 is anamorphic
720 x 576 50p 16:9 HD only, also known as 576p; is anamorphic
1280 x 720 50p 16:9 HD only, also known as 720p
1440 x 1080 25i 16:9 HD only; 16:9 is anamorphic
1920 x 1080 25i 16:9 HD only, also known as 1080i
Using 24P Video Formats
Both SD and HD projects can use assets encoded at 24 fps, as long as they are encoded
specifically with NTSC or PAL flags set.
Note: For NTSC, 24 fps is actually 23.976 fps, although it is most often referred to as
23.98 fps
Video at 24 fps has two main advantages: it matches the film frame rate, and, in the case
of NTSC, provides much smaller files due to having six fewer frames per second.
See Importing 24 fps Assets for more information.
HD Video Assets
There are a variety of sources for HD video assets to use in your HD projects, with the
most common being DVCPRO HD and HDV camcorders.
• With DVCPRO HD, once you have finished editing the video, the result will need to be
encoded to the HD MPEG-2 or H.264 video format.
• With HDV, which is already compliant MPEG-2 HD video, you can edit the video in
Final Cut Pro and import the result directly in your HD projects.
Chapter 1 Overview of Using DVD Studio Pro 17
DVD Studio Pro supports HD video encoded using the HD MPEG-2 codec and the H.264
codec. Both of these formats are playable with the Apple DVD Player. You can use
Compressor to encode video to either of these formats. When you import HD resolution
QuickTime video, such as DVCPRO HD video, into DVD Studio Pro, it is HD MPEG-2 encoded
using the integrated MPEG encoder.
Using HDV Assets
The HDV format uses MPEG-2 encoding to store HD video on a standard DV or Mini DV
tape. Two video resolutions supported by the HDV format:
• 1280 x 720 (720p) at 19 Mbps
• 1440 x 1080 (1080i or 1080p) at 25 Mbps (which is anamorphic 16:9)
Imported HDV assets have the video and audio separated into elementary streams (the
HDV format combines the video and audio into a single file), but are not otherwise
processed or converted.
Important: The HD DVD specification does not support all HDV frame rates. See About
HDV Video for more information.
Using H.264 Assets
You can use the H.264 for HD DVD presets included with Compressor to encode several
supported HD and SD video resolutions for use in your HD projects.
The H.264 encoder is twice as efficient as the standard MPEG-2 encoder. When compared
to encoding with MPEG-2, this means that with the H.264 encoder:
• You can use a lower bit rate to get the same quality, resulting in smaller files.
• You can use the same bit rate and get better quality with the same file size.
See About H.264 Video for more information.
Using DVCPRO HD and Uncompressed HD Assets
Another source of HD assets for your HD projects is video encoded with the DVCPRO HD
compression types or uncompressed video. DVCPRO HD video, like DVCPRO SD video,
and uncompressed video cannot be used directly in your DVD Studio Pro projects. You
can import them, however, and DVD Studio Pro will automatically encode them to
compatible HD MPEG-2 assets using the integrated MPEG encoder. You can also encode
them to HD MPEG-2 or H.264 using Compressor or QuickTime.
Note: Using the Animation codec with HD resolution video can significantly reduce your
computer’s performance and should be avoided if possible. An alternative is to use the
Apple Intermediate Codec.
18 Chapter 1 Overview of Using DVD Studio Pro
Brief Overview of the DVD Creation Process
You can create many different styles of DVDs with DVD Studio Pro, from corporate
presentations to training materials to event videos to feature films. While the content
and structure of each style may vary considerably, they all use the same basic DVD creation
process.
Edit raw sources
• iMovie
• Final Cut Pro
• Final Cut Express
Author the DVD with
DVD Studio Pro
DVD burner
(SuperDrive)
DLT
drive Replication
facility
Encode
assets.
Create
menus,
tracks,
slideshows.
Build and
format
the
project.
Duplication
facility
Other sources
• Compressor
• Motion
• Soundtrack Pro
• Color
• LiveType
• Logic Pro
• GarageBand
• iTunes
• iPhoto
• Keynote
There are four stages to the DVD creation process:
Stage 1: Creating Your Source Material
The first part of the DVD creation process is to create or assemble your source material.
See Creating Source Material for more information.
Stage 2: Encoding Audio and Video to Compatible Formats
Once you have created your source materials, they must be encoded to comply with the
DVD specification. See Encoding Video and Audio for more information.
Stage 3: Authoring Your DVD Title
You use DVD Studio Pro to orchestrate your video, audio, and graphics material into an
interactive DVD-Video title, complete with menus, buttons, subtitles, and alternate
languages or soundtracks. See Authoring with DVD Studio Pro for more information.
Stage 4: Building the Project and Creating Your Disc
Creating a disc involves two steps: building the DVD-formatted video zone and formatting
it for how you intend to deliver it. See Creating a Disc for more information.
It’s important to understand the entire process, and how DVD Studio Pro is used in the
process, before you begin your DVD projects.
Chapter 1 Overview of Using DVD Studio Pro 19
Creating Source Material
The first part of the DVD creation process is to create or assemble your source material.
This might mean shooting video, recording voice or music tracks, designing graphics to
be included, and planning the general functionality of your project. If you are converting
an existing video program into a DVD, you may only need to gather your original video
and audio material and design graphics for the menus that will weave them together.
You can use whatever tools you prefer for creating your video and audio material, as long
as the resulting files are compatible with the MPEG or H.264 encoder that you plan to
use. In most cases, your video and audio assets will be created and saved as QuickTime
movie files or in standard sound file formats like AIFF, WAVE, or SoundDesigner II.
Your program material should be completely edited, including any special effects, audio
fades, and scene transitions, before you encode it.
Menu graphics can be still image files, multilayer Photoshop files, or full-motion video.
To create the menu graphics, you can use virtually any graphics program. DVD Studio Pro
includes extra support for Adobe Photoshop (PSD) files, taking advantage of Photoshop’s
“layers” feature to simplify the creation of backgrounds and overlays. Also included is
support for the menu loop point you can set in Motion.
If you plan to include alternate-language subtitles in your DVD project, you will want to
have your soundtrack transcribed and translated.
The most important thing you can do when preparing your assets is to use the
highest-quality settings available. Any flaws in your material will be revealed on DVD
much more quickly than in any other medium.
Once they are encoded into a DVD-compliant format, DVD Studio Pro does not improve
or degrade the quality of your source material in any way; if you use high-quality source
materials, you’ll get high-quality results.
Here are some guidelines to help you maintain high quality.
• Capture and edit your video material at the same resolution that you will use on the
DVD (typically 720 x 480 at 29.97 frames per second [fps] for NTSC or 720 x 576 at 25 fps
for PAL for SD-based DVDs).
• When recording and editing audio, use a 48 kilohertz (kHz) sample rate and no
compression. This assures the best quality whether you use the uncompressed audio
on the DVD or decide to use the Compressor AC-3 encoder to compress it.
Important: When creating DVDs, your audio must have either a 48 kHz or 96 kHz sample
rate. You cannot use the 44.1 kHz sample rate found on standard audio CDs. In most
cases, the DVD Studio Pro embedded AIFF encoder will convert your audio to the correct
sample rate if necessary.
20 Chapter 1 Overview of Using DVD Studio Pro
• When saving video material to the QuickTime format, either specify no compression
(which requires a lot of disk space) or use a high-quality compression codec like DV or
Motion JPEG.
Encoding Video and Audio
Once you have created your source materials, they must be encoded to comply with the
DVD specification. DVD Studio Pro can use materials encoded using its integrated MPEG
and AIFF encoders, as well as materials encoded using the Apple Compressor application
and other methods.
What Is Needed for DVD?
Before video or audio material can be used on a DVD, it must be prepared in one of the
formats defined in the DVD specification. This usually means MPEG-2 format for video
and Dolby AC-3 format for audio files (although you can also use standard PCM audio
formats, such as AIFF files, DTS format files, and MPEG-1 Layer 2 formatted files).
SD projects also accept the older MPEG-1 video format, most commonly seen in web-based
applications. Because MPEG-1 is about one quarter the resolution of MPEG-2 (352 x 240
as opposed to 720 x 480 for NTSC or 352 x 288 versus 720 x 576 for PAL) and utilizes much
lower data rates, the quality is significantly lower. However, MPEG-1 is useful for very long
programs if the picture quality is not of primary importance. Using MPEG-1 encoding,
you can fit many hours of material on a single DVD.
Important: You cannot use MPEG-1 formatted video assets in HD projects.
MPEG encoding performs extremely complex calculations on your source material to
determine what can be safely “thrown away” with minimal impact on the visual quality.
As a result, MPEG encoding can produce files that are less than ten percent the size of
the source files, while still looking great.
Using the DVD Studio Pro Tools
DVD Studio Pro includes integrated MPEG and AIFF encoders. When you add a QuickTime
asset directly to your DVD Studio Pro project, it is automatically encoded to be
DVD-compliant. You can choose whether the asset is encoded in the background while
you continue authoring or whether the encode waits until you build your project.
Also included with Final Cut Studio is Compressor, an encoding tool that provides
additional MPEG encoding configurations and can process batches of video and audio
clips in one step.
Chapter 1 Overview of Using DVD Studio Pro 21
For many projects you will probably want to use a Dolby-certified AC-3 encoder (such as
the AC-3 encoder included with Compressor). An AC-3 encoder can be used to encode
multichannel surround soundtracks for inclusion on a DVD, as well as for stereo or mono
soundtracks. Using AC-3 encoded audio results in smaller files and a lower playback bit
rate. Uncompressed PCM audio formats (WAV or AIFF) have significantly larger file sizes
and generally do not support specialized soundtrack formats, such as surround channels.
Using Pre-Encoded Sources
Many other available tools, including software and hardware encoders, produce MPEG
streams. You can use any MPEG encoder you prefer, as long as it creates DVD-compliant
elementary streams. This means that the audio and video information is contained in
separate files (the streams).
Important: DVD Studio Pro cannot use MPEG multiplexed System, Program, or Transport
streams for DVD projects.
See About MPEG Video for more information on DVD-compliant requirements.
Authoring with DVD Studio Pro
You use DVD Studio Pro to orchestrate your video, audio, and graphics material into an
interactive DVD-Video title, complete with menus, buttons, subtitles, and alternate
languages or soundtracks.
DVD Studio Pro gives you complete control over every aspect of your DVD and lets you
view its elements and simulate your DVD in real time as you create it.
You can easily create menus, add buttons, and specify the actions that occur when the
buttons are activated. You can define powerful linking and scripting functionality with
just a few clicks. And the Inspector gives you a complete picture of all the characteristics
of any item in your project.
Authoring in DVD Studio Pro consists of these basic steps:
Stage 1: Setting the DVD and Video Standard
You can use DVD Studio Pro to author traditional SD-based DVDs or HD-based DVDs using
either NTSC or PAL frame rates. It is important to set this before importing your assets
because these settings control what happens when QuickTime assets are imported.
Stage 2: Importing Assets
Import your video, audio, graphics, and subtitle assets into DVD Studio Pro. If they are
not already DVD-compliant, the integrated MPEG encoder automatically encodes them.
Stage 3: Creating Menus
Create one or more menus to define the structure and navigation of your DVD. The menus
can rely completely on the supplied templates and styles or can use your own graphics.
22 Chapter 1 Overview of Using DVD Studio Pro
Stage 4: Adding Buttons to the Menus
Add one or more buttons to your menus. The display mode (4:3, 16:9 Letterbox, and so
on) and DVD standard (SD DVD or HD DVD) determine the maximum number of buttons
each menu can have. Each button can initiate a wide variety of actions, the most common
being to open a different menu, play a track, or run a script. This hierarchy of menus and
buttons gives you tremendous flexibility in constructing an “interactive” program in which
the viewer has numerous options to choose from.
Stage 5: Creating Tracks and Slideshows
Create one or more tracks, each consisting of one or more video streams, audio streams,
subtitle streams, chapter markers, and stories. Create one or more slideshows, each
consisting of still images and, optionally, audio. Tracks and slideshows can also be created
by dragging assets to the Menu Editor and choosing options from the Drop Palette.
Stage 6: Linking the Project Elements
Set up the various actions and links that will make your project work as it should when
viewed. For example, you can set what happens when a DVD player first starts playing
the disc, what happens when a track finishes playing, and what happens if the player sits
idle at a menu for a specific amount of time.
Stage 7: Simulating Your Project
View your elements and test your project as you go using the real-time DVD Simulator
built in to DVD Studio Pro. This process allows you to verify the links between the project
elements.
Stage 8: Building and Burning Your Project
Build the completed project and either send it to a replication facility or burn a DVD on
your own system.
Creating a Disc
Creating a disc involves two steps: building the DVD-formatted video zone (VIDEO_TS
for SD-based DVDs and HVDVD_TS for HD-based DVDs) and formatting it for how you
intend to deliver it.
Building the Video Zone
When you build your SD-based DVD project, a set of files is created and stored on your
hard disk in a folder named “VIDEO_TS” (video title set). The contents and structure of
this folder are strictly defined by the DVD specification. HD projects store their files in a
folder named “HVDVD_TS.”
When you build your project within DVD Studio Pro, it combines all the material you’ve
included (video, audio, and subtitles for the menus and tracks) into a single stream and
writes it to this special folder. Using DVD Player, which is included with your operating
system, you can open and play the contents of this folder, just as if it were on a DVD disc.
Chapter 1 Overview of Using DVD Studio Pro 23
Formatting and Burning
Depending on the quantity of DVD discs you need, you can:
• Burn one or more DVDs on your system (if properly equipped): This is a quick way to create
a test disc.
Note: You cannot add high-end features such as copy protection.
• Send a burned disc to a duplicator who can burn additional copies for you: This allows
you to create more discs than you would want to burn on your own system at a lower
cost than using a replicator. Because the copies are based on a disc you burn on your
system, the duplicated discs have the same restrictions as when you burn on your
system.
• Prepare suitable files to send to a DVD replication facility: Use a replicator to make copies
that are compatible with all DVD players, to create larger quantities of discs, and to
include specialized features not supported by your system’s DVD burner.
If you are using a DVD replication facility, you can deliver your project to the facility in
several ways:
• DLT: Digital Linear Tape (DLT) is the preferred method for sending an SD DVD project
to a DVD replication facility. DVD Studio Pro supports writing directly to a DLT drive.
DLT is well suited to transporting DVD projects because of its reliability and very high
capacity.
Important: You cannot write HD DVD projects to a DLT drive.
• Burned DVD: Many DVD replicators accept DVD discs that you’ve burned on your system
for replication. There are special requirements if you want to include high-end features
such as dual-layer and copy protection. See DVD Burners for more information on using
burned DVD discs for replication, including information about the Cutting Master
Format (CMF).
• Hard Disk: You can format your SD or HD project to an external hard disk and send the
hard disk to your replicator. By selecting a CMF or DDP format, you can also include
advanced features such as copy protection. This method works especially well for large
HD projects.
• Electronic Copy: Some replicators have provisions that allow you to transfer the project’s
build files directly to their server using the Internet.
See Output Devices for information on using these methods for delivering projects to
replicators.
24 Chapter 1 Overview of Using DVD Studio Pro
What Makes a DVD Authoring System?
The DVD Studio Pro installation booklet lists the minimum hardware and software
requirements for using DVD Studio Pro to build DVD titles. However, you may find you
need additional items beyond the minimum requirements to make up your DVD authoring
system. Depending on the types of DVD titles you intend to create, your DVD authoring
system can be an off-the-shelf Mac Pro with a SuperDrive or a specialized system with
additional drives and hardware.
See the following for more information:
• Hard Disk Storage
• SCSI Devices
• DVD Burners
• DLT Drives
• External Video and Audio Monitoring
Hard Disk Storage
No matter what sort of titles you intend to create, you will be working with very large
files.
You should have at least twice as much hard disk storage space as the size of your project.
(For DVD-5, for example, which can hold about 4.4 GB, you need 4.4 GB for the MPEG-2
encoded asset files and another 4.4 GB to hold the built, or compiled, project. An HD
project can require about 60 GB to hold the asset and built project. Original asset files,
such as DV format video, require much more space than the MPEG-2 encoded versions
used in your DVD project.) For best build performance, dedicate two or three Ultra Wide
A/V or FireWire hard disks to your project. (Make sure they contain only your media and
no other programs that might fragment the disk and decrease performance.) If you have
three disks, use one for video assets, one for audio assets, and the third for the finished
files. If you have two disks, use one for source assets and one for final files.
SCSI Devices
Depending on your needs, you may need to add external devices—such as hard disks
and DLT drives—that require SCSI support.
To use SCSI devices, you must either have your Mac properly equipped when ordering
it or add a third-party SCSI PCI card to your existing desktop computer. Contact your
Apple Authorized Reseller or see the Support area of the Apple website for a list of
suggested SCSI cards and devices.
Chapter 1 Overview of Using DVD Studio Pro 25
DVD Burners
Being able to burn a DVD is useful for both proofing your titles on set-top DVD players
and burning the finished project (when only a small number of discs are required). You
can also burn a disc for a duplication or replication facility to use as a master when larger
quantities are needed.
You cannot burn discs that support Macrovision copy-protection or Content Scrambling
System (CSS) encryption. These must be created at a replication facility.
Note: For best results, it is recommended that you supply the replication facility with a
DLT tape or hard disk instead of a burned DVD disc. Be sure to confirm with the facility
what formats it supports.
Choosing a DVD Burner
When choosing a DVD burner for your system, you have the option of using an Apple
SuperDrive or other drives. Your choice depends in part on which media you want to
use: whether you intend to burn on red laser or blue laser media and, in the case of red
laser burners, whether to use general or authoring media.
Note: You cannot burn SD projects to blue laser media.
General Versus Authoring Media
The first drives created to write DVD-R discs used a special red laser and expensive media
and are known as authoring media drives. The most common DVD drives, however, use
a less expensive red laser and media. Such drives are known as general media drives.
Red laser DVD drives can write to either general or authoring media—not both. The
SuperDrive supplied with many Apple systems supports only general media. To use
authoring media, you need to connect a special DVD-R drive.
Important: Be sure you write only to media supported by your drive. If the media is not
labeled either general or authoring, it was likely manufactured before the existence of
general drives and can be assumed to be authoring-compatible.
The type of media you use only affects the writing of the disc. Both types of DVD drives
and most DVD-ROM drives and set-top DVD players can read and play both general and
authoring media.
For most projects, there is no significant difference between a DVD created using general
or authoring drives and discs. However, if you intend to use a replicator and require
high-end features such as Macrovision copy-protection and CSS data encryption, you
must use authoring media with an authoring drive.
26 Chapter 1 Overview of Using DVD Studio Pro
Even with authoring media, you cannot burn a DVD that supports any of these high-end
features on your own system. However, authoring media supports the Cutting Master
Format (CMF), which can be used to add information required by the replicator to put
these features on your discs. General media does not support CMF.
See The Cutting Master Format for more information on the CMF standard.
An Alternative Way to Use General Media
While you cannot use the CMF format directly on general media discs, you can still use
general media discs to deliver DVD projects with high-end features to your replicator
by using them as data discs. In general, you format your project to your hard disk using
a CMF or DDP format. You can then copy the resultant Layer 0 and Layer 1 folders to
your DVD media (each layer to its own disc). While these discs are not DVD-Video discs
and cannot be played in a DVD player, they do contain all the information the replicator
needs to create the final discs. See Output Devices for more information about formatting
to your hard disk.
Important: Be sure to check with your replicator before making the discs.
About the Different Types of General DVD Media
There are several types of DVD media available that DVD Studio Pro can use. The type
you should use depends on your requirements. For example,
• If playback compatibility is a primary concern: Burning discs that can be played back on
most set-top DVD players is often a high priority. Several variables affect this, including
the media type, the brand of media, and the DVD player itself. In general, newer DVD
players can play a wider variety of media types; however, there are exceptions to this.
You should always test your burned DVDs on a variety of DVD players to verify
compatibility.
• If rewritable media is more efficient for you: Using rewritable DVD media can be very
useful when you want to burn a test disc of a project to verify various aspects of it. For
example, you might want to burn a disc just to verify that a menu or script works
correctly on a set-top DVD player or to see the video quality of a clip on a variety of
external monitors. Being able to make a change to the project and then reuse the disc
to burn it saves having to use a new disc each time.
• If you need to burn a dual-layer project: Being able to burn a dual-layer project to a DVD
disc can be very useful. You should be aware, though, that there are big differences
between DVD+R double-layer and DVD-R dual-layer media.
Following is some general information on the types of media you are able to choose
from.
DVD-R and DVD+R
These are “write-once” discs that tend to be the most widely compatible with DVD players.
Chapter 1 Overview of Using DVD Studio Pro 27
DVD-RW and DVD+RW
These rewritable discs can be erased and reused multiple times. While they cost a bit
more than “write-once” discs, the ability to use them multiple times to verify various
aspects of your project as you work on it can be very useful. However, rewritable discs
tend to not be as compatible with DVD players as “write-once” discs.
When you use DVD-RW and DVD+RW media, DVD Studio Pro first checks to see if the disc
contains any files. If it is empty, the format proceeds. If there are files on the disc, an alert
appears warning you that the disc will be erased if the format continues—you can then
continue or cancel the format process.
DVD+R Double-Layer
You can use DVD+R double-layer media, often referred to as DVD+R DL, for burning your
dual-layer projects. With DVD+R double-layer media, DVD Studio Pro places the layer
break point and sets the switch point to be nonseamless as specified in your project.
DVD+R double-layer discs require you to use the Opposite Track Path (OTP) direction
setting when burning the disc. This means that the first layer must be larger than the
second layer. See Setting the Dual-Layer Direction for more information.
While DVD+R double-layer discs allow you to burn your dual-layer projects, they tend to
have more compatibility issues than the other types of DVD media.
DVD-R Dual-Layer
If your system contains a DVD drive that can write to the new DVD-R dual-layer media,
you can burn your DVD project to it with DVD Studio Pro. However, there are several
issues:
• Because currently DVD Studio Pro has no way to identify DVD-R dual-layer media as
having two layers, burning a dual-layer project to it results in the appearance of an
alert message telling you that the DVD media may have insufficient room to hold the
project. This message is based on the assumption that the disc is single layer. Both
layers of the disc will be written to as needed, however, when you click Continue.
• If you are burning a dual-layer project, the break point you set will not affect where
the layer break actually occurs. Instead, the first layer is written to until filled, at which
point the drive switches to writing to the second layer.
• The switch between layers is a seamless layer change not supported by some DVD
players, which may stop playing the disc when the switch point is reached.
Important: Do not use DVD-R dual-layer media unless these issues do not impact your
project.
Determining Which Media Types Your DVD Drive Supports
Before using any of the media types described in About the Different Types of General
DVD Media, you should verify that your DVD drive supports that type.
28 Chapter 1 Overview of Using DVD Studio Pro
To verify the media types supported by your DVD drive
1 Choose Apple menu > About This Mac.
2 Click the More Info button in the About This Mac window.
3 Click the disclosure triangle next to Hardware to show the list of hardware devices.
4 Select the Disc Burning item in the hardware list.
The DVD-Write line that appears in the information pane lists the supported media types.
DLT Drives
Digital Linear Tape (DLT) drives are the most reliable way to deliver SD DVD content to
a replicator. They are also a good way to back up completed projects so that you can
remove them from your hard disks and make room for your next project.
SD DVD data written to DLT drives with DVD Studio Pro can use Data Description Protocol
(DDP) version 2.0 or version 2.1. You can also write using CMF version 1.0.
Important: You cannot write HD DVD projects to a DLT drive.
External Video and Audio Monitoring
You can configure your system to support external video and audio monitors. This makes
it possible to more closely simulate a viewer’s environment before you build the project
and burn a test DVD.
When using external monitors, keep the following in mind:
• External video monitors are only used during simulation.
• External audio monitors are active during simulation and while playing from the Assets
tab or any of the editors (Track, Story, Slideshow, and Menu Editors).
• When you are using an external video monitor, the Simulator window on your computer
is inactive.
• You cannot use the pointer to click buttons on the external video monitor. You must
control the simulation by using the Simulator window’s controls.
• Depending on your system and the video being simulated, frames may be skipped
during playback to maintain synchronized playback with the audio.
The Simulator pane in DVD Studio Pro Preferences contains settings that control whether
the external video and audio monitors are used. Additionally, the Simulator contains
settings that allow you to change the display mode (4:3 Pan-Scan, 4:3 Letterbox, or 16:9)
and resolution (SD, HD 720, or HD 1080). See Simulator Preferences and Simulating with
an External Video and Audio Monitor for more information.
Chapter 1 Overview of Using DVD Studio Pro 29
Connecting an External Video Monitor
When simulating your project on your computer’s video monitor, you do not see video
exactly as a viewer would when playing the video using a set-top DVD player connected
to an NTSC or PAL monitor. There are two primary differences:
• Pixel aspect ratio: Computer monitors always use square pixels, while SD video uses
rectangular pixels. When viewed on the computer’s monitor, the Simulator scales the
pixels to make them fit the 4:3 or 16:9 aspect ratio, which can affect the video
appearance.
• Color space: Computer monitors generally use RGB color space for their displays while
most monitors used to view DVDs use the YUV color space.
The advantage of connecting an external video monitor is that, depending on the monitor
you connect and whether your project’s assets are already encoded for use on a DVD,
you are able to see the video as the viewer would see it.
The external video monitor uses the second monitor as configured in the Displays pane
of System Preferences. You must set the resolution and refresh rate to match the external
monitor. There are two common approaches to connecting an external video monitor:
• Connecting a video monitor to your computer’s S-Video output (if present)
• Connecting a second monitor to your system (if supported)
For example, you could connect an NTSC or PAL monitor to the S-Video output of a
PowerBook G4 system.
Note: When connected to an NTSC or PAL monitor, this video output provides only an
approximation of what the video will look like when burned to a disc and played on a
DVD player. Due to rendering, rescaling, and interlacing issues, you should not rely on
this output as a true representation of the video quality, especially with SD projects.
Connecting an External Audio Monitor
There are two primary issues with monitoring your project’s audio using the computer’s
built-in audio system:
• The built-in system cannot play surround sound audio. The audio is first downmixed
to stereo, then played.
• The built-in system cannot play DTS audio.
There are two common approaches to connecting an external audio monitor:
• Connecting a suitable AC-3 or DTS decoder to the computer’s optical digital audio
output (also known as an S/PDIF output)
• Connecting a suitable AC-3 or DTS decoder to the computer’s FireWire or USB port
30 Chapter 1 Overview of Using DVD Studio Pro
Audio and Video Assets
Audio and video assets can come from a wide variety of analog and digital sources. You
must have an equally wide variety of ways to capture these sources on your authoring
system. When bringing your assets into DVD Studio Pro, you should keep in mind the
following issues.
Have the Assets Been Edited Yet?
DVD Studio Pro is not an editor. You can use it to link assets together on a timeline, as
with an editor, and even trim an asset’s start and end, but you cannot add effects, such
as dissolves and text credits, or perform any audio mixing. Your assets need to be already
edited using an application such as Final Cut Pro. If you are editing the assets on your
authoring computer, you need to capture them in a format required by your editing
software. Once edited, the assets can be imported into DVD Studio Pro (if they are in a
QuickTime-supported format) or encoded into DVD-compliant MPEG and audio formats,
using either Compressor or third-party applications.
Capturing from an Audio or Video Player
Often your assets will be edited at a post-production facility and you will capture them
directly from a video- or audiotape player. In this case, you must have a third-party capture
card that supports the video and audio formats used. This video must be captured using
Final Cut Pro (or a similar application) in a QuickTime format that the DVD Studio Pro
integrated MPEG encoder can convert to DVD-compliant formats, or captured directly as
DVD-compliant MPEG and audio sources.
Chapter 1 Overview of Using DVD Studio Pro 31
Before you start authoring your DVD title, it is highly recommended that you set aside
time to plan your project. Spending time in the beginning to outline the various aspects
of the project will lead to a smoother production with minimal surprises.
This chapter covers the following:
• Investigating Existing DVDs (p. 33)
• Determining Your Target Audience and Playback Device (p. 34)
• Deciding Which DVD Standard to Use (p. 34)
• Deciding Which Video Standard to Use (p. 35)
• Deciding What Content to Include (p. 35)
• Creating a Storyboard (p. 35)
• Designing the Menus and Buttons (p. 37)
• Making Sure Your Content Will Fit (p. 37)
• General DVD Limitations (p. 42)
Investigating Existing DVDs
A very effective way to start planning your project is to spend some time viewing existing
DVDs. This process provides you with examples of ways others approached various aspects
of their DVD projects, such as using slideshows or providing language selections. It can
also help you understand how frustrating the viewing experience can be when a disc has
poorly conceived menus or confusing interactivity.
Not all DVD titles are Hollywood releases—be sure to look at a variety of titles, especially
those that best match the goals of your project.
Keep in mind that, while DVD Studio Pro provides the tools needed to create highly
complex DVDs, most Hollywood-style titles have teams of specialists who work on each
project. Before you set out to create a complicated DVD, make sure you understand all
aspects of what is involved, and are prepared to deal with them.
33
Planning Your Project 2
Determining Your Target Audience and Playback Device
As with any media project, you must have a clear idea of who the viewers are and what
their expectations will be. You may need to create a title that simply plays a movie as
soon as the DVD is loaded, with no viewer interaction at all. Or, you may need to create
a title with highly customizable languages or display types.
Another major consideration is whether your DVD will be played on a computer. When
a DVD is played on a set-top DVD player, the arrow buttons on the remote control provide
the primary navigation controls. However, when a DVD is played on a computer, viewers
typically use the pointer for navigation. This distinction affects menu designs because
you need to make it obvious where viewers should click to activate the buttons.
Additionally, if you need the title to play on older computers, you may need to set the
bit rate as low as possible, to increase the chances that the title will play without stuttering.
Deciding Which DVD Standard to Use
DVD Studio Pro gives you the choice of authoring a traditional DVD using standard
definition (SD) assets or a DVD using high definition (HD) assets. There are several factors
to take into account when deciding which DVD format to use:
• While an HD-based DVD can provide an excellent HD video output, it can only be played
on devices designed specifically to support it, such as the Apple DVD Player. SD-based
DVDs can be played on all DVD players, including those that play HD-based DVDs.
• An HD project can be written on either a red laser disc (as is used by SD projects) or
on a blue laser disc. While SD-based DVD players can read red laser discs, they cannot
play HD content from them.
Important: Only HD projects on special 3x DVD-ROM red laser media are officially
supported in the HD DVD specification. You can burn HD projects to traditional red
laser media on your system; however, the discs might not play in all HD DVD players.
• Blue laser discs can hold about three times the data that a red laser disc can hold (a
single-layer red laser disc can hold 4.7 GB—a single-layer blue laser disc can hold 15 GB).
Because you can use SD video in your HD project, writing on a blue laser disc allows
you to get much more content on the disc.
• You may need to author both SD-based and HD-based DVD versions of your project.
The easiest way to do this is to first author the SD-based DVD version of the project.
You can then set the DVD standard to HD DVD—DVD Studio Pro automatically converts
the project—and you can then choose which QuickTime assets to encode to the HD
format. Alternatively, you can swap SD assets with HD assets as needed.
34 Chapter 2 Planning Your Project
Deciding Which Video Standard to Use
In addition to choosing the DVD standard you want to use, you must also choose the
video standard to use. You can choose between NTSC and PAL. This choice affects the
video resolutions and frame rates that are supported.
Important: You cannot use both NTSC and PAL assets in the same project.
Also, be careful not to confuse the video standard setting with the region code setting.
The region code setting allows you to specify the regions that can play your
DVD—choosing a region that primarily contains PAL countries does not force you to use
the PAL video standard, though in most cases you would want to.
See Video Standards of the World for information on which countries support each video
standard. It is also useful to keep in mind that DVD players that can play both NTSC and
PAL are becoming more common and are most common in PAL countries. However, in
most cases, while the DVD player can output either video standard, it assumes the video
monitor it is connected to can display either standard (which is less likely to be true).
Deciding What Content to Include
The audio, video, and still-image files used by DVD Studio Pro in authoring DVD projects
are known as assets. Often you’ll have a good idea of what primary assets you want to
include when you start your project, but you may think of additional items once it is too
late to create them. For example, providing a second language may greatly increase the
value of a corporate title but may require you to create new menus to support it.
Additionally, including nontraditional items on a DVD, such as PDF files and web links,
can add a great deal of value to titles that will be viewed on computers.
You may also have the opposite problem—you may have too much content for a DVD
title. Be sure you know which content is required and which is optional. Explore the
feasibility of creating a dual-layer DVD or double-sided DVD. Some content may be suitable
for encoding at lower bit rates or as MPEG-1 streams. Perhaps instead of using
uncompressed AIFF audio, you can use Dolby Digital AC-3 to save space. See Making Sure
Your Content Will Fit for more information.
Creating a Storyboard
Even simple DVD titles with only a few menus can benefit from the time you spend in
the planning stages.Storyboarding includes planning the interaction between the menus,
tracks, slideshows, and stories. It helps you visualize what the viewing experience will be
and ensures that there are minimal surprises during the authoring process.
Chapter 2 Planning Your Project 35
You’ll find that storyboarding can give you the overarching view of your project needed
to plan fairly complex interactivity.
Product
Slideshow 1
Track 1
Customer
Interview
Track 3
Company
Background
Track 4
Main
Presentation
Track 2
End
Jump
Menu
(disable)
Stills
Main Menu
Menu 1
Extras Menu
Menu 2
First Play
Track 1
Extras
Play
Button press
Press Menu on remote
End jump
Interviews
Background
Main
Storyboarding helps you to sort out a variety of navigational issues:
• What should play first: By default the first play is set to the first menu, but for many
projects you may want something else to be the first thing viewers see when they start
playing the DVD.
• What should be each element’s end jump setting: You may know that you want the DVD
to go back to the main menu once a track plays, but have you thought about which
button on that menu to highlight?
36 Chapter 2 Planning Your Project
• What should the remote control’s Menu button do: It’s worth planning what should
happen with all of the remote control buttons, but especially the Menu button because
its action can vary from element to element.
These and many other decisions need to be made. Drawing them out as a storyboard
before starting the project can help eliminate errors or delays while waiting for a decision
to be made.
Designing the Menus and Buttons
DVD Studio Pro provides tools that make it easy to create menus without relying heavily
on outside graphics applications. For simple titles whose main focus is to provide
information, you may be able to rely on the basic button-and-text capability of
DVD Studio Pro to create your menus.
For custom titles, you’ll need to create your own graphics. Creating graphics for use with
video is a bit different from creating graphics for print. Be sure to see Creating Graphics
to Use in Menus for information on creating graphics for your title.
In either case, because menus and the buttons on them are the viewers’ primary way of
interacting with your title, it is important to spend time making sure that they are
straightforward, with logical button navigation and clear highlights that let viewers know
where they are in the menu.
Making Sure Your Content Will Fit
Be sure to allow time in the planning process to determine whether all of your assets will
fit on the type of DVD you are using. You don’t want to be surprised when you are finished
authoring the title—that is a bad time to find out that the assets won’t fit.
What Do You Mean a 4.7 GB DVD Won’t Hold 4.7 Gigabytes?
With computers, memory and disk size are commonly expressed in terms such as kilobyte,
megabyte, and gigabyte. Technically, a kilobyte should represent 1000 bytes, but due to
the binary numbering system computers use, a kilobyte actually represents 1024 bytes.
Similarly, a megabyte represents 1,048,576 bytes (and not 1,000,000 bytes) and a gigabyte
represents 1,073,741,824 bytes (and not 1,000,000,000 bytes).
Unfortunately, with DVD discs the terms megabyte and gigabyte do not use the same
binary-based standard; they literally refer to the technically accurate 1,000,000 bytes for
a megabyte and 1,000,000,000 bytes for a gigabyte. This means that a 4.7 GB DVD disc
will actually hold only 4.37 binary-based gigabytes. While the difference is not large
(relatively speaking), it must be accounted for if you intend to come close to filling the
disc.
Chapter 2 Planning Your Project 37
Important: When displaying estimated sizes, DVD Studio Pro uses the “1000 bytes equals
a kilobyte” system. This means that the estimated sizes refer to the amount of space they
will require on the DVD and will be a bit larger than the file sizes shown in the Finder.
While the Finder shows binary-based file sizes, you can use its File > Get Info command
to see both the binary-based file size and, in parentheses, the “1000 bytes equals a kilobyte”
size.
Disc Options
You have a variety of DVD discs to choose from. The one you choose depends on your
content, your budget, and whether you intend to use a DVD replication facility. DVD sizes
are typically referred to with names such as DVD-5 and DVD-9. While the number in the
name is intended to provide general guidance as to the capacity of the disc, it should
not be relied on too strictly. (Note that a DVD-4 disc has a higher capacity than a DVD-5
disc.) The following tables list the common sizes used.
Red Laser Discs
The following table lists the names for discs based on red lasers.
DVD name Disc size Type Capacity
1.46 GB (1.36 binary
gigabytes)
Single-sided,
single-layer
DVD-1 8 cm
2.66 GB (2.47 binary
gigabytes)
DVD-2 8 cm Single-sided, dual-layer
2.92 GB (2.72 binary
gigabytes)
Dual-sided, both sides
single-layer
DVD-3 8 cm
5.32 GB (4.95 binary
gigabytes)
Dual-sided, both sides
dual-layer
DVD-4 8 cm
4.7 GB (4.38 binary
gigabytes)
Single-sided,
single-layer
DVD-5 12 cm
8.54 GB (7.95 binary
gigabytes)
DVD-9 12 cm Single-sided, dual-layer
9.4 GB (8.75 binary
gigabytes)
Dual-sided, both sides
single-layer
DVD-10 12 cm
13.24 GB (12.32 binary
gigabytes)
Dual-sided, one side
dual-layer
DVD-14 12 cm
17.08 GB (15.9 binary
gigabytes)
Dual-sided, both sides
dual-layer
DVD-18 12 cm
If you intend to burn your own discs using your system’s DVD burner, you can only use
DVD-5 and DVD-9 discs. To use any of the other sizes, you must use a DVD replication
facility.
Blue Laser Discs
The following table lists the names for discs based on blue lasers.
38 Chapter 2 Planning Your Project
DVD name Disc size Type Capacity
4.5 GB (4.19 binary
gigabytes)
Single-sided,
single-layer
HD DVD-4 8 cm
9.0 GB (8.38 binary
gigabytes)
HD DVD-9 8 cm Single-sided, dual-layer
15.0 GB (13.97 binary
gigabytes)
Single-sided,
single-layer
HD DVD-15 12 cm
30.0 GB (27.94 binary
gigabytes)
HD DVD-30 12 cm Single-sided, dual-layer
Estimating Whether Your Content Will Fit
While you will often hear that a DVD-5 (or a 4.7 GB disc) can hold two hours of video
content, this is really only a rough guideline. The actual amount of video a DVD-5 disc
can hold depends on the bit rate the video is encoded at. Often overlooked is the size of
audio files—if you plan to use uncompressed AIFF (PCM) audio, you must also take the
additional space requirements into account when calculating whether all your content
will fit.
If your project needs to fit on a DVD-5 disc that you can burn on your SuperDrive, you
need to choose an appropriate bit rate. There is a simple formula you can use. See Fitting
Your Project on a DVD-5 Disc for more information.
If you are flexible as to the DVD disc type you can use, you can experiment with different
bit rates and determine the disc space required by each. This process is more detailed
and includes more variables, such as taking into account additional audio streams and
DVD-ROM content. See Calculating Disc Space Requirements for details on precisely
determining your disc space requirements.
Fitting Your Project on a DVD-5 Disc
You can use this simple formula to estimate the bit rate you should use to fit your video
on a DVD-5 disc:
560/x = bit rate
The “x” represents the length of the video (in minutes) and the resulting bit rate is in
megabits per second (Mbps). This formula assumes you are using compressed audio,
such as AC-3. If you are using uncompressed audio, you need to subtract 1.5 Mbps
(assuming you are using 16-bit stereo at a 48 kHz sample rate) from the bit rate value.
For example, if you have 120 minutes of video, you get a suggested bit rate of 4.67 Mbps
(560/120 = 4.67). If you are using uncompressed audio (such as the AIFF format the
embedded AIFF encoder supplies), you need to reduce the bit rate to 3.17 Mbps to ensure
the video and audio will fit on the disc.
Chapter 2 Planning Your Project 39
Beware of Setting Your Bit Rate Too High
You will find that with some DVD projects, the content easily fits on the disc, and you
may be tempted to use the highest video bit rate available. While higher bit rates produce
better quality, you must take into account other factors before deciding to use the
maximum allowable value.
The maximum video bit rate allowed on SD-based DVDs is 9.8 Mbps, but rarely is that
practical to use because DVD players support combined video, audio, and subtitle bit
rates of up to 10.08 Mbps. For HD-based DVDs, the maximum video bit rate is 29.4 Mbps
for HD assets and 15.0 Mbps for any SD assets used in an HD project, with an overall
maximum bit rate of 30.24 Mbps.
In practice, you should be conservative when determining how high of a bit rate to allow
for. Trying to squeeze out the highest possible bit rate for your project can lead to player
compatibility and disc space issues.A general recommendation is to not exceed 9.2 Mbps
for the combined video and audio bit rates when authoring SD projects or 29 Mbps when
authoring HD projects.
Important: If you are building your project and DVD Studio Pro detects that the bit rate
of the multiplexed stream is too high, the build stops and an error message appears.
Using PCM or AC-3 Audio
A single PCM audio stream using typical settings (as produced with the embedded AIFF
encoder) requires 1.536 Mbps, which leaves an absolute maximum bit rate for the video
in an SD project of around 8.54 Mbps. If there are two PCM audio streams, 3.07 Mbps
must be allowed for the audio, leaving just 7.01 Mbps for the video.
Note: Even though you can only play one audio stream at a time, the bit rates of all audio
streams must be added together when determining the overall bit rate for a track. Similarly,
all subtitle streams must be added together and added to the overall bit rate.
Using AC-3 audio in place of the PCM audio leaves far more room for the video bit rate.
Stereo AC-3 audio using typical settings requires only about 224 kbps—using two stereo
AC-3 streams in place of the PCM audio leaves about 9.6 Mbps for the video.
See Calculating a Project’s Disc Space Requirements for more information about allowances
for other audio formats.
Subtitle Allowances
Subtitles generally use a very small bit rate—about 10 kbps per stream. Larger subtitles
that change frequently or use graphics can have a significant impact though and can
affect the maximum bit rate you can use for the video.
40 Chapter 2 Planning Your Project
Multiple Video Angles
Using multiple video angles in a track also affects the maximum allowable video bit rate
you can use. Due to the way the DVD specification requires video streams to be
multiplexed together, the number of video streams determines the maximum video bit
rate you can use in SD projects. The maximum combined bit rates (highest bit rate video
stream + all audio streams + all subtitle streams) you can use for each multi- and
mixed-angle track in an SD project is from 8.0 Mbps with two streams to 7.0 Mbps with
nine streams. See Encoding Video for Multi-Angle Tracks for more information.
HD projects using multiple video angles in a track are limited to 24.0 Mbps for the
maximum combined bit rates, regardless of the number of video angles.
Transitions
When you add a transition to a menu, to a still clip in a track, or to slides in a slideshow,
you need to account for the additional video it creates.
• In the case of menus, the transitions become short rendered video clips stored in the
same video object (VOB) file as the menus. This means that, in addition to the overall
amount of disc space menu transitions require, you must also consider their impact on
the 1 GB menu VOB file size limit. See Standard SD DVD Video Zone Files for more
information. You must also take into account that a transition video clip is rendered
for each menu button that has transitions enabled—a menu with 18 buttons can require
18 transition video clips.
• In the case of still clips in a track and slides in a slideshow, adding transitions increases
the amount of disc space each requires even if the transition does not increase the
length of the track or slideshow. This is because stills and slides use much less disc
space than the motion video created by the transitions, even if the transition is from
one slide to another.
The amount of disc space required by each transition varies depending on their length
and type. In general, for SD projects, which use a bit rate of 6 Mbps for transitions, you
should allow 750 KB of disc space for every second of transition time in the project. For
HD projects, which use a bit rate of 20 Mbps for transitions, you should allow 2.5 MB of
disc space per second.
Using the Video Bit Rate
The video bit rates you calculate can be used as the bit rate entry of your encoder,
regardless of the encoding method you intend to use (one pass, one-pass variable bit
rate [VBR], or two-pass VBR).
When using one of the VBR encoding methods in the integrated MPEG encoder, the “Bit
rate” setting affects the amount of disc space that the MPEG video file requires, while the
“Max bit rate” setting sets the highest video bit rate that is allowed in the file (but does
not affect the file size). See MPEG Encoding Methods for more information.
Chapter 2 Planning Your Project 41
General DVD Limitations
Following are some general limitations you may run into while authoring your DVD project
with DVD Studio Pro. Most of these limitations are due to DVD-Video specification
requirements.
Note: With the exception of the number of buttons on a menu, the same limits apply to
both SD and HD projects.
Project
Following are the limitations within a DVD Studio Pro project.
• Maximum number of tracks, stories, and slideshows in a project: 99
• Minimum number of menus in a project: 0
• Minimum number of tracks or slideshows in a project: 1
Menus
Following are the menu-related limitations.
• Maximum number of menus in a project: 10,000
• Menu aspect ratio support: 4:3 and 16:9 menus can be used in the same project.
• Maximum number of buttons on an SD-based DVD 4:3 menu: 36
• Maximum number of buttons on an SD-based DVD 16:9 menu: 18, unless Pan Scan &
Letterbox is selected, which then sets the maximum to 12
• Maximum number of buttons on an HD-based DVD 4:3 menu: 48
• Maximum number of buttons on an HD-based DVD 16:9 menu: 24, unless Pan Scan &
Letterbox is selected, which then sets the maximum to 16
Tracks
Following are the track-related limitations.
• Maximum number of video streams in a track: 9
• Minimum number of video streams in a track: 1
• Maximum number of audio streams in a track: 8
• Maximum number of subtitle streams in a track: 32
• Maximum number of cell markers in a track: 255
• Maximum number of chapter markers in a track: 99 (Each chapter marker is also a cell
marker.)
• Maximum combined number of chapter markers and individual chapter end jump settings
in a track: 106 (See Setting Chapter Marker End Jumps for more information.)
• Maximum number of buttons on an SD-based DVD 4:3 track’s button highlight marker: 36
42 Chapter 2 Planning Your Project
• Maximum number of buttons on an SD-based DVD 16:9 track’s button highlight marker: 18,
unless Pan Scan & Letterbox is selected, which then sets the maximum to 12
• Maximum number of buttons on an HD-based DVD 4:3 track’s button highlight marker: 48
• Maximum number of buttons on an HD-based DVD 16:9 track’s button highlight marker: 24,
unless Pan Scan & Letterbox is selected, which then sets the maximum to 16
Stories
Following is the story-related limitation.
• Maximum number of segments: 98 (must all be from the same track)
Slideshows
Following are the slideshow-related limitations.
• Maximum number of slides in a slideshow: 99
• Minimum number of slides in a slideshow: 1
Scripts
Following are the script-related limitations.
• Maximum number of scripts in a project: 10,000
• Maximum number of command lines in a script: 124
• Minimum number of command lines in a script: 1
Chapter 2 Planning Your Project 43
While investigating other DVDs, you may decide to include similar specialized features
in yours.
This chapter covers the following:
• Creating a Simple DVD (p. 45)
• Creating a Play One or Play All Project (p. 47)
• Grabbing a Still Image from Your Movie (p. 50)
• Adding Easter Eggs to Your Menus (p. 51)
Creating a Simple DVD
While DVD Studio Pro is capable of creating complex projects, you may find yourself
needing to create a very simple project that does nothing more than start playing when
you insert the DVD into a DVD player—with no menus and no viewer interaction at all.
This could be a disc that plays in a standalone kiosk or a DVD daily whose only purpose
is to distribute a video track for approval.
To create a simple DVD
1 Choose File > New (or press Command-N) to create a new project.
By default a new project contains Menu 1 and Track 1.
2 Select the Menu 1 tile in the Graphics tab and press Delete.
3 Control-click the Track 1 tile, then choose First Play from the shortcut menu.
This sets the project to automatically start playing this track once the DVD is inserted into
a DVD player. (By default, DVD Studio Pro sets Menu 1 as the First Play element.)
4 Drag the movie from the Library or a Finder window to the Track 1 tile in the Graphics
tab.
This not only imports the movie but assigns it to Track 1.
5 Select the Track 1 tile in the Graphics tab so that the Track Inspector appears.
45
How Do You Do That? 3
6 Do one of the following to control what happens when the movie finishes playing:
• To have nothing happen when the movie finishes playing, leave End Jump (in the top
section of the Track Inspector) set to Not Set. Once the movie finishes playing, the DVD
player will stop. The viewer can press Play to play it again.
• To have the track play again in an infinite loop, choose the track from the End Jump
pop-up menu.
And that’s it. You might want to consider adding a few additional elements to the project
that would improve the viewer’s experience.
Adding Chapter Markers
Depending on the length of the movie, it can be very helpful for the viewer to be able
to use the DVD player’s Previous and Next buttons to quickly skip through the movie to
points you define with chapter markers.
If the movie was edited in Final Cut Pro, you can add the chapter markers at each scene
change or at other significant points in the movie. These chapter markers will automatically
import into DVD Studio Pro. See Adding and Configuring Markers in Final Cut Pro and
Final Cut Express for more information.
You can also manually add the markers in the DVD Studio Pro Track Editor. Even just
placing markers every five or ten minutes can help the viewer locate specific parts of the
movie. See Working with Markers for more information.
Adding a Menu
This goes a bit against the general idea of a simple DVD project, but it might be worth
adding a simple menu so that the viewing experience once the movie finishes playing is
a bit better. For example, you could leave the track set as the First Play element but have
the track jump to a menu once it finishes playing. The menu could have a single button
that says “Play Again?” Or the menu could have a credit list.
If You’re Using Multiple Movies
You may have a situation where you have more than one movie to put on the DVD. You
can handle that in a couple of ways:
• You can put each movie in its own track: If you do not want to have a menu, you can
have the End Jump of the first track set to the next track, linking the tracks together.
This assures that the viewer will watch the movies in the order you specify.
• You can concatentate the movies in a single track: This is a bit easier than placing each
movie in its own track because you do not have to set the End Jumps for each, and it
also ensures that the movies will be watched in a specific order. This does require that
each movie uses the same video and audio formats.
46 Chapter 3 How Do You Do That?
In most cases with multiple movies, you will want to create a menu where the viewer
can choose which movie to watch. You may even want to have a menu where the viewer
can choose to play a specific movie or to play all of them. See Creating a Play One or Play
All Project for information on setting up this situation.
Creating a Play One or Play All Project
You may have a project with a track that contains several sections that a viewer either
might want to watch individually or all at once, one after the other, from the start to the
end.
It’s actually fairly easy to set this up using stories. Once it is set up, you can optionally
add additional functionality to polish the project.
Stories in a Nutshell
Stories allow you to configure alternative ways to play the movie in a track. Stories use
chapter markers to divide the movie into sections (cells) that you can then configure to
play, skip, or even play more than once. You can also choose to play these sections in a
different order than they appear in the track.
Stories are elements you can add to your project that are tied to a specific track—a story
can only contain content from a single track. However, a track can have multiple stories.
An advantage of stories is that because they only redefine how to play an existing track’s
movie, they do not require any additional disc space on the DVD. They do count against
the 99 track and slideshow limit that DVD Studio Pro projects have.
See Introduction to Stories for more information about stories.
Creating the Basic Project
You follow three primary steps to create this project:
Stage 1: Creating the Track and Adding Chapter Markers to It
The chapter markers define the sections that you can use for your stories. You can manually
add the markers in DVD Studio Pro, import the chapter markers you added in Final Cut Pro
or Final Cut Express, or import chapter markers from a text file.
Stage 2: Creating and Configuring the Stories
For this project, you create a story for each individually playable section of the movie.
Each story contains one chapter marker to define the section of the movie to play. Each
story also has an End Jump setting that takes the viewer back to the menu.
Stage 3: Creating and Configuring the Menus
Once you have the stories defined, you can create the one or more menus needed to
access them.
Chapter 3 How Do You Do That? 47
Creating the Track and Adding Chapter Markers to It
How you create the track depends on your movies:
• If you have a single movie that contains all of the sections edited together: This is the ideal
situation because, assuming you edited them together in Final Cut Pro, you could also
have added the chapter markers needed to set up the stories. You can manually add
the chapter markers in DVD Studio Pro; however, most often you will not be able to
place them on the exact frame you would like to use because the markers must be on
an I-frame or a key frame.
• If you have multiple movies, with each containing one or more sections: In this situation,
you place all of the movies in the same track (in the order they should play for the “play
all” button). This situation also requires you to manually add the chapter markers.
Note: Having multiple movies makes it tempting to skip using stories and just create
a separate track for each section. You could then create buttons to play each of the
tracks. The difficulty in this is creating the “play all” button, because each track’s End
Jump would need to be set to go back to the menu. Even if you managed to use scripts
to get each track to jump to the next track, you would almost always have a short pause
during the jump while the DVD player located the next track. Using stories makes it
possible to have seamless playback between the sections for the “play all” button while
retaining the ability to play each section individually—all without using scripts.
To create and configure the track
1 Click the Add Track tool in the DVD Studio Pro toolbar to add a new track.
You can also use the track that is automatically added to new projects.
2 Import the movie or movies into the project.
3 Do one of the following:
• If you have a single movie, drag it to the track in the Track Editor.
• If you have multiple movies, drag each to the Track Editor, in the order that you want
them to play.
4 Add the chapter markers to the track by positioning the Track Editor’s playhead on the
first frame of each section and pressing M.
The markers are placed on the nearest I-frame or key frame. You can move the marker
forward or backward to try to locate a better frame if needed.
Note: If you used a single movie that had the chapter markers added in Final Cut Pro, the
chapter markers should already be present and you can skip this step.
You can also name the chapter markers to help identify them later when creating your
stories. See Importing Assets and Working with Markers for additional information.
48 Chapter 3 How Do You Do That?
Creating and Configuring the Stories
Once you have the track configured with chapter markers to identify each section, you
are ready to create the stories. For this project, you need a story for each section of the
movie that you want the viewer to be able to play individually. Once you create the story,
you need to choose the chapter marker that defines the section of the track that that
story should play.
To create and configure the stories
1 Click the Add Story tool in the Toolbar.
This adds a new story, related to the currently selected track, to your project.
2 Double-click the new story’s icon in the Graphical tab to open it in the Story Editor.
The entry list. Drag
markers to this list
to create your story.
The source list. Drag
markers from this side
to the other side
to create your story.
Choose a story from
the current track to edit.
The left side of the Story Editor lists the chapter markers in the track. The right side lists
the markers that have been assigned to this story (which is empty at the moment).
3 Locate the chapter marker on the left side that you want this story to play and drag it to
the right side.
Note: If there are additional chapter markers in the section of the movie you want this
story to play, you need to drag them to the right side as well, in the order that they are
placed in the track.
4 Repeat the above steps for each section of the movie.
As mentioned previously, naming the chapter markers makes this process much easier.
Naming the stories, especially if there are a lot of them, can also help the process.
Chapter 3 How Do You Do That? 49
Creating and Configuring the Menus
Once you have created your stories, you are ready to create the menu (or menus,
depending on how many stories you created and how many buttons you want to have
on each menu).
The basic concept for the menu is to have a Play All button that plays the entire track
and separate buttons that play each of the stories. You can use any of the normal menu
creation methods. See Introduction to Creating Menus for information on the types of
menus you can create.
Grabbing a Still Image from Your Movie
DVD Studio Pro includes a feature that allows you to export a still image from a movie in
a track. The still image is saved as a TIFF file that you can use as a menu background or
open in a graphics program. The file matches the movie’s resolution. Anamorphic 16:9
video results in an anamorphic still image using a 4:3 aspect ratio (which works fine as a
16:9 menu background). This feature works with SD as well as HD projects.
The one issue is that the still image must be from an I-frame (MPEG-1 or MPEG-2 video)
or a key frame (H.264 video). This means you may not be able to get a still from the exact
frame you would like.
To create a still image from a movie
1 In the Track Editor, move the playhead to the frame you would like to have a still image
made from.
2 Press M.
This adds a marker to the timeline. The exact position of the marker depends on how
close you are to an I-frame or key frame as well as the Snap To setting in the Track pane
of the DVD Studio Pro Preferences window. You can drag the marker left and right to see
if either of those positions would produce a better still image. (This is easier to do if you
zoom into the timeline.)
3 Click Save Still in the Marker Inspector.
A dialog appears for saving the file.
4 Enter a name for the file (the default name is the marker’s name) and choose the location
to save it to (the default location is in the same folder as the video file).
5 Click Save.
You can import the still image file into this project or open it in a graphics application to
add effects or text.
50 Chapter 3 How Do You Do That?
Adding Easter Eggs to Your Menus
It is becoming increasingly popular to add hidden items to DVD projects. For example,
you may include a track or menu that you only want people to find if they know the right
buttons to push.
Most often, invisible buttons on less-used menus are used to access these items.
Depending on how elaborate you want to be, you can configure the button navigation
so that the viewer can only get to the invisible button by pressing non-obvious arrow
buttons on the remote control.
For example, if you have a menu with a column of six buttons, you could set the button
navigation so that the invisible button is reached only by pressing the left arrow button
when on the fourth button in the column. (Most viewers would not think to press the
left arrow button if the menu’s buttons are arranged in an obvious up/down fashion.)
You can make it even harder to find by using multiple invisible buttons, with each requiring
the correct arrow button presses to get to the next, with incorrect presses jumping back
to the visible buttons.
About Invisible Buttons
You can set an overlay button to be invisible by selecting Invisible in the Advanced tab
of the Button Inspector. In this case, making a button invisible means that the highlight
colors do not appear when the button is selected and activated. This can be confusing
when combined with visible buttons on a menu because it can lead to a condition
where nothing appears to be selected.
Instead of using a true invisible button, you may want to use a button whose normal
state is invisible, but which acts as a visible button when selected and activated. To do
this, you only have to make sure the button has no normal state graphics on the menu’s
background (making the button invisible when not selected), but does have supporting
graphics, such as a star or happy face, in the overlay file that will show the selected and
activated highlight colors. Note that if you do this, a viewer playing the DVD on a
computer may be able to find the button just by waving the pointer over the menu.
See Advanced Tab in the Button Inspector for information on invisible buttons.
Important: While using invisible buttons can make it difficult for viewers to accidentally
find hidden features, you should not assume this is entirely secure. Determined viewers
can use a variety of methods to find hidden content on a DVD disc.
Chapter 3 How Do You Do That? 51
Before you can begin building a DVD project, you must have correctly prepared video
source material.
This chapter covers the following:
• Introduction to Preparing Video Sources (p. 53)
• NTSC or PAL? (p. 54)
• Using 24 fps Video (p. 55)
• Choosing an Aspect Ratio (p. 56)
• About MPEG Video (p. 60)
• Encoding Video Materials for DVD (p. 61)
• Using the Integrated MPEG Encoder (p. 68)
• Encoding Video for Multi-Angle Tracks (p. 74)
• Adding Markers to Your Video (p. 76)
• About H.264 Video (p. 80)
• About HDV Video (p. 81)
• DVD Video Source Settings Summary (p. 82)
Introduction to Preparing Video Sources
After you have captured and edited your source material, you need to encode it to make
it DVD-compliant. Compressor is a full-featured video and audio compression application
included with Final Cut Studio that you can use to create DVD-compliant assets for use
in DVD Studio Pro. DVD Studio Pro is integrated with Compressor to provide easy access
to the commonly used MPEG, AIFF, and Dolby Digital AC-3 encoding functions for
converting QuickTime video to DVD-compliant assets.
The DVD Studio Pro integration with Compressor allows you to directly import QuickTime
sources into a project—the encoders work with the sources while you continue authoring
the project.
53
Preparing Video Assets 4
You can also use Compressor as a standalone application to get more options and control
over the encoding process. Compressor also integrates well with Final Cut Pro, providing
exceptionally high-quality MPEG-2 streams directly from Final Cut Pro sequences.
This chapter describes how to prepare video source material for use in DVD Studio Pro
and how to use the integrated MPEG encoder. For more information on DVD-compliant
material, see About MPEG Video.
There are three areas in a DVD project that can use video sources:
• Tracks: This is the primary area that uses video sources.
• Menus: This area uses video sources when you are creating motion menus. Menus can
also assign video sources to buttons and drop zones. For the most part, video sources
used for motion menus must follow the same rules as video sources used for tracks.
See Preparing Menu Assets for more information.
• Alpha Transitions: You can use specialized video sources as alpha transitions in your
menus, tracks, and slideshows. See Preparing Alpha Transitions for more information.
The DVD-Video specification has strict requirements for several aspects of the sources
used. For best results, you should create and capture your video and audio using the
settings required for DVD.
See DVD Video Source Settings Summary for a complete list of settings required for a
source to be DVD-compliant.
NTSC or PAL?
A DVD-Video title must contain either all NTSC or all PAL sources. If you intend to create
a title that can be played on either NTSC or PAL DVD players, you must create two titles
and two versions of the sources (including all graphics and video, which will require
significant effort), one for each standard.
About the Terms “NTSC” and “PAL”
The terms “NTSC” and “PAL” are technically incorrect when used with respect to DVDs.
These terms specify a variety of things with respect to an SD composite video signal.
When you refer to a video asset as NTSC or PAL with respect to SD-based DVDs, you
are defining the asset’s frame rate and resolution. With most HD assets, the terms NTSC
and PAL refer only to the frame rate, because the resolution is far different than an SD
video asset.
54 Chapter 4 Preparing Video Assets
Many DVD players in PAL countries can also play NTSC DVD-Video titles. It’s important
to understand that these players often do not convert NTSC video to PAL—they simply
output the NTSC sources. You must connect an NTSC or dual-standard video monitor to
view the output. Additionally, be aware that all DVD players have a region code that
prevents them from playing DVD-Video titles not intended for the player’s region.
Using 24 fps Video
Often the video content for a DVD project originates from film shot at 24 frames per
second (for NTSC this is actually 23.976 fps, which is more commonly referred to as
23.98 fps). The DVD specification allows you to include 24 fps MPEG-2 assets as long as
they are properly flagged so the DVD player can decode them by either using a 3:2
pulldown (for NTSC DVD players) or playing them 4% faster (for PAL DVD players). The
video resolution also must match those allowed for the intended video standard. See
Choosing a Video Resolution for details on supported video resolutions.
This means that there are NTSC and PAL versions of 24 fps MPEG-2 assets, and you can
only use NTSC 24 fps assets in NTSC projects and PAL 24 fps assets in PAL projects.
Encoding video that originates with a 24 fps rate as a 24 fps MPEG asset has two primary
advantages:
• Less time is spent on the encoding process.
• Smaller files are produced.
These advantages are due to fewer frames being encoded, especially when compared
to NTSC frame rates.
Important: MPEG-2 assets that include 23.98 frames to play at 29.97 fps show as 29.97 fps
assets in QuickTime, Compressor, and DVD Studio Pro.
Importing 24 fps Assets
How DVD Studio Pro handles your 24 fps assets depends on whether or not they are
already MPEG-2 encoded:
• If you import 24 fps MPEG-2 assets: They are handled correctly and remain 24 fps when
you build the project.
Note: 24 fps assets show as their display rate setting when viewed in the Track Editor.
This makes them appear as if they were at the NTSC or PAL frame rate. You can confirm
they are actually 24 fps by selecting them in the Assets tab and verifying the frame rate
in the Asset Inspector.
• If you import 24 fps QuickTime assets: They are encoded as either 29.97 fps or 25 fps
MPEG-2 files, based on your project’s video standard, and are no longer 24 fps when
you build the project.
Chapter 4 Preparing Video Assets 55
To create a 24 fps MPEG-2 asset, you need to use Compressor (included with
DVD Studio Pro) or a third-party encoder that supports encoding 24 fps MPEG-2 assets.
Using 24 fps Video in Tracks
You can use 24 fps video assets in tracks just like you would use regular 29.97 fps or 25 fps
video assets, as long as they match the project’s video standard (NTSC or PAL). You can
also combine 24 fps assets with regular video assets within a track, as long as they use
the same resolution.
Using 24 fps Video in Menus
You can use 24 fps assets in menus as backgrounds or assets for buttons and drop zones.
You can also combine 24 fps assets with regular video assets within a menu.
If the menu must be rendered because it contains shapes, drop zones, or text objects, it
is rendered at the project’s frame rate, even if the menu’s background is 24 fps.
Choosing an Aspect Ratio
The aspect ratio is the ratio of the width of the visible area of the video frame to the height
of the visible area. Standard NTSC and PAL monitors have a picture aspect ratio of 4:3 (or
1.33, which is the width divided by the height). Some High Definition Television (HDTV)
formats have a picture aspect ratio of 16:9, or 1.78.
The DVD specification supports both 4:3 and 16:9 sources, but it does not support HD
video. Most HD video formats use a combination of features to create the high definition
image, including a much larger frame size than DVD-Video supports.
HD-based DVDs also support both 4:3 and 16:9 sources, as well SD and HD video formats.
Using 16:9 sources in your project raises a number of issues that you need to be aware
of. Your main goal is to ensure that 16:9 assets play back correctly on 16:9 monitors and
as expected on 4:3 monitors (and that 4:3 assets play correctly on both monitor types as
well). Incorrect settings can lead to distorted video. For example, the video may appear
horizontally compressed (objects look “skinny”) or expanded (objects look “fat”).
56 Chapter 4 Preparing Video Assets
This illustration shows the viewing options for a 16:9 asset.
16:9 monitor
16:9 aspect ratio
16:9 anamorphic
(The dashed line shows
the circle’s original size.)
16:9 letterbox 16:9 pan-scan
16:9 video on 4:3 monitors
This illustration shows the viewing options for a 4:3 asset.
4:3 monitor
4:3 aspect ratio
4:3 stretched
(The dashed line shows
the circle’s original size.)
4:3 video on 16:9 monitors
4:3 pillar box
Read the following sections to find out more about using 16:9 assets in your projects.
What Exactly Is a 16:9 Asset?
When you decide to use 16:9 assets in a DVD Studio Pro project, it is crucial that you
understand exactly what attributes your 16:9 media should have.
Chapter 4 Preparing Video Assets 57
16:9 and SD Projects
The DVD specification and DVD Studio Pro require 16:9 video to be anamorphic. An
anamorphic 16:9 video frame has the same number of pixels as a 4:3 video frame. When
displayed on a 16:9 monitor, the frame is horizontally stretched to fit the screen, and the
content appears normal. When viewed on a 4:3 monitor, however, the video content
appears horizontally compressed (see the illustrations in Choosing an Aspect Ratio).
The most common error is to letterbox your 16:9 video assets before bringing them into
DVD Studio Pro. Once a 16:9 asset has been letterboxed, it becomes a 4:3 asset with black
bars along the top and bottom of the video image. If you flag letterboxed source video
as 16:9 video when encoding it, you will have problems when you play it back later.
16:9 and HD Projects
HD projects can use a wide variety of video resolutions. Several of these are true 16:9
(1280 x 720p and 1920 x 1080i) while several others use the same anamorphic method
used in SD projects (720 x 480p, 720 x 576p, and 1440 x 1080i).
Using Pan-Scan to Display 16:9 Video
The pan-scan method of displaying 16:9 video on a 4:3 monitor was developed as a
compromise between letterbox, which displays all the video content but with black areas
at the top and bottom, and the only other alternative: filling the entire 4:3 screen, but
cropping some of the content. With pan-scan, you can choose which bits of the 16:9
content to crop, ensuring the action is not lost by displaying the center of the screen
only. The pan-scan method can result in sudden jumps from one side of the screen to
the other (for example, to follow a conversation’s dialogue), which may make your video
look as if edits have been made.
To make pan-scan work, you must have a pan-scan vector, a frame-based value that
controls which part of the content to use. Someone watching the video creates the vector,
deciding which parts should be seen. This vector must be available when the video is
MPEG-encoded. The MPEG encoder included with DVD Studio Pro does not support
pan-scan vector information. However, if the information is already part of an
MPEG-encoded video stream, created with an encoder that supports the vector
information, DVD Studio Pro passes this information along.
Virtually all movies shown on TV have been through the pan-scan process; however,
pan-scan vectors are rarely used for movies released on DVD. Instead, a version of the
movie is made using the 4:3 pan-scanned source and is not intended to be played as a
16:9 video on 16:9 monitors. The other side of the disc often contains the true 16:9 version,
set to display as letterboxed video on 4:3 monitors.
Important: Do not use pan-scan if your video does not actually support it. If you do, only
the center part of the frame will appear.
58 Chapter 4 Preparing Video Assets
MPEG Encoding and 16:9 Video
It’s important to correctly identify your source video as either 4:3 or 16:9 before encoding
it. At this point, you are only identifying it—you are not defining how it should be handled
when played back. When using the integrated MPEG encoder, you can select the video’s
aspect ratio in the Encoding pane of DVD Studio Pro Preferences.
Using 16:9 Assets in Tracks
Each track within a DVD Studio Pro project has an aspect ratio setting. This setting lets
the DVD player know how to display the video when playing back the title.
With a 16:9 track, you specify how it will play back on a 4:3 monitor: Pan-Scan, Letterbox,
or Pan Scan & Letterbox (allowing the viewer to choose). As mentioned previously,
pan-scan is rarely used and should never be selected unless the encoded video contains
pan-scan vector information.
Mixing 16:9 and 4:3 Assets in a Track
Keep in mind that a track’s aspect ratio setting applies to the entire track. If you mix 16:9
assets with 4:3 assets in a track, you will have problems when playing it back. For example,
if you set the aspect ratio to 16:9 Letterbox, the 4:3 video will also be letterboxed and
end up looking vertically compressed.
To be safe, do not mix 16:9 and 4:3 assets in the same track. Instead, create separate tracks
for each. You can use the Connections tab in DVD Studio Pro to control the playback
order of the tracks.
Some Players Cheat!
Unfortunately, not all players handle 16:9 video correctly. The aspect ratio setting for each
track is stored in the track’s video title set file (vts_01_1.vob, for example). Most DVD
players read the setting and process it correctly, but some DVD players ignore this setting
and instead look at the aspect ratio setting of the video itself. For the most part, this works
out, but it can result in inconsistencies when playing the title on different DVD players,
particularly if you are not careful while encoding and authoring.
Buttons over 16:9 Video Tracks
To place a button over a video track, you add a menu overlay to a subtitle stream in the
track. These overlays are not processed in the same way as the video, so you must create
a separate overlay for each display mode (16:9, 4:3 letterbox, and 4:3 pan-scan). You then
need to create a script that selects the correct subtitle stream to display based on the
DVD player’s settings.
See What Happens with Different Aspect Ratios? for information on using subtitle streams
to place buttons over a video track, and see Creating Scripts for information on creating
scripts.
Chapter 4 Preparing Video Assets 59
Using 16:9 Assets in Menus
Typically you’ll want to use 16:9 menus with 16:9 tracks. Most of the same concerns with
video apply to menus as well—specifically how the 16:9 menu is displayed on a 4:3
monitor.
With a 16:9 menu, you specify how it will play back on a 4:3 monitor: Pan-Scan, Letterbox,
or Pan Scan & Letterbox (allowing the viewer to choose). As mentioned previously,
pan-scan is rarely used, and should never be selected unless the encoded video contains
pan-scan vector information.
See Understanding Pixel Differences in Graphics and Video for information on the image
size settings you should use when creating 16:9 menus.
Issues with Film Aspect Ratios
While 16:9 is a fairly wide aspect ratio, it is not wide enough to contain an entire frame
from a typical Hollywood movie. Two film aspect ratios are widely used now: Normal is
1.85:1 and Widescreen is 2.40:1 (for comparison, 16:9 is 1.78:1). For normal titles (those
that use the 1.85:1 aspect ratio), a small amount of letterboxing or pan-scan cropping is
required to transfer the title to DVD, but for Panavision titles significant letterboxing or
pan-scan cropping is necessary. This processing must be done before the video is
MPEG-encoded. The DVD specification supports only 4:3 and 16:9 aspect ratios.
2.40:1 (Widescreen)
1.85:1 (Normal film)
1.78:1 (16:9)
1.33:1 (4:3)
You should not be surprised to see some letterboxing when playing a Panavision movie
on a 16:9 monitor.
About MPEG Video
MPEG (Moving Picture Experts Group) is a family of video and audio compression formats
that make high-quality titles possible on DVD. There are a broad range of MPEG types
and settings; use care to select those that are DVD-compliant with the DVD standard (SD
or HD) you are using. DVD Studio Pro imports MPEG assets created with a wide variety
of third-party products. The following section, Encoding Video Materials for DVD, provides
a general overview of MPEG, as well as details that relate specifically to DVD Studio Pro
and its integrated MPEG encoder.
60 Chapter 4 Preparing Video Assets
Encoding Video Materials for DVD
The DVD specification requires video movies to be in a DVD-compliant MPEG format.
There are a number of methods for converting video from its current format to MPEG.
DVD Studio Pro includes an integrated MPEG encoder, which can quickly encode your
QuickTime movies into DVD-compliant MPEG-2 files. See Using the Integrated MPEG
Encoder for more information.
For analog sources, you need a hardware video capture card to digitize your video.
Depending on the card’s output format, you may then need a transcoder to convert it
to MPEG.
Elementary and Multiplexed MPEG Files
There are two common types of MPEG file structures: elementary and multiplexed.
Elementary files contain only one stream of data, either the video or the audio. Multiplexed
MPEG files, also known as system, transport, or program files, have the video and audio
combined into a single file.
MPEG files that are imported directly into DVD Studio Pro must be elementary MPEG files.
You can use an MPEG utility to convert multiplexed MPEG files into elementary streams.
The integrated MPEG encoder converts QuickTime files into elementary MPEG streams.
When creating an HD project, you can import HDV and H.264 streams, both of which are
multiplexed QuickTime streams.
Choosing Between MPEG-1 and MPEG-2
The DVD specification allows for the use of either MPEG-1 or MPEG-2 encoded video. In
general, MPEG-1 provides for smaller file sizes but reduced picture quality (by scaling a
half-screen image to full screen), while MPEG-2 provides for better quality with larger file
sizes.
• MPEG-1 is generally used for titles for which file size is critical and that will be played
back on a computer (not a set-top DVD player).
• MPEG-2 is usually used for DVD titles on DVD media. The integrated MPEG encoder
encodes video into MPEG-2.
DVD Studio Pro works with both MPEG-1 and MPEG-2 video assets in your SD project
tracks, as long as they are DVD-compliant. MPEG-1 video used as menu backgrounds is
rendered to full D1 MPEG-2 when the project is built.
Important: HD projects cannot use MPEG-1 video.
Chapter 4 Preparing Video Assets 61
Choosing a Bit Rate for SD Projects
Bit rate directly determines file size, and thus how many minutes of material you can fit
onto a DVD disc. SD-based DVD players support combined bit rates of up to 10.08 megabits
per second (Mbps), but this must include the audio and subtitles as well. The maximum
video bit rate is 9.8 Mbps.
Note: Some DVD players have trouble playing video that uses sustained high bit rates.
On such players, you may see dropped frames during playback.
Typical maximum bit rates used for video are around 8 Mbps. The maximum MPEG-1 bit
rate is 1.856 Mbps, while 1.15 Mbps is most typical.
The actual video content determines how low a bit rate you can use and still get acceptable
quality. Video with little movement works well at lower bit rates, while higher bit rates
are best at handling video with a lot of movement (a quick camera pan, for example).
For more information on choosing a bit rate that ensures all the content in your project
will fit on a DVD, see Making Sure Your Content Will Fit.
Choosing a Bit Rate for HD Projects
Choosing a bit rate for use in HD projects is similar to doing so for SD projects, but there
are some differences.
The maximum overall bit rate for HD projects is 30.24 Mbps. While an HD project can use
both SD and HD video assets, the maximum bit rate you can use is different for each:
• HD assets: 29.4 Mbps
Note: HD assets include the 480p and 576p resolutions.
• SD assets: 15.0 Mbps
MPEG Encoding Methods
There are three common methods of encoding video: CBR (constant bit rate, also known
as one-pass), one-pass VBR (variable bit rate), and two-pass VBR.
• CBR (one-pass) method: You choose a bit rate and it is used for the entire video,
regardless of its content. The advantage of this method is that you can reliably predict
the final encoded file size. By adjusting the bit rate, you can ensure the video will fit
on the DVD. The disadvantage is that the same bit rate gets applied to all of the video,
regardless of the motion content. You must choose a high enough bit rate to provide
acceptable results for the scenes with motion, even if they are only a small part of the
movie.
62 Chapter 4 Preparing Video Assets
• One-pass VBR method: You choose a basic bit rate and a maximum bit rate. The encoder
detects the amount of motion present in the video as it encodes and adjusts the bit
rate appropriately—scenes with motion use higher bit rates (up to the maximum setting
you choose) and scenes with little motion use the lower, basic bit rate. The disadvantage
of this method is that the quality will not be as good as with the two-pass VBR method.
• Two-pass VBR method: You choose a basic bit rate and a maximum bit rate, just as with
the one-pass VBR method. The difference is that the encoder makes two passes through
the video to encode it. The first pass examines the video to learn about its motion
content. The second pass performs the encode, varying the bit rate to provide better
results in scenes with motion (as compared to the one-pass VBR method). The
disadvantage of this method is that it takes twice as long as the one-pass VBR method.
Important: With the VBR methods, the basic bit rate setting determines the encoded file
size. The maximum bit rate setting does not affect the file size. Additionally, the VBR
methods are most effective when the maximum bit rate is about double the basic bit
rate, or at least 1 to 3 Mbps higher than the basic bit rate.
The integrated MPEG encoder allows you to select which of these methods you want to
use.
Choosing a Video Resolution
The resolution determines the number of pixels processed within a frame. The more pixels
used, the sharper the details in the image. Note that regardless of the resolution you
choose, most DVD players play back at full screen. The following is a list of common
resolutions used with MPEG-1 and MPEG-2 video with DVD Studio Pro.
Note: Menus must use full D1 resolution MPEG-2 video. If you assign any other resolution
or an MPEG-1 asset, the video will be transcoded to full D1 MPEG-2 when you build the
project.
SD Projects
SD projects can use the resolutions shown in the following tables.
NTSC
All frame rates use the interlaced scanning method (as indicated with an “i”). With the
exception of 352 x 240, all resolutions are MPEG-2 only.
Resolution Frame rate Aspect ratio Notes
352 x 240 29.97i 4:3 Also known as SIF format; MPEG-1 or MPEG-2
352 x 480 29.97i 4:3 Also known as 1/2 D1
704 x 480 29.97i 4:3, 16:9 Also known as Cropped D1; 16:9 is anamorphic
720 x 480 29.97i 4:3, 16:9 Also known as Full D1; 16:9 is anamorphic
Chapter 4 Preparing Video Assets 63
PAL
All frame rates use the interlaced scanning method (as indicated with an “i”). With the
exception of 352 x 288, all resolutions are MPEG-2 only.
Resolution Frame rate Aspect ratio Notes
352 x 288 25i 4:3 Also known as SIF format; MPEG-1 or MPEG-2
352 x 576 25i 4:3 Also known as 1/2 D1
704 x 576 25i 4:3, 16:9 Also known as Cropped D1; 16:9 is anamorphic
720 x 576 25i 4:3, 16:9 Also known as Full D1; 16:9 is anamorphic
HD Projects
HD projects can use the resolutions shown in the following tables.
Note: MPEG-1 video is not supported.
NTSC
Frame rates with an “i” indicate the interlaced scanning method; those with a “p” indicate
the progressive scanning method.
Resolution Frame rate Aspect ratio Notes
352 x 240 29.97i 4:3 Also known as SIF format
352 x 480 29.97i 4:3 Also known as 1/2 D1
704 x 480 29.97i 4:3, 16:9 Also known as Cropped D1; 16:9 is anamorphic
720 x 480 29.97i 4:3, 16:9 Also known as Full D1; 16:9 is anamorphic
720 x 480 59.94p 16:9 HD only, also known as 480p; is anamorphic
1280 x 720 59.94p 16:9 HD only, also known as 720p
1440 x 1080 29.97i 16:9 HD only; 16:9 is anamorphic
1920 x 1080 29.97i 16:9 HD only, also known as 1080i
PAL
Frame rates with an “i” indicate the interlaced scanning method; those with a “p” indicate
the progressive scanning method.
Resolution Frame rate Aspect ratio Notes
352 x 288 25i 4:3 Also known as SIF format
352 x 576 25i 4:3 Also known as 1/2 D1
704 x 576 25i 4:3, 16:9 Also known as Cropped D1; 16:9 is anamorphic
720 x 576 25i 4:3, 16:9 Also known as Full D1; 16:9 is anamorphic
720 x 576 50p 16:9 HD only, also known as 576p; is anamorphic
1280 x 720 50p 16:9 HD only, also known as 720p
1440 x 1080 25i 16:9 HD only; 16:9 is anamorphic
64 Chapter 4 Preparing Video Assets
Resolution Frame rate Aspect ratio Notes
1920 x 1080 25i 16:9 HD only, also known as 1080i
Picture Frame Rate
DVD Studio Pro NTSC projects support the NTSC frame rate (29.97 fps) and 23.976 fps
assets that use NTSC video resolutions. PAL projects support the PAL frame rate (25 fps)
and 23.976 fps assets that use PAL video resolutions. You can set a project’s video standard
in the General tab in the Disc Inspector or in the Project pane of DVD Studio Pro
Preferences.
Warning: You cannot mix NTSC and PAL MPEG assets in a project.
Working with GOP Settings
A major function of MPEG encoding is to identify redundancy not only within a frame,
but also among a group of frames. A scene with no movement except a car driving by
has a lot of redundancy over time. In this case, a single complete frame could provide
the majority of the video; subsequent frames only need to provide for the areas that
change. Each MPEG stream contains three types of frames that define the video. A Group
of Pictures (GOP) setting defines the pattern of the three frame types used: Intra (I) frames,
Bi-directional (B) frames, and Predicted (P) frames.
• I-frames: Also known as reference or key frames, I-frames contain the complete image
of the current frame, without reference to frames that precede or follow it. The I-frame
is the only type of MPEG frame that can stand by itself, without requiring information
from other frames in the GOP. Every GOP contains one I-frame, although it does not
have to be the first frame of the GOP. I-frames are the least efficient MPEG frame type,
requiring the most disc space. Markers on a DVD track can be placed only at I-frames.
• P-frames: P-frames are encoded from a “predicted” picture based on the closest
preceding I- or P-frame. P-frames are also known as reference frames, because
neighboring B- and P-frames can reference them. P-frames typically require much less
disc space than I-frames.
• B-frames: B-frames are encoded based on an interpolation from I- and P-frames that
come before and after them. B-frames are the most efficient MPEG frame type, requiring
the least amount of disc space. While a GOP can begin with a B-frame, it cannot end
with one.
The goal of encoding video to MPEG is to reduce the video file size as much as possible
while maintaining good quality. The B- and P-frames are what make MPEG so good at
compressing video into such small files. Because they only contain information about
what has changed in the images, they use much less disc space than I-frames.
Chapter 4 Preparing Video Assets 65
There are three aspects to choosing a GOP setting: the GOP pattern, the GOP length, and
whether the GOP is “open” or “closed.”
:04 :05 :06 :07 :08 :09 :10 :11 :12 :13 :14 :15 :16 :17 :18
Closed GOP
(IBBP, 15 Frames)
I B B P B B P B B P B B P B P
GOP Pattern
The GOP pattern determines the ratio of P- to B-frames within a GOP. The most common
patterns used for DVD are IBP and IBBP. All three frame types do not have to be used in
a pattern; an IP pattern is also used in special circumstances.
IBP and IBBP GOP patterns, in conjunction with longer GOP lengths, produce the most
efficient encodes. Smaller GOP patterns with shorter GOP lengths work better with video
that has quick movements.
Some encoders can force I-frames to be added sporadically throughout a stream’s GOPs.
These I-frames can be placed manually by someone watching for sudden video changes
or automatically by an encoder detecting scene changes. You can place markers in
Final Cut Pro to identify specific frames to have an I-frame, either for use as a chapter
marker or to manually identify high motion areas. See Adding Markers to Your Video for
more information.
The integrated MPEG encoder uses a GOP pattern of IBBP.
GOP Length
Longer GOP lengths produce more efficient encodes by reducing the number of I-frames
but are less desirable during short-duration effects such as quick fades and quick camera
pans.
• SD-Based DVDs: The maximum GOP length for SD projects is 18 frames for NTSC or
15 frames for PAL. The minimum GOP length depends on the GOP pattern. For example,
an IP pattern can have a length as short as two frames.
The integrated MPEG encoder uses a GOP length of 15 frames for NTSC and 12 frames
for PAL SD assets.
• HD-Based DVDs: Because HD projects can use both interlaced and progressive video
assets, they have different GOP length maximums.
• NTSC interlaced assets: 18 frames per GOP
• NTSC progressive assets: 36 frames per GOP
• PAL interlaced assets: 15 frames per GOP
• PAL progressive assets: 30 frames per GOP
66 Chapter 4 Preparing Video Assets
Note: 24p assets have their GOP structure based on their display rate, not the encoded
rate. A 24p asset encoded to play in an NTSC project has a display rate of 29.97 interlaced
frames (with an 18 frames per GOP maximum) or 59.94 progressive frames (with a
36 frames per GOP maximum).
The integrated MPEG encoder uses a GOP length of 15 frames for NTSC and 12 frames
for PAL HD assets.
Open or Closed GOPs
An open GOP allows the B-frames from one GOP to look at an I- or P-frame from an
adjacent GOP. Open GOPs are more efficient, but cannot be used with multi-angle or
mixed-angle titles. A closed GOP keeps all references within itself, standing alone with
respect to other GOPs. DVD Studio Pro works with either type in single-angle titles and
requires closed GOPs with multi-angle and mixed-angle titles.
It is important to know that the same pattern can provide different results when used
with an open or closed GOP. For example, the integrated MPEG encoder uses a closed
GOP type, and it starts its IBBP pattern with an I-frame. Other encoders using an open
GOP may start with a B-frame. In this case, starting with a B-frame is a little more efficient;
if you start with an I-frame, an extra P-frame must be added to the end (a GOP cannot
end with a B-frame).
General Quality Issues
The quality of the MPEG encoding determines the quality of the title. It is well worth
putting some effort into getting the best possible MPEG encoding environment. For
example, start with the best quality source material you can. An uncompressed digital
source is the best, followed by a DV source, and then an analog Component source. Of
the other analog formats, S-Video (Y/C) is much preferable to Composite.
Noisy Video
Because a large portion of MPEG’s compression power depends on its ability to locate
areas of the image that do not change between successive frames, “noisy” video can
reduce the efficiency of MPEG encoding. While the actual video may be identical between
two frames, if there are noise artifact differences between the two frames, they are
detected as a change in video and require more bits to encode. A lot of noise causes poor
encodes, because the encoding resources are tied up trying to faithfully reproduce the
noise.
Transcoding Artifacts
Every time video is transcoded from one format to another—for example, from analog
to digital, or DV to MPEG-2—artifacts are introduced into it. The visibility of these artifacts
depends on the quality of the transcoding device and the content. While transcoding
cannot be avoided, its effects can be minimized. Use the highest quality equipment and
software you can, and choose products that work well together and support each other’s
formats.
Chapter 4 Preparing Video Assets 67
Using the Integrated MPEG Encoder
When QuickTime assets that are not DVD-compliant are imported into a DVD Studio Pro
project, they must be made DVD-compliant. DVD Studio Pro uses its integration with
Compressor to encode these assets.
This integration with Compressor provides simplified encoding functionality, with the
more advanced attributes automatically set.
Note: If you would like to encode the assets using more advanced Compressor
functionality or to take advantage of distributed encoding, you can encode the assets
directly in Compressor.
For video assets, the integrated MPEG encoder outputs an MPEG-2 video stream with a
closed GOP pattern and a fixed GOP size (15 frames for NTSC and 12 frames for PAL). The
exported MPEG video stream can be used for multi-angle tracks. The file type is “.m2v.”
See Settings in the MPEG-2 SD and MPEG-2 HD Tabs for information on configuring other
aspects of the integrated encoder.
If the file to be encoded has audio multiplexed together with the video, the audio is
encoded as a PCM audio file and given the same name as the video file, but with an “.aiff”
extension.
See Preparing Audio Assets for more information on audio formats.
Transcoding with the Integrated MPEG Encoder
If you import a QuickTime asset whose video standard is different from the project’s
current setting, the integrated MPEG encoder automatically transcodes the asset to the
project’s video standard while encoding it. For example, if you are working on a PAL
project and accidentally import an NTSC QuickTime file, the NTSC file is encoded as a
PAL asset and is imported into the project. Similarly, if you import an HD asset into an
SD project, the HD asset is automatically transcoded to SD.
You should be aware, though, that the integrated encoder uses the default Compressor
Frame Controls settings (which control the quality of frame size and rate conversions),
and the results you get may not be suitable for use in a project. Using Compressor
directly or any of a variety of third-party products can provide good transcoding results.
You may also choose to have a facility that specializes in video standards conversion
transcode the video.
Configuring the Integrated MPEG Encoder
DVD Studio Pro Preferences contain the settings that determine how DVD Studio Pro uses
the integrated MPEG encoder.
68 Chapter 4 Preparing Video Assets
To configure the integrated MPEG encoder
1 Choose DVD Studio Pro > Preferences.
2 Click Encoding to open the Encoding pane.
3 Configure the settings in the Encoding pane. See Encoding Preferences for information
about the options in this pane.
4 Click Apply to enable the settings, then click OK to close the Preferences window.
Encoding Preferences
The Encoding pane of DVD Studio Pro Preferences contains two tabs: MPEG-2 SD and
MPEG-2 HD. Each tab has the same settings, with the exception of the higher bit rate
settings allowed in the MPEG-2 HD tab.
The settings in the MPEG-2 SD tab are automatically applied to all QuickTime video assets
added to an SD project (including those with an HD video resolution) and assets with an
SD video resolution added to an HD project. The MPEG-2 HD tab’s settings are applied
to QuickTime video assets with an HD video resolution added to an HD project. (An
exception are H.264 and HDV QuickTime assets, which are already properly encoded.)
Settings in the MPEG-2 SD and MPEG-2 HD Tabs
• Aspect Ratio: Select the aspect ratio to use.
• 4:3: This aspect ratio is only available for SD video assets.
• 16:9: This aspect ratio is supported by both SD and HD video assets. Note that
selecting 16:9 does not convert the video to the 16:9 aspect ratio. The file to be
encoded must already be in a 16:9 anamorphic format. See What Exactly Is a 16:9
Asset? for more information.
Chapter 4 Preparing Video Assets 69
• Start: Sets the starting timecode of the encoded MPEG stream. This is most often set
to match the timecode of the original video, ensuring that any timecode-based lists
you have, such as a chapter list, marker positioning file, or subtitle file, match the
encoded video.
• Drop Frame: Select this checkbox to use drop frame timecode for assets using the NTSC
frame rate.
• Field Order: Choose the field order (Top or Bottom) that matches the video being
encoded. This is also known as the field dominance setting in other products. Each
interlaced NTSC and PAL video frame is comprised of two fields, each containing every
other video line. The top field is also known as field two, the upper field, or the odd field.
The bottom field is also known as field one, the lower field, or the even field.
If the field order is set incorrectly, any motion in the video will appear very jagged when
played back. Most professional and DV sources are field one dominant, and should use
the Bottom setting. If you are unsure of the field order of your source video, choose
Auto to let the encoder attempt to determine the field order.
Note: The Field Order setting does not apply to progressive scan video.
• Mode: You can choose from three encoding modes, each with its own advantages and
disadvantages.
See MPEG Encoding Methods for more information on the encoding methods.
• One Pass: With this option chosen, the encoder uses a one-pass encoding method
with a constant bit rate (CBR). Note that the integrated MPEG encoder One Pass
mode actually varies the bit rate a small amount.
• One Pass VBR: With this option chosen, the encoder uses the one-pass variable bit
rate (VBR) encoding method.
• Two Pass VBR: With this option chosen, the encoder uses the two-pass VBR encoding
method (one pass to create a motion profile of the video and a second pass to perform
the encode).
• Bit Rate: Set the bit rate for the One Pass encoding method and the basic bit rate for
the One Pass VBR and Two Pass VBR encoding methods. When using one of the VBR
encoding methods, you cannot set Bit Rate any higher than 85% of the Max Bit Rate
setting. See Choosing a Bit Rate for SD Projects for more information.
• Max Bit Rate: Set the maximum bit rate that can be used during a One Pass VBR or Two
Pass VBR encode. You cannot set the Max Bit Rate setting lower than the Bit Rate setting
or 5 Mbps (whichever is higher). Because the VBR methods are most effective when
the maximum bit rate is about double the basic bit rate, or at least 1 to 3 Mbps higher
than the basic bit rate, the Max Bit Rate setting is forced to be higher than the Bit Rate
setting.
Note: The Max Bit Rate setting does not affect the size of the encoded file—it only sets
the upper limit that can be used during the encode.
70 Chapter 4 Preparing Video Assets
• Motion Estimation: Choose a Motion Estimation setting that provides a balance between
quality and speed of encoding. This setting controls how much time is spent determining
the motion between video frames.
• Good: The fastest Motion Estimation setting. This mode does well even with significant
amounts of motion between frames, if the motion has minimal interfield motion
within frames. For example, footage that has been exposed to frame-rate conversion
or other effects processes tends to have little interfield motion. In general, use Good
with the One Pass encoding mode.
• Better: A good general purpose Motion Estimation setting. The Better mode provides
good results even with complex interlaced motion. Better works well for almost all
types of interlaced video sources, even shaky footage from hand-held consumer
camcorders. In general, use Better with One Pass VBR and Two Pass VBR.
• Best: This is the highest quality Motion Estimation setting and should be used for
the most demanding and complex motion for interlaced sources. It is slower than
the Better mode. In general, use the Best mode to maximize quality when using One
Pass VBR or Two Pass VBR.
• Reset to Factory Defaults: Click this to restore the current tab’s settings to the default
settings.
Settings Outside of the Tabs
• Method: Select when you want the asset to be encoded.
Note: An advantage of selecting “Background encoding” is that, once the assets are
encoded, the encoded versions of them appear in the Simulator and the Viewer when
playing a track. This makes it possible to see the video as it will appear on the DVD,
and not the QuickTime version. See Is That the QuickTime or MPEG Encoded Version?
for more information.
• Background encoding: The encoding begins as soon as you import the asset. The
encoding takes place in the background, allowing you to continue working on your
project. A progress bar appears in the Status column of the Assets tab. Once the
encoding process finishes, the Status column displays Done. See Default Columns
in the Assets Tab for more information.
• Encode on build: The encoding does not start until you complete your project and
build the VIDEO_TS or HVDVD_TS files.
Using the Integrated MPEG Encoder
Depending on the Method setting in Encoding Preferences, video assets can either begin
encoding as soon as you add them to your project, or they can wait until you perform a
build of the project.
Chapter 4 Preparing Video Assets 71
Is That the QuickTime or MPEG Encoded Version?
When you import QuickTime assets and assign them to elements in your project, it can
be important to know whether you are seeing the original QuickTime version of the
asset or the MPEG encoded version in the Viewer or Simulator. Seeing the MPEG encoded
version has the advantage of allowing you to see the video as it will appear when the
DVD is played. The disadvantage of seeing the MPEG encoded version is that the video
must be encoded first.
The Method setting in the Encoding pane of DVD Studio Pro Preferences controls whether
the encoded versions of the assets can be available while you are authoring the project.
With “Background encoding” selected, you will be able to see the encoded versions of
the assets as soon as they are encoded. With “Encode on build” selected, you will not
be able to see the encoded versions until you build the project.
There are some guidelines DVD Studio Pro uses to determine whether to show the
original QuickTime version of the asset or the MPEG encoded version:
• When you view an asset from the Assets tab in the Viewer, you will see the QuickTime
version, whether the encoded version is available or not.
• When you view an asset from the Track Editor, you will see the encoded version (if
available). This is also true when you view the track in the Simulator.
• When you view an asset in the Menu Editor, you will see the QuickTime version,
whether or not the encoded version is available. This is also true when you view the
menu in the Simulator.
When you import a QuickTime video asset into DVD Studio Pro, the current Encoding
Preferences settings are assigned to it. If you change the Encoding Preferences settings
after you have imported a QuickTime video asset, those changes are applied only to new
assets you import—they are not applied to existing assets.
Verifying and Changing Encoding Settings
If your project contains a mixture of 4:3 and 16:9 assets or has some assets you want to
encode differently than others, you must be sure to set the Encoding Preferences settings
before you import the assets. You can use the Encoder Settings dialog to verify and
change the encoding settings on assets that have been imported.
To change the encoding settings after importing an asset
Do one of the following:
μ Select the asset and choose File > Encoder Settings (or press Command-E).
μ Control-click the asset in the Assets tab, then choose Encoder Settings from the shortcut
menu.
72 Chapter 4 Preparing Video Assets
The Encoder Settings dialog appears with the same settings found in the Encoding
Preferences pane, with HD projects getting an added Resolution setting.
When you have the “Background encoding” method selected and you make any changes
in the Encoder Settings dialog, one of two things happens:
• If you change the bit rate setting: The current file, whether a complete or partially
complete file, is left as is and the encoder starts encoding a new file. This allows you
to compare the quality of the two bit rates. If you decide to continue the encoding of
the partially completed file, you can set the bit rate (and all other settings, if you have
made changes) to the value it used, and the encoder will continue encoding it.
Note: If the encoded files are being written to the project bundle, they are deleted
regardless of whether or not you change the bit rate setting.
• If you do not change the bit rate setting: The original asset is deleted, whether a complete
or partially complete file, and a new encoded file is created. For example, if you want
to see the difference between one-pass VBR and two-pass VBR encoding and want to
keep the files from both encoding sessions, you need to rename or move the completed
one-pass VBR encoded file before re-encoding with the two-pass VBR setting.
If you have the “Encode on build” method selected, these changes will apply once you
build your project.
Encoding Settings in HD Projects
Because an HD project can use assets with a wide variety of video resolutions, the Encoder
Settings dialog contains a Resolution pop-up menu that shows the asset’s resolution.
You are also able to change an asset’s video resolution by choosing a setting from the
Resolution pop-up menu.
SD resolution assets (720 x 480i and 720 x 576i) in HD projects can use a bit rate up to
15 Mbps. The Bit Rate setting in the Encoder Settings dialog will not go beyond 15 Mbps
when an SD resolution is chosen.
Important: Encoding an asset at a resolution other than its native resolution may result
in unacceptable artifacts appearing in the video.
How the Encoded Files Are Named
When you import QuickTime video assets into DVD Studio Pro, the integrated MPEG
encoder names the encoded files as follows:
• The first half is the complete original filename, including its extension.
• The second half has three parts—the video standard (NTSC or PAL), the encoding bit
rate (shown as a four-digit number), and the “.m2v” extension.
For example, if you import an asset named “Main Program.mov,” use the NTSC standard
and a bit rate of 5.5 Mbps, the MPEG-encoded filename will be “Main
Program.mov_NTSC_5500.m2v.”
Chapter 4 Preparing Video Assets 73
Audio files created by the embedded AIFF encoder use the original filename with an
added “.aiff” extension.
Encoding Video for Multi-Angle Tracks
DVD Studio Pro supports multi-angle and mixed-angle video. With multi-angle video, a
track can contain up to eight alternate video streams that last the entire length of the
main stream (for a total of nine video streams per track). With mixed-angle video, the
alternate streams do not last the entire length of the main stream, so you can have
alternate streams in only those locations where they are needed, saving disc space. In
either case, the viewer can switch among angles using the Angle button on the remote
control.
Because different MPEG encoders can produce slightly different GOP structures, you
should use the same encoder for all streams.
Note: Switching angles while playing a DVD affects only the video playback. The audio
remains on the currently selected stream.
Considerations for Mixed-Angle Tracks
Mixed-angle tracks provide the possibility of interesting playback scenarios. The illustration
below shows a track that has two sections with three alternate angles, with playback set
to angle 3.
Angle
1
2
3
4
Mixed-angle track with stream 3 playing
There are some additional considerations when creating a mixed-angle track:
• Within a track, you can use markers to define multiple sections to use additional angles,
but each section must have the same number of streams. For example, you cannot
have one section early in the track with two alternate streams and a section later in
the track with three alternate streams—both sections must have either two or three
streams.
• Each alternate angle section can be a different length, but all streams within a section
must be the same length. For example, you can have one mixed-angle section early in
the track that is 10 seconds long and a second mixed-angle section that is 20 seconds
long. All alternate streams in the first mixed-angle section must be 10 seconds long;
all alternate streams in the second mixed-angle section must be 20 seconds long.
74 Chapter 4 Preparing Video Assets
• You cannot use still images in the V2 through V9 streams. You can use still images in
the V1 stream as long as they are outside of the mixed-angle areas (places where video
is present in the V2 through V9 streams).
Requirements for MPEG Streams in Multi- and Mixed-Angle Video
The integrated MPEG encoder produces streams that meet the criteria for multi- and
mixed-angle use:
• With multi-angle tracks, all streams must be the same length. With mixed-angle tracks,
all alternate streams in each mixed-angle section must be the same length.
• All streams must have the same resolution and frame rate.
• The length and pattern of GOPs (Group of Pictures) must be the same for all streams
(angles). If you are not using the integrated MPEG encoder, use an encoder that allows
you to turn scene detection off.
• All GOPs should be closed. You will not be able to cleanly switch between the streams
if you use open GOPs.
Using Final Cut Pro and Compressor
In addition to the chapter and compression markers you can manually add to a video
clip in Final Cut Pro and Final Cut Express, compression markers are automatically added
at each edit point.
The manually added chapter and compression markers (also known as named markers)
are processed by the integrated MPEG encoder and by Compressor when used directly.
Be sure to add identically placed chapter and compression markers to each video clip
you intend to use in a mixed- or multi-angle track.
The integrated MPEG encoder ignores the automatic compression markers, because they
can alter the GOP structure and make the clip unusable for mixed- and multi-angle tracks.
You can either set Compressor to process the automatic compression markers or ignore
them. The Extras pane of the Compressor MPEG-2 presets includes an “Include chapter
markers only” checkbox. Select the checkbox to force Compressor to ignore the automatic
compression markers if you are encoding clips for use in a mixed- or multi-angle track.
See Using Compression Markers to Improve the MPEG Encode for more information about
compression markers.
Maximum Bit Rates for Multi- and Mixed-Angle Tracks
The maximum bit rate for a multi- or mixed-angle track is different from other tracks. Due
to the way the DVD specification requires video streams to be multiplexed together, the
number of video streams determines the maximum video bit rate you can use. Following
is a list of maximum combined bit rates (highest bit rate video stream + all audio streams
+ all subtitle streams) you can use for each multi- and mixed-angle track.
Chapter 4 Preparing Video Assets 75
Important: When calculating the combined bit rate for a track, you only need to add in
the bit rate of one video stream, but it needs to be the stream with the highest bit rate.
SD Projects
• 5 angles or fewer: 8 Mbps maximum for the track’s combined bit rate
• 6–8 angles: 7.5 Mbps maximum for the track’s combined bit rate
• 9 angles: 7 Mbps maximum for the track’s combined bit rate
HD Projects
• 2 to 9 angles: 24 Mbps maximum for the track’s combined bit rate
Note: 1080i HDV video uses a bit rate of 25 Mbps, which is higher than the maximum
allowable multi-angle bit rate. 720p HDV video uses a bit rate of 19 Mbps, which,
depending on the number and type of audio and subtitle streams, can be used in a
multi-angle project.
Adding Markers to Your Video
You can add markers to your tracks in the DVD Studio Pro Track Editor. You can use these
markers in a variety of ways—the most common usage is to provide a place in a track to
which a button on a chapter index menu can connect.
Apple video editing applications—Final Cut Pro and Final Cut Express—let you add
markers while you edit the video. You can also add markers with Compressor. There are
two types of markers that are important to DVD Studio Pro:
• Chapter markers: DVD Studio Pro can import these markers and display them in the
Track Editor.
• Compression markers: The integrated MPEG encoder uses these markers to place custom
I-frames in the MPEG-encoded file.
Because DVD Studio Pro can import chapter markers added within Final Cut Pro,
Final Cut Express, and Compressor, you can choose to create the markers in the editing,
compressing, or DVD authoring process. When you import video with chapter markers
into DVD Studio Pro, you see the marker position and marker name you set appear in the
Track Editor. The markers can then be edited within DVD Studio Pro exactly as if you had
manually created them there.
Note: The markers embedded in MPEG files encoded with the DVD Studio Pro 4 version
of the integrated MPEG encoder are not compatible with 1.X versions of DVD Studio Pro.
Placing Chapter Markers Exactly Where You Want Them
Adding markers in Final Cut Pro, Final Cut Express, or Compressor offers the potentially
large advantage of allowing you to position them on the exact frame where you want
them to appear.
76 Chapter 4 Preparing Video Assets
When adding markers to a track in DVD Studio Pro, you can only place them at GOP
boundaries. This means that you will often not be able to place them exactly where you
want them. When you place the markers with a video editor, the integrated MPEG encoder
automatically forces an I-frame at that position, placing a GOP boundary exactly at every
marker and providing perfect marker placement. Markers placed in Compressor before
it is used to encode the video are also perfectly placed.
Using Compression Markers to Improve the MPEG Encode
MPEG encoding is based on the placement of I-frames, P-frames, and B-frames within a
GOP (see Working with GOP Settings). The I-frames encode a complete frame, while the
P-frames and B-frames only encode the parts of the video that change between the
I-frames. When there is a sudden change in the video content on a P-frame or B-frame,
such as a cut to a new scene, the output of the MPEG encoder can have significant artifacts
until it reaches the next I-frame.
The integrated MPEG encoder uses compression markers to force an I-frame into the
encode at a specific frame, modifying the surrounding GOP structure to keep the encode
DVD-compliant.
Adding compression markers at places in the video where sudden transitions occur can
produce better MPEG encodes when you use the integrated MPEG encoder. You can
manually place compression markers in Final Cut Pro and Final Cut Express. As with chapter
markers, an I-frame is forced at their position. The difference is that compression markers
do not import into DVD Studio Pro as chapter markers and do not count against the 99
chapter marker limit for a track.
Note: Final Cut Pro automatically adds compression markers at each edit point. These
are not processed when encoding the video with the integrated MPEG encoder. Only
compression markers you manually add in Final Cut Pro are processed. See Using
Final Cut Pro and Compressor for information on these markers and Compressor.
About the Markers You Add in an External Editor
There are several issues to be aware of when adding chapter and compression markers
in an external video editor:
• DVD tracks can support a maximum of 99 chapter markers. Because compression
markers are only used in the MPEG encoding process, they do not count as chapter
markers and do not count against the 99-marker limit. Because you can add several
video assets to a single track in DVD Studio Pro, you must keep in mind that the
99-marker limit applies to the total markers of all assets on the track.
• You cannot place markers closer than one second to each other or within one second
of the clip’s start or end in the editor. This gives the encoder the flexibility to modify
the GOP structures in that area to accommodate the added I-frame.
Chapter 4 Preparing Video Assets 77
• If you are going to use a video asset to create a mixed-angle or multi-angle track, all
video streams must have identical MPEG structures. If you add chapter or compression
markers to one stream, you must add them at the exact same place in the other streams.
Adding and Configuring Markers in Final Cut Pro and Final Cut Express
Using Final Cut Pro or Final Cut Express, you can add markers to a clip or to a sequence.
If you intend to export the markers for use with DVD Studio Pro, it is important that you
place the markers correctly.
• If you export a clip by selecting it in the Browser: The chapter and compression markers
can be exported.
• If you export a sequence by selecting it in either the Browser or the Timeline: Only markers
in the sequence are exported—markers in any clips in the sequence are ignored.
For details on adding markers to clips and sequences, see the Final Cut Pro User Manual.
The following instructions assume you are familiar with Final Cut Pro and Final Cut Express.
Note: The following instructions are for Final Cut Pro 4 through Final Cut Pro 5, and all
versions of Final Cut Express. If you are using a different version of Final Cut Pro, you may
have different choices.
To configure a marker in Final Cut Pro
1 Select the marker and open the Edit Marker dialog.
2 Enter a name for the marker.
This is the name that appears in the Track Editor in DVD Studio Pro and can be used as
button text.
3 Click either Add Chapter Marker or Add Compression Marker.
Text is added to the Comment area.
Only chapter markers appear in DVD Studio Pro. Because each chapter marker forces an
I-frame at that location, it is unnecessary for you to add both marker types.
78 Chapter 4 Preparing Video Assets
To export a Final Cut Pro or Final Cut Express movie with markers
1 Do one of the following:
• If exporting a clip with markers: Select the clip in the Browser.
• If exporting a sequence with markers: Select the sequence in either the Browser or the
Timeline.
2 Choose File > Export > QuickTime Movie.
The Save dialog appears.
3 Choose the type of markers to export from the Markers pop-up menu.
Choose DVD Studio Pro Markers to export both compression and chapter markers, or
choose the type (compression or chapter) you want to export.
4 Ensure all other settings are correct, then click Save.
Chapter 4 Preparing Video Assets 79
About H.264 Video
You can use the H.264 video format, also known as MPEG-4 part 10 and the Advanced
Video Codec (AVC), in your HD projects. The H.264 encoder is twice as efficient as the
standard MPEG-2 encoder. When compared to encoding with MPEG-2, this means that
with the H.264 encoder:
• You can use a lower bit rate to get the same quality, resulting in smaller files.
• You can use the same bit rate and get better quality with the same file size.
While DVD Studio Pro does not include an embedded H.264 encoder, Compressor includes
presets specifically for use in HD projects. You are able to modify these presets to suit
your specific needs.
Important: You must use H.264 for HD DVD presets in Compressor to encode H.264 video
assets for native use in DVD Studio Pro HD projects.
Natively Supported H.264 Formats
DVD Studio Pro natively supports the following H.264 formats. Native support means that
the files are not reencoded when they are imported into the appropriate NTSC or PAL
HD project. In some cases, however, frames may be set to repeat during playback to
create the HD DVD specification’s required frame rate.
NTSC HD projects natively support the following formats:
• 720p24
• 720p30
• 720p60
• 1080p24
• 1080p30
PAL HD projects natively support the following formats:
• 720p25
• 720p50
• 1080p25
H.264 Bit Rates
The process of choosing a bit rate for H.264 video is similar to choosing a bit rate for
MPEG-2 video—the higher the bit rate the better the quality, but the more disc space
that is required. In general, you are able to use lower bit rates than you would use with
an MPEG-2 encoder.
While the maximum bit rates you can use are identical to MPEG-2 video, the minimum
bit rates are lower.
80 Chapter 4 Preparing Video Assets
Video format MPEG-2 range H.264 range
Standard definition 2.0 Mbps to 15.0 Mbps 0.5 Mbps to 15 Mbps
High definition 2.0 Mbps to 29.4 Mbps 1.5 Mbps to 29.4 Mbps
Important: It is strongly suggested that you use H.264 bit rates of 18 Mbps or less to
ensure DVD compatibility.
H.264 Frame Sync Setting
The H.264 encoder in Compressor contains a Frame Sync setting. This setting defines
how often the encoder places a key frame, similar to an MPEG-2 I-frame, in the stream.
The value is in seconds, with one half second increments. The range is from 0.5 seconds
to 5.0 seconds.
The smaller the Frame Sync value is, the more key frames are placed in the stream, which
results in better quality but with a larger file size. Higher values result in a smaller file but
with reduced quality.
The Frame Sync setting does not affect where you can place markers in the Track Editor.
Due to the structure of the H.264 stream, you are able to place a marker about every half
second.
About HDV Video
DVD Studio Pro natively supports many of the HDV video formats currently in use. Native
support means that the files are not reencoded when they are imported into the
appropriate NTSC or PAL HD project. In some cases, however, frames may be set to repeat
during playback to create the HD DVD specification’s required frame rate.
You can edit the following HDV video formats directly in Final Cut Pro and use them
directly in your HD DVD Studio Pro projects without the need to transcode them.
Note: None of these formats are supported in SD DVD projects. For the best results, use
Compressor to convert any unsupported HDV formats to supported HDV, MPEG-2, or
H.264 formats. You can use Compressor to convert these formats (and any other HD-format
video) to an SD format that you can use in your SD projects.
NTSC HD projects natively support the following formats:
• 720p24
• 720p30
• 720p60
• 1080p24
• 1080p30
• 1080i60
Chapter 4 Preparing Video Assets 81
PAL HD projects natively support the following formats:
• 720p25
• 720p50
• 1080p25
• 1080i50
Note: You can import 24 fps and 23.98 fps HDV-format video into PAL projects, but they
are not treated natively and are reencoded to a supported MPEG-2 format.
Using HDV Video from the Final Cut Pro Capture Scratch Folder
The HDV video clips that Final Cut Pro captures from some HDV sources cannot be
imported directly into DVD Studio Pro. Only HDV video clips exported from Final Cut Pro
are formatted correctly for use in an HD DVD project. When the clips are captured, they
may not have legal opening and closing GOP structures. When HDV clips are exported
from Final Cut Pro, the opening and closing GOP structures are made legal.
DVD Video Source Settings Summary
The following sections, DVD Video Settings for SD Projects and DVD Video Settings for
HD Projects, summarize the required settings for MPEG and other sources that can be
used with DVD Studio Pro.
Note: All assets within a project must use the same video standard (all NTSC or all PAL).
For the other settings, such as encoding format, resolution, and bit rates, you can mix
assets with different settings.
DVD Video Settings for SD Projects
The following settings work with SD projects. With the exception of MPEG-1 video, these
same settings can also be used in HD projects.
MPEG Type
Both MPEG-1 and MPEG-2 are supported, at the video resolutions listed below.
MPEG Structure
Only elementary streams are supported.
MPEG Bit Rates
Multi-angle and mixed-angle tracks have stricter requirements. See Encoding Video for
Multi-Angle Tracks for details.
• MPEG-1 Video: Up to 1.856 Mbps (1.15 Mbps is typical.)
• MPEG-2 Video: Up to 9.8 Mbps (The typical maximum used is 8 Mbps.)
82 Chapter 4 Preparing Video Assets
Video Resolution
DVD Studio Pro supports a variety of resolutions. See Choosing a Video Resolution for
more information.
• MPEG-1: The following resolution is supported:
• SIF (Standard Interface Format): 352 x 240 NTSC; 352 x 288 PAL
• MPEG-2: The following resolutions are supported:
• SIF: 352 x 240 NTSC; 352 x 288 PAL
• 1/2 D1: 352 x 480 NTSC; 352 x 576 PAL
• Cropped D1: 704 x 480 NTSC; 704 x 576 PAL (matches analog blanking)
• Full D1: 720 x 480 NTSC; 720 x 576 PAL
Frame Rate
There are three supported frame rates:
• NTSC with 525 lines (29.97 fps)
• PAL with 625 lines (25 fps)
• Versions of 23.976 fps video using either the NTSC or PAL video resolutions
Aspect Ratio
4:3 and anamorphic 16:9 are supported. (See What Exactly Is a 16:9 Asset?)
Chroma Format
The DVD specification requires a 4:2:0 chroma format.
GOP Size (Maximum)
18 frames NTSC; 15 frames PAL
GOP Size (Typical)
15 frames NTSC; 12 frames PAL
DVD Video Settings for HD Projects
The following settings work with HD projects.
MPEG Type
MPEG-2, HDV, and H.264 are supported, at the video resolutions listed below.
MPEG Structure
Only elementary streams are supported.
MPEG Bit Rates
Multi-angle and mixed-angle tracks have stricter requirements. See Encoding Video for
Multi-Angle Tracks for details.
• SD MPEG-2 Video: From 2.0 Mbps to 15.00 Mbps
Chapter 4 Preparing Video Assets 83
• HD MPEG-2 Video: From 2.0 Mbps to 29.40 Mbps (The typical maximum used is 27 Mbps.)
Note: HD assets include the 480p and 576p resolutions.
• HDV Video: HDV video is MPEG-2 encoded. The bit rate depends on the video resolution:
• 1280 x 720p: 19 Mbps
• 1920 x 1080i: 25 Mbps
H.264 Bit Rates
Multi-angle and mixed-angle tracks have stricter requirements. See Encoding Video for
Multi-Angle Tracks for details.
• SD H.264 Video: From 0.5 Mbps to 15.00 Mbps
• HD H.264 Video: From 1.5 Mbps to 29.40 Mbps (The typical maximum used is 27 Mbps.)
Note: HD assets include the 480p and 576p resolutions.
Video Resolution
DVD Studio Pro supports a variety of resolutions. See Choosing a Video Resolution for
more information.
• SIF: 352 x 240 NTSC; 352 x 288 PAL
• 1/2 D1: 352 x 480 NTSC; 352 x 576 PAL
• Cropped D1: 704 x 480 NTSC; 704 x 576 PAL (matches analog blanking, only the interlaced
version is supported)
• Full D1: 720 x 480 NTSC; 720 x 576 PAL (both interlaced and progressive versions)
• 720p: 1280 x 720 (NTSC and PAL, progressive)
• Anamorphic 1080i: 1440 x 1080 (NTSC and PAL, interlaced, anamorphic 16:9)
• 1080i: 1920 x 1080 (NTSC and PAL, interlaced)
Frame Rate
There are three supported frame rates:
• NTSC with 525 lines (29.97 fps)
• PAL with 625 lines (25 fps)
• Versions of 23.976 fps video using either the NTSC or PAL video resolutions
Aspect Ratio
4:3, anamorphic 16:9, and true 16:9 are supported.
Chroma Format
The DVD specification requires a 4:2:0 chroma format.
84 Chapter 4 Preparing Video Assets
GOP Size (Maximum)
18 interlaced frames or 36 progressive frames NTSC; 15 interlaced frames or 30 progressive
frames PAL
GOP Size (Typical)
15 frames NTSC; 12 frames PAL
Chapter 4 Preparing Video Assets 85
Before you can begin building a DVD project, you must have correctly prepared audio
source material.
This chapter covers the following:
• Introduction to Preparing Audio Sources (p. 87)
• Audio Formats Not Supported by the DVD Specification (p. 88)
• Audio Formats Supported by the DVD Specification and DVD Studio Pro (p. 88)
• Using Multiple Audio Formats in Your Project (p. 91)
• Required Audio Formats for SD Projects (p. 91)
• DVD Audio Source Settings Summary (p. 92)
Introduction to Preparing Audio Sources
The DVD specification restricts the types of audio formats that you can include on a DVD.
There are also restrictions on mixing audio of different types within a track or set of menus.
There are also required audio formats to make a DVD-compliant disc.
Three areas in a DVD project can use audio sources:
• Tracks: This is the primary area that uses audio sources.
• Slideshows: This area can use a single audio source for the entire slideshow or individual
audio sources for each slide. See Preparing Slideshow Assets for more information.
• Menus: This area uses audio sources when you are creating motion menus. For the
most part, audio sources used for motion menus must follow the same rules as audio
sources used for tracks. See Preparing Menu Assets for more information.
See DVD Audio Source Settings Summary for a complete list of settings required for an
audio source to be DVD-compliant.
87
Preparing Audio Assets 5
Audio Formats Not Supported by the DVD Specification
If you import an audio format that is not supported by the DVD specification,
DVD Studio Pro automatically uses the embedded AIFF encoder to transcode the audio
file into an uncompressed AIFF format file. For example, if you import an MP-3 file (a file
format that is not supported by the DVD specification), DVD Studio Pro creates an AIFF
file from the MP-3 file and that is what is used by your project.
Note: Because an AIFF file is not compressed, its file size will be substantially larger than
the original MP-3 file. If disc space is an issue, you can use the AC-3 encoder in the
Compressor application to transcode the AIFF file to the Dolby Digital AC-3 format. See
Dolby Digital AC-3 Audio for more information.
Using AAC Audio Files from the iTunes Store
DVD Studio Pro is able to import and use AAC format audio files purchased from the
iTunes Store as long as the computer you are using them on is authorized to use them.
If you import iTunes Store files that the computer is not authorized to use, DVD Studio Pro
plays silence when it encounters those files. Additionally, if you select and try to play
an iTunes Store file that the computer is not authorized to play in the Audio tab in the
Palette, DVD Studio Pro plays silence. As with MP-3 files, AAC files are converted to AIFF
files.
Audio Formats Supported by the DVD Specification and
DVD Studio Pro
The following audio formats are supported by the DVD specification and can be imported
into DVD Studio Pro without using the embedded AIFF encoder.
• MPEG-1 Layer 2 audio
• Dolby Digital (AC-3) audio (mono up to six channels)
• DTS multichannel audio (preview not supported)
• PCM audio (pulse code modulation audio; used by the AIFF and WAVE formats)
Note: When importing DVD-compliant audio files, DVD Studio Pro imports only elementary
files (not multiplexed). See Elementary and Multiplexed MPEG Files for more information.
Uncompressed PCM Audio
Uncompressed audio is typically referred to as PCM, although the files usually have a
“.wav” or “.aif” extension. The DVD specification supports uncompressed PCM audio at
sample sizes of 16 bits and 24 bits and sample rates of 48 kHz or 96 kHz. Audio in this
format is completely compatible with DVD players worldwide and is of higher fidelity
than data-compressed audio. The disadvantage of PCM audio is the relatively large file
sizes, compared to compressed audio formats.
88 Chapter 5 Preparing Audio Assets
There are two common PCM audio formats:
• AIFF audio (Audio Interchange File Format-uncompressed PCM audio; the most common
Macintosh audio format)
• WAVE audio (Windows uncompressed PCM audio; the most common Windows audio
format, also referred to as WAV)
The DVD Studio Pro integrated MPEG encoder creates AIFF format files. In most cases,
DVD Studio Pro converts WAVE files into AIFF files.
Compressed Audio Formats
The DVD medium uses data-compressed (as opposed to sonically compressed) audio for
two purposes:
• To deliver discrete surround audio (5.1)
• To conserve bandwidth and disc space, allowing more room for video. This is especially
applicable in long-form material such as feature films, notably when the smaller DVD-5
medium is the target.
Data-compressed audio for DVD comes in a few forms, described next.
MPEG-1 Layer 2 Audio
For DVD products in PAL, MPEG-1 Layer 2 audio is compatible with all players. For NTSC
markets (North America, Japan), most (but not all) DVD players support playback of
MPEG-1 Layer 2 audio. If you create NTSC titles using MPEG audio, be aware that there
may be problems in playback on some players.
If you want to ensure that your data-compressed audio is compatible with all players for
NTSC, using the AC-3 format is recommended. See the next section for information on
encoding and authoring with AC-3 format audio.
Dolby Digital AC-3 Audio
There are two good reasons to use AC-3 format audio in your DVD production:
• To take advantage of 5.1 surround audio (five main speakers and a subwoofer—six
channels of audio total), which is supported by AC-3 but not by MPEG-1 Layer 2
• To produce stereo data-compressed audio that is fully compatible with every DVD
player in the NTSC markets of North America and Japan. You may run into some
compatibility issues with older DVD players in PAL countries.
You can use the AC-3 encoder in Compressor to encode everything from stereo to 5.1
surround audio. See Previewing AC-3 and DTS Audio for information on listening to
surround audio.
Chapter 5 Preparing Audio Assets 89
DTS Audio
DTS (Digital Theatre Systems) is an alternative format for surround audio. DVD Studio Pro
can import and use DTS audio files.
DVD Studio Pro supports DTS ES audio that can have up to 6.1 channels as well as audio
that uses either a 48 kHz or a 96 kHz sample rate and a 24-bit sample size.
Important: All DTS audio imported into DVD Studio Pro must use the compacted file
format, with a “.cpt” file extension. Additionally, DTS audio using a 44.1 kHz sample rate
will produce unusable results.
See Previewing AC-3 and DTS Audio for information on listening to surround audio.
Previewing AC-3 and DTS Audio
In most cases, the best way to verify AC-3 and DTS audio is to burn a disc that you can
play on a DVD player with suitable audio support. If you play the audio on your computer
using its built-in audio support, the following happens:
• When you play AC-3 audio from the Assets tab, one of the editors (Track, Story,
Slideshow, or Menu Editor), or the Simulator, the audio is automatically converted to
two-channel stereo for playback through your computer.
• Because there is no DTS decoder on your computer, you cannot hear DTS audio when
played from the Assets tab, one of the editors (Track, Story, Slideshow, or Menu Editor),
or the Simulator.
You are able to add an external AC-3 or DTS decoder to your computer to listen to your
surround sound audio from the Assets tab, one of the editors (Track, Story, Slideshow, or
Menu Editor), or the Simulator.
To configure DVD Studio Pro to use an external audio monitor
1 Choose DVD Studio Pro > Preferences.
2 Click the Simulator icon to show the Simulator preferences.
3 Choose your external audio monitor device from the Playback Output section’s Audio
pop-up menu.
Common choices include Built-in Audio, for normal system audio, and Built-in Audio
(S/PDIF), which uses your system’s optical digital audio output (if available) to output the
audio to an external AC-3 or DTS decoder.
4 Click Apply.
See External Video and Audio Monitoring for more information.
Another option is to build your project and use the Apple DVD Player. Similar to
DVD Studio Pro, you can configure DVD Player to use an external audio monitor.
90 Chapter 5 Preparing Audio Assets
To configure DVD Player for external audio decoder support
1 Open DVD Player.
2 Choose DVD Player > Preferences.
3 Click the Disc Setup icon to show the Disc Setup pane.
4 Choose the external audio device to use from the Audio Output pop-up menu.
5 Click OK.
Using Multiple Audio Formats in Your Project
A project can contain audio in a variety of formats; however, there are some restrictions
regarding mixing formats within an element or group of elements, such as menus.
When you are required to have the same audio format within an element or group of
elements, all settings must be the same:
• Audio type: AIFF, WAVE, PCM, AC-3, or MPEG-1 Layer 2
• Number of channels: This is especially true with the AC-3 audio format, because it
commonly supports a variety of channel configurations.
• Sample size: 16 bits or 24 bits
• Sample rate: 48 kHz or 96 kHz
• Bit rate: 64 kbps to 4608 kbps, depending on the audio type
Tracks
Each audio stream within a track can be in a different format. Within an audio stream,
however, the audio format must be the same for all clips.
Menus
All menus within a video title set (VTS) must use the same audio format. DVD Studio Pro
automatically creates additional VTS blocks as needed to support menus with different
audio formats. See VTS Editor for additional information.
Slideshows
When adding individual audio clips to each slide or when using multiple audio clips for
overall audio, all clips must use the same audio format.
Required Audio Formats for SD Projects
To ensure that a DVD will play on all SD-based DVD players, there is a DVD specification
requirement that at least one stream of audio for each element be in a specific format.
• For NTSC DVDs: At least one of the audio streams must be either PCM or AC-3.
• For PAL DVDs: At least one of the audio streams must be either PCM or MPEG
compressed audio.
Chapter 5 Preparing Audio Assets 91
Note: HD projects can use any supported audio format and do not require specific ones
to be present.
DVD Studio Pro verifies your project during the build process to ensure it is DVD-compliant.
The build log shows any issues that are found; however, the build will continue and you
can write your project to disc.
DVD Audio Source Settings Summary
Following is a summary of the required settings for MPEG and other audio sources that
can be used with DVD Studio Pro.
Note: All assets within a project must use the same video standard (all NTSC or all PAL).
For the other settings, such as encoding format, resolution, and bit rates, you can mix
assets with different settings.
DVD Audio Settings for SD Projects
The following settings work with SD projects. These same settings can also be used in
HD projects.
Bit Rates
The audio bit rate depends on the format and quality level you need (higher bit rates
provide better quality, but reduce the bit rate you can use with the video).
• MPEG-1 Layer 2 Audio: 64 to 384 kbps (192 kbps and 224 kbps are typical.)
• Dolby Digital AC-3: 64 to 448 kbps (192 kbps, 224 kbps, and 448 kbps [for 5.1] are typical.)
• DTS ES: 754.5 kbps or 1509.75 kbps
• Stereo PCM @ 16 Bits/48 kHz: 1536 kbps
• Stereo PCM @ 24 Bits/96 kHz: 4608 kbps
Audio Sample Rate
There are two supported audio sample rates:
• 16 bits or 24 bits
• 48 kHz or 96 kHz
DVD Audio Settings for HD Projects
The following settings work with HD projects.
Bit Rates
The audio bit rate depends on the format and quality level you need (higher bit rates
provide better quality, but reduce the bit rate you can use with the video).
• MPEG-1 Layer 2 Audio: 64 to 384 kbps (192 kbps and 224 kbps are typical.)
• Dolby Digital AC-3: 64 to 448 kbps (192 kbps, 224 kbps, and 448 kbps [for 5.1] are typical.)
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• DTS ES: 754.5 kbps or 1509.75 kbps
• Stereo PCM @ 16 Bits/48 kHz: 1536 kbps
• Stereo PCM @ 24 Bits/96 kHz: 4608 kbps
Audio Sample Rate
There are two supported audio sample rates:
• 16 bits or 24 bits
• 48 kHz or 96 kHz
Chapter 5 Preparing Audio Assets 93
Before you can begin building a DVD project, you must have correctly prepared menu
source material.
This chapter covers the following:
• Introduction to Preparing Menu Sources (p. 95)
• What Is a Menu? (p. 96)
• Creating a Menu (p. 96)
• Creating Graphics to Use in Menus (p. 97)
• Creating Overlays (p. 101)
• Creating a Layered Menu (p. 106)
• Creating Video for Motion Menus (p. 106)
• Defining the Menu Loop Point (p. 107)
• Creating Shapes (p. 108)
• Creating Graphics for Drop Zones and Buttons (p. 112)
Introduction to Preparing Menu Sources
This chapter describes the various components, such as backgrounds, overlays, buttons,
and drop zones, and strategies you can use to create menus in DVD Studio Pro.
The types of menu sources you need for your DVD project depend on the types of menus
you want to use:
• Will the backgrounds be still images or contain full-motion videos?
• Will you use the provided shapes for your buttons or create your own?
• Will you use the standard method of creating menus or the layered method?
Before you can know how to prepare your menu sources, you need to understand how
DVD Studio Pro uses them. Following is an overview of what makes up a menu and how
menus are used.
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Preparing Menu Assets 6
What Is a Menu?
Most DVD-Videos have at least one menu. The menu allows the viewer to choose what
to see. If no choices need to be made, such as with a looping movie at a sales kiosk, the
disc can be configured to immediately begin playing the movie, and no menu is required.
For DVDs that have a number of viewing options—such as multiple movies, chapter
selections, and bonus items—menus that are clear and logical can greatly enhance the
viewing experience. Menus that are cluttered, clumsy, and confusing may cause viewers
to become frustrated and give up trying to watch the title.
A menu consists of a background and one or more buttons. The background can be a
simple still image or a full-motion video (a motion menu). The background may or may
not contain content that relates to the buttons; it may be a scenic mountain view or a
multilayered graphic including images for each button. Some menus may also have audio.
Creating a Menu
Creating a menu involves two basic steps: selecting the background graphic or video,
and setting up the buttons. Selecting the background graphic or video is fairly simple;
the only challenge is when you use multilayer Photoshop files. Setting up the buttons
involves identifying where they are located by drawing boxes over them, and then setting
up their actions (what happens when they are activated) and the colors to display for
their different states.
DVD Studio Pro gives you two ways to create menus: the standard method, which uses
overlays and allows you to use shapes, templates, and add text; and the layered method.
• The standard method: The standard method is usually preferred. It is the most flexible,
allowing you to mix overlays with shapes, to use either stills or videos as the menu
background, and to include audio. You can also use the templates and styles included
with DVD Studio Pro for quick and consistent menu creation.
• For more information on overlays, see Creating Overlays.
• For a description of shapes, see Creating Shapes.
• For information on the templates and styles feature, see Using Templates, Styles, and
Shapes to Create Your Menus.
• For information on motion menus and setting the loop point, see Creating Video for
Motion Menus.
• The layered method: The layered method uses layers in a Photoshop (PSD) file to describe
each button’s possible states. Layered menus can also use overlays in addition to the
Photoshop layers. This method cannot be used with motion menus and cannot include
audio.
• For more information on overlays, see Creating Overlays.
96 Chapter 6 Preparing Menu Assets
• For a description of creating layered menus, see Creating a Layered Menu.
An easy source for menu backgrounds are frames grabbed from a track’s video. By setting
a marker on the frame you want, you can choose to save that frame as a TIFF file that can
then be imported and used as a menu background. You can also open the file in a graphics
program and add effects and text before using it as your menu’s background. See Grabbing
a Still Image from Your Movie for more information.
Creating Graphics to Use in Menus
When creating graphics for menus, you need to be aware of several considerations. Some
of these apply to all menu types, and some are specific to certain menu types, such as
layered menus, menus with a still background, or menus using an overlay.
Using Your Graphics Program
DVD Studio Pro is designed to import a wide variety of graphics formats, allowing you to
use almost any graphics program to create the menus and overlays.
Supported formats include:
• Adobe Photoshop PSD files
• PICT format files
• BMP format files
• JPEG format files
• QuickTime image files
• Targa (TGA) format files
• TIFF (TIF) format files
Additional support is also included for files that conform to the Adobe Photoshop (PSD)
format. DVD Studio Pro can recognize individual layers and allows you to assign them to
separate functions in a menu. You can even use the same file for several menus by
selecting the appropriate layers to use for each menu.
• Layers for standard overlay menus: When creating graphics for standard overlay menus,
you can select the layer (or layers, as is often the case) to use as the background and
the overlay. In this way, a single file can be used in several menus, even sharing elements
(such as a background image). To avoid confusion, assign clear names to each of the
layers.
• Layers for layered menus: When creating graphics for use as layered menus, in addition
to the layer (or layers) that make up the background, you must create at least two layers
for each button, one showing the selected state and the other showing the activated
state. To show the normal state of each button, you can either build it into the
background layer or create a third layer.
Chapter 6 Preparing Menu Assets 97
Tips for Creating Menu Graphics
Most of the following tips apply to all graphics programs. Several apply specifically to
Adobe Photoshop, although similar issues may exist in other graphics programs.
• Make horizontal lines a minimum of three pixels thick so they won’t flicker on TV screens.
For the same reason, avoid using typefaces with narrow lines. Serif fonts tend to be
more prone to flicker than sans serif fonts.
• Be sure to use a filter that constricts the colors in the graphic to NTSC or PAL color
space. To support broadcast bandwidths, NTSC and PAL video must use colors that are
substantially limited compared to those your graphics program can create. Highly
saturated colors create the biggest problems and produce the biggest disappointments
when viewed on a video monitor.
• Photoshop’s effects layers, transfer modes, and layer styles do not work with
DVD Studio Pro. Be sure to flatten any of these before using them in DVD Studio Pro.
Flattening a Photoshop Layer
When creating graphics within Adobe Photoshop, you may want to add effects such as
bevels, glows, and shadows to a layer, use the transfer modes, or configure layer styles.
These Photoshop effects and modes are not supported by DVD Studio Pro. However, you
can “flatten” them in Photoshop so that they appear in DVD Studio Pro.
Note: Flattening effects is not the same as using the Flatten Image command, which
combines all contents of all layers of a Photoshop file (including effects) into a single
layer.
It’s a good idea to use this procedure on a copy of the original file, just in case something
goes wrong.
To flatten a layer of a Photoshop file
1 Add a new empty layer immediately below the layer with the effects you want to flatten.
2 Either merge or stamp the layer with the effects into the empty layer. Merging deletes
the effects layer, and stamping leaves the effects layer in place (which can be a good idea
if you need to make changes to the layer later on).
• To merge the layer: Select it and choose Layers > Merge Layers (or press Command-E).
• To stamp the layer: Select it and press Command-Option-E.
A bitmap image of the effects layer is placed in the new layer.
98 Chapter 6 Preparing Menu Assets
Understanding Pixel Differences in Graphics and Video
The term square pixel actually refers to the horizontal and vertical distance from a pixel
to its neighbors. With a square pixel, the distance is the same in both directions. This
distance is a function of the sampling rates, both horizontal and vertical, and the aspect
ratio the graphic will be displayed in. Given the right aspect ratio, virtually any combination
of horizontal and vertical sampling rates could produce square pixels.
Computer graphics programs are optimized to work with square pixels: When you draw
a square, it has the same number of pixels in all four of its sides and looks like a square
on the display.
Unfortunately, SD video is different.
Video Pixels
Standard definition video uses a 4:3 aspect ratio. No matter what the size of the display,
the height is always 75 percent of the width. This is true for both NTSC, which has 525
lines in each frame (480 of these active with DVDs), and PAL, which has 625 lines per
frame (576 active). Both standards also have 720 pixels per line when converted to MPEG.
To fit the 4:3 aspect ratio perfectly using square pixels and 720 pixels per line, there would
have to be 540 lines in each frame. So for NTSC, which has 480 lines, the lines must be
spaced slightly apart to fill the same area, resulting in rectangular pixels. For PAL, with
576 lines, they must be squeezed together slightly to fit.
The Settings pop-up menu in the DVD Studio Pro Menu Editor has a square/rectangular
pixel selection that allows you to choose whether to view menu graphics as rectangular
pixels (forcing a 4:3 aspect ratio) or as square pixels while creating menus. The Viewer
tab also has the same settings. The Simulator always shows rectangular pixels, simulating
what the viewer will see.
The real problem arises when you create your menu graphics.
Square Pixels in Graphics
Graphics programs use square pixels. If you set the dimensions of a graphic to 720 x 480
pixels (the NTSC frame size), you will notice that the drawing area of the graphic in the
graphics program is not a 4:3 aspect ratio (it is a bit short). If you set a graphic to PAL
dimensions (720 x 576 pixels), the drawing area you see in your graphics program is taller
than 4:3.
Anything you put in the graphic will be distorted (either vertically stretched or compressed,
depending on your video standard) when viewed on a video monitor. If you draw a
square, it will look like a rectangle. In some cases, the distortion is not great enough to
worry about, but in most cases you should build your graphics with the distortion in
mind.
Chapter 6 Preparing Menu Assets 99
To compensate for pixel differences between graphics and video, you need to build the
graphics at one size and then rescale them to the appropriate video dimensions, as shown
in the following table.
Aspect ratio Starting dimension Rescale dimension
NTSC 4:3 720 x 534 pixels 720 x 480 pixels
NTSC 16:9 864 x 480 pixels 720 x 480 pixels
PAL 4:3 768 x 576 pixels 720 x 576 pixels
PAL 16:9 1024 x 576 pixels 720 x 576 pixels
Important: While DVD Studio Pro automatically rescales graphics that use the starting
dimensions above, it is strongly recommended that you rescale the graphics in your
graphics program. (Graphics that already use the rescale dimensions are imported without
any rescaling.) If you rescale the graphics in your graphics program, they will appear
distorted in the graphics program but will be correct when viewed in DVD Studio Pro as
rectangular pixels.
Using Later Versions of Adobe Photoshop
Later versions of Adobe Photoshop, including the CS versions, have presets that
automatically set Photoshop to display the graphic with 4:3 or 16:9 aspect ratios using
nonsquare pixels. Even better, these presets include title and action safe guides. For SD
assets, these presets include:
• NTSC DV 720 x 480 (with guides)
• NTSC DV Widescreen 720 x 480 (with guides)
• PAL D1/DV 720 x 576 (with guides)
• PAL D1/DV Widescreen 720 x 576 (with guides)
You can turn this feature off by choosing View > Pixel Aspect Ratio Correction (a
checkmark next to this indicates when the feature is active).
Note: See Shape Aspect Ratios for information on how DVD Studio Pro works with graphics
used in shapes, buttons, and drop zones.
HD Video Pixels
There are a variety of video resolutions supported by HD projects:
Resolution Square pixels Starting dimension Rescale dimension
480p (NTSC; 16:9) No (anamorphic) 864 x 480 pixels 720 x 480 pixels
576p (PAL; 16:9) No (anamorphic) 1024 x 576 pixels 720 x 576 pixels
720p (NTSC, PAL; 16:9) Yes 1280 x 720 pixels 1280 x 720 pixels
1080i (NTSC, PAL; 16:9) Yes (anamorphic) 1920 x 1080 pixels 1440 x 1080 pixels
100 Chapter 6 Preparing Menu Assets
Resolution Square pixels Starting dimension Rescale dimension
1080i (NTSC, PAL; 16:9) Yes 1920 x 1080 pixels 1920 x 1080 pixels
Note: HD projects can also use SD assets, which should use the same starting and rescale
dimensions as in SD projects.
For the 480p and 576p resolutions, you use the same process that you would use with
NTSC 16:9 and PAL 16:9. The 720p and the non-anamorphic 1080i resolutions both use
square pixels. The anamorphic 1080i resolution is based on square pixels that are rescaled
to 1920 x 1080.
Note: Later versions of Adobe Photoshop include presets with guides for most of these
HD resolutions.
Important: You should always try to have the menu’s resolution match the resolution of
the items it links to. This includes the two versions of 1080i (anamorphic and
non-anamorphic). A noticeable hesitation can occur during playback because HD playback
equipment needs to change its resolution to match each asset.
Creating Overlays
As viewers use the arrow buttons on the DVD player’s remote control to cycle through
the buttons on a menu, they need some sort of indication as to which button is currently
selected. If they activate the button, they need an indication of that, too. An overlay’s
primary function is to show the viewer which button is currently selected or activated.
Note: If you intend to use shapes for your menu buttons, you do not need to create
overlays.
Overlays are still images that contain the graphics used to show each button’s three states
(normal, selected, and activated). One overlay file contains all of the buttons. Part of the
menu creation process in DVD Studio Pro is to identify each button and set its function.
The overlay is almost always used in conjunction with the background image. For example,
the normal button art may be in the background, while the overlay supplies only the
selected and activated highlights, such as a halo or checkmark.
About Simple and Advanced Overlays
DVD Studio Pro allows you to choose whether to work with simple overlays that use a
single overlay color, or advanced overlays that use up to four colors. Simple overlays are
easier to create and configure but are not as flexible when creating complex menus.
Advanced overlays give you the ability to use multiple colors for a button’s selected and
activated states.
Chapter 6 Preparing Menu Assets 101
About the Overlay Colors
Overlays can contain up to four colors. A peculiar feature of overlays is that the colors
used to create them are not the colors that are displayed when viewers see the menu.
The overlay only identifies the areas on the screen where highlights are to be applied—not
the color or transparency of the highlights. You define the actual colors viewers see when
you create the menu.
When you use the simple overlay method, everything in the overlay graphic must be one
of two colors: the white background that is set to be transparent and the black highlight
graphic to which you assign a color and transparency. If you add an element to the overlay
that has a soft glow around it or has been anti-aliased, the areas of the element that are
not white or black will appear with additional highlight colors (controlled by the advanced
overlay color mapping settings). In this case, you should either correct the graphic or use
the advanced overlay method which allows you to control all of the highlight colors.
The elements in an advanced overlay use up to four different colors. This gives you the
ability to use multiple highlight colors for a button or create pseudo-soft edges and to
take advantage of anti-aliased edges. See Creating Advanced Overlays for more
information.
About Overlay Files
Whether you create simple or advanced overlays, the overlay must be a single flattened
layer, either as part of a Photoshop (PSD) format file or as a separate file.
It is common to have a single PSD file supply both the menu’s background and overlay.
The DVD Studio Pro Menu Editor allows you to select as many layers as you want to use
as the background, but you can only select a single layer as the overlay.
Note: Don’t confuse a PSD file with layers (used to supply the background and overlay)
with the type of PSD file used when creating layered menus. Standard menus contain all
buttons’ selected and activated states within a single layer of the file; layered menus
contain a separate layer in the PSD file for each button’s state (normal, selected, and
activated). These layers are not overlays that you assign colors to—they are full-color
images of the button in one of the three states. See Creating a Layered Menu for more
information.
Creating Simple Overlays
With simple overlays, you must use only white and black to create the graphics.
To create a simple overlay
1 Create a full-screen white background.
See Square Pixels in Graphics for information on the frame size to use.
2 Choose black and add the highlight elements to the background.
102 Chapter 6 Preparing Menu Assets
Be sure to disable anti-aliasing and avoid using soft edges. Depending on your graphics
application, choose to use a 1-bit or bitmap mode.
3 Depending on the graphics application you use, you may need to flatten the overlay
elements into a single layer.
Creating Advanced Overlays
To create advanced overlays, you first need to understand how they are used and the
difference between the chroma and grayscale methods.
The Four Colors in an Advanced Overlay
When creating an advanced overlay, you create your highlights by using up to four specific
colors. You can use a chroma method (using red, blue, black, and white as the four overlay
colors) or a grayscale method (using black, dark gray, light gray, and white as the four
overlay colors). You don’t have to use all four colors when creating an overlay, but you
will most likely use at least two.
Is White 0% or 100%?
Depending on your graphics background, you may assume white to be either 0% or
100%, with black being the opposite (100% or 0%, respectively). Previous versions of
DVD Studio Pro considered white to be 0%, while most video people would consider
white to be 100%. For the purposes of creating the light gray and dark gray colors used
by the grayscale method, you need to use the following values:
• If you consider white to be 0%: Use 33% for light gray and 66% for dark gray.
• If you consider white to be 100%: Use 66% for light gray and 33% for dark gray.
White is commonly used as the overlay’s background color. When creating the menu,
white’s transparency is usually set to 0. Any of the other three overlay colors can be used
for any aspect of the overlay.
For example, if you had a menu background with a group of buttons that were actually
just text, such as “Play Movie” and “Select Chapter,” initially your overlay would start as
all white. If you wanted the button text to change to green when each button was selected,
you’d need to add the text to the overlay and make it an overlay color such as light gray
(or dark gray or black—remember that you will set the green color as the “selected”
highlight color when you create the menu in DVD Studio Pro). If you wanted the text to
change to orange when each button was activated, you wouldn’t have to do anything
more to the overlay—you would just set the “activated” highlight color to orange when
you created the menu.
Chapter 6 Preparing Menu Assets 103
If you also wanted a checkmark to appear next to each text button as it was selected, but
you wanted the checkmarks to be yellow when they were selected, you’d need to add
the checkmarks to the overlay graphic and set them to be a different overlay color than
the text (in this case, dark gray) so that you could apply a different highlight color (in this
case, yellow).
In the same way, you could add the word “OK!” after each text button and show it only
when the button was activated. Simply add the text to the overlay and set it to be black;
in DVD Studio Pro, you can set black to be transparent for the normal and selected states
but visible with a green color in the activated state.
Play Movie OK!
Light gray
checkmark
Dark gray
name
Black
“OK!”
White
background
To create an advanced overlay
1 Create a full-screen white background. See Square Pixels in Graphics for information on
the frame size to use.
Note: You don’t have to use white as the background color, as you do with simple overlays,
but it is a good idea to use white, because the default color mapping settings assume it
is the background.
2 Depending on whether you intend to use the chroma or grayscale method, add elements
using the three leftover overlay colors (white having been used for the background).
3 Depending on the graphics application you use, you may need to flatten the overlay
elements into a single layer.
If you use colors other than the four that are specified by the method you chose (chroma
or grayscale), they are mapped to their closest equivalent when you use the overlay. In
many cases, this produces surprising (but not useful) results.
Note: Following is the mapping used for each overlay color with the grayscale method:
100% to 80% is white, 79% to 58% is light gray, 57% to 32% is dark gray, and 31% to 0%
is black.
104 Chapter 6 Preparing Menu Assets
Pseudo-Soft Overlay Edges
Instead of using the advanced overlay’s four colors to create multiple color highlights,
you can use them to create pseudo-soft edges and take advantage of anti-aliased graphics.
This requires you to use the grayscale method, using either white elements on a black
background or black elements on a white background. The soft or anti-aliased edges are
mapped to the dark and light gray overlay colors. By mapping the same color to each
overlay color, but at reduced opacities on the dark and light gray overlay colors that occur
at the edges, you can effectively simulate soft or anti-aliased edges.
Keeping Each Button’s Elements Together
When creating your menu in DVD Studio Pro, you draw a single box around all of the
elements for each button. The box identifies that button’s highlight area. In the above
example, you would draw a box around each button that includes its checkmark, the
main text, and the word “OK!” When you draw this box, no parts of any of the other
buttons should be included, or they will also appear with this button.
For example, instead of having an “OK!” after each line, you might want a single large
“OK!” on the right side. There’s no way to draw a box that would include both the button
name (“Play Movie,” for example) and the large “OK!” without including some of the other
button text, making this arrangement unusable.
Note: The Menu Editor has three color mapping sets that, in some cases, you can use to
work around this problem. See Understanding Color Mapping for more information.
You also need to make sure none of the boxes overlap, because this can cause navigation
problems, especially when using a pointer to select the buttons while playing the disc
on a computer.
Active area overlap
Play Movie
Scene Select
Slideshow
Chapter 6 Preparing Menu Assets 105
Creating a Layered Menu
Layered menus can provide greater flexibility in showing a button’s selected and activated
states, compared to standard overlay menus. In addition to the background image (which
may contain the buttons in their normal states), a layered menu has two separate layers
for each button (or three, if the button’s normal states are not part of the background).
For example, a menu with 12 buttons would need 24 layers just to show the selected
and activated states of each button, plus 12 more if their normal state is not part of the
background. (A Photoshop file can have up to 99 layers.)
There are several issues to be aware of when deciding whether to use layered menus:
• You cannot add an audio stream to them.
• You cannot include a full-motion video in them.
• When viewers make selections, they will notice a slower reaction time to button presses.
• Layered menus can also use overlays in the same way that standard menus do.
Using the Photoshop Layers
When you configure a PSD file for use as a layered menu, you select the layer or layers
that provide the menu’s background. The background can include all of the buttons’
normal state, but it doesn’t have to. If the background includes the normal state, the
selected and activated states must be configured to take into account that the normal
state is always present. If you want the button to change significantly when switching to
the selected and activated states, you may need to have the normal state on its own layer
so that it can be hidden when the other states appear.
Using PSD Files to Create Layered Menus
There are some issues to be aware of when using PSD files to create layered menus:
• Each button’s active area is created the same way as it is when you work with overlays.
This means you need to be able to draw a single box around each button’s elements.
See Keeping Each Button’s Elements Together for more information.
• In addition to the layered buttons, you can use overlay-based buttons. The overlay can
be another layer in the PSD file or a separate file.
Creating Video for Motion Menus
The video used for motion menus must follow the same DVD-compliance rules as video
used in tracks. There are a few additional considerations you should be aware of:
• If you add any shapes, text items, or drop zones to a menu, the menu will be rendered
when you build the project. See About Menu Rendering for more information.
Important: If you know your menus will need to be rendered, you should avoid using
highly compressed video (MPEG-2 for example) as the background video because it
will get compressed again, potentially with visible artifacts.
106 Chapter 6 Preparing Menu Assets
• If you want to include button art beyond the capabilities of what an overlay can provide,
you need to edit these over the video with an application such as Motion or
Final Cut Pro. You can create the button art and associated overlay with your graphics
program, then superimpose the button art over the video with your video editor, and
use the overlay in DVD Studio Pro to set up the buttons.
Note: An alternative is to use shapes to provide buttons over motion video.
• You can set the video to loop once it reaches its end. There will be a short pause in the
playback as the menu moves from the end back to the beginning. This can be minimized
or eliminated by carefully selecting the video to use. For example, a car driving by a
mostly static background can be looped cleanly. If you are creating an animation for
use as the background, be sure to keep looping in mind.
• Don’t create excessively long video for motion menus. The videos can take up a lot of
disc space, and if you use a lot of them, you can have problems building your title. See
Standard SD DVD Video Zone Files for menu size limitations.
• Menus in SD projects can only use full-frame MPEG-2 video as a background. If you use
an MPEG-1, 1/2 D1 MPEG-2, or a cropped D1 MPEG-2 file as the background, it will be
encoded to full D1 MPEG-2 when you build the project. Menus in HD projects can use
either full D1 MPEG-2 video or any of the supported HD video resolutions as the
background.
Defining the Menu Loop Point
When you configure a looping menu, you have the option of setting the loop point (the
point playback jumps to once the end of the menu’s video is reached) to be different
than the menu’s first frame of video. For example, the menu’s video may have an
introduction that plays before the buttons become active—you would not want the
introduction to play each time the menu loops.
In addition to setting the loop point manually in the Menu Inspector, you can add a
chapter marker, named “MenuLoopPoint,” to the background video while you are editing
it in Motion or Final Cut Pro. DVD Studio Pro automatically sets the menu’s loop point to
match this marker when you assign the video to the menu’s background using one of
the dragging methods, such as dragging the video to the Menu Editor and choosing Set
Background from the Drop Palette. See Configuring Motion Menu Settings for more
information.
In Final Cut Pro, you add the chapter marker exactly as you would add a chapter marker
for use in a track. The only requirement is that it be named “MenuLoopPoint.” See Adding
Markers to Your Video for more information. In Motion, you need to select the Menu Loop
Point option when you add the marker to the video. See the Motion documentation for
more information.
Chapter 6 Preparing Menu Assets 107
Creating Shapes
Shapes provide an easy way to create a standard menu using a simple background image
(still or moving) without an overlay. These shapes can be either the ones supplied with
DVD Studio Pro or shapes that you create.
Shapes can be used for buttons and for drop zones. (Drop zones are graphic elements
that get added to the menu background and have no effect on the buttons.) You can
position the shapes and change their size freely, and even have full-motion video play
in them (motion buttons).
See Adding Shapes to a Menu for information on using shapes with the Menu Editor. See
Importing a Shape for information on importing shapes into the Palette.
Creating a Shape
A shape is a Photoshop PSD file with up to four layers. DVD Studio Pro uses the layer
order to determine which layer serves each function.
Layers in a Photoshop
PSD file
• First (bottom) layer: Contains the mask for the thumbnail image used when you assign
an asset to a button or drop zone. This layer should have a grayscale image to control
the thumbnail’s appearance. White areas are completely opaque (you see all of the
thumbnail image), gray levels are partially transparent, and black levels are completely
transparent (you see none of the thumbnail image). The mask can use an irregular
shape—the asset is scaled to fill it completely. Any part of the asset that falls outside
the mask then gets removed. If you don’t want a thumbnail image, you must still have
this layer present, but you can draw a black square or any simple image.
When you activate drop shadows on a button or drop zone using a shape,
DVD Studio Pro uses this layer, along with the second layer, to define the shape of the
drop shadow.
108 Chapter 6 Preparing Menu Assets
Note: If you make the image mask layer (the first layer) of a shape the same size as the
shape’s graphics layer (the second layer), you may see some of the mask layer around
the edges of the graphics layer. This is because the shape’s graphics layer is processed
differently than the mask layer. You can work around this issue by making the mask
layer slightly smaller than the graphics layer.
• Second layer: Contains the shape’s visible graphic. When used as a button, this is the
layer that determines how the button looks in its normal state. DVD Studio Pro uses
the RGB values for the shape. See Setting a Shape’s Opacity if you want this layer to
be partially transparent. Be sure to flatten any effects you apply to the layer. (See
Flattening a Photoshop Layer for details.) Because this layer has a higher priority than
the first layer, it must provide a “window” to the thumbnail mask (if used).
When you activate drop shadows on a button or drop zone using a shape,
DVD Studio Pro uses this layer, along with the first layer, to define the shape of the
drop shadow.
• Third layer: Contains the highlight mask. This layer defines where the highlight colors
appear when you use the shape as a button and the button is selected or activated.
The actual image color does not matter, because it is this layer’s opacity that defines
the highlight, with 100% opacity selecting the black highlight color and 0% selecting
the white highlight color.
This layer is ignored if you use the shape in a drop zone.
Chapter 6 Preparing Menu Assets 109
Important: If you use this layer’s opacity to create pseudo-soft or anti-aliased edges or
to have multiple highlight colors appear at once, you can only use the shape in menus
set to use the advanced grayscale overlay method. In these cases, the opacity values
map to the overlay colors as follows: 100% maps to black, 99% to 67% maps to dark
gray, 66% to 17% maps to light gray, and 16% to 0% maps to white.
• Fourth layer: Contains the shape’s icon, which appears in the Shapes tab in the Palette
and shape selector in the Button and Drop Zone Inspectors. This is an optional
layer—the second layer provides this function if this layer is not present. The
disadvantage of using the second layer is that often the shape alone does not provide
a good indication of what the button will look like once you assign an asset to it.
DVD Studio Pro uses the RGB values for the icon.
Note: Do not include the fourth layer in the file unless you are adding a graphic to be
used as the thumbnail. Adding an empty fourth layer results in a shape that you cannot
use in DVD Studio Pro.
Setting a Shape’s Opacity
DVD Studio Pro does not use the opacity settings you can apply to the layers within
Photoshop. As a result, you cannot use the second layer’s opacity setting to control the
transparency of the shape’s visible graphic. As an alternative, you can use Photoshop’s
merge capability to get the desired effect.
To set a shape’s opacity
1 Create the shape in Photoshop as usual.
It’s a good idea to save the shape at this point so that you can go back to it if you later
need to adjust the opacity or content.
2 Set the opacity for the second layer (the shape’s visible graphic).
3 Add a new layer to the graphic, and place it below the second layer. (It becomes the
second layer, and the second layer becomes the third layer.)
110 Chapter 6 Preparing Menu Assets
4 Select the original second layer (which is now the third layer).
5 Press Command-E to merge the selected layer with the new empty layer.
The two layers merge into a new second layer, and the original second layer is deleted.
When this shape is imported into DVD Studio Pro, this new second layer will use the
opacity you set before the merge.
General Shape Information
When creating a shape in Photoshop, set the new image settings to the following:
• Width and Height: Set to values that will hold the shape at the largest size it will ever
be used at in DVD Studio Pro (quality tends to suffer much more when you make a
shape larger than the original than it does when making the shape smaller). Be sure
the shape’s graphics come as close to the edges of the canvas as possible—the canvas
defines the button’s active area. A typical button size is 200 pixels wide by 150 pixels
high.
• Resolution: Set to 72 pixels per inch. DVD Studio Pro bases the image size on the number
of pixels there are—the resolution does not affect its size when used on a menu.
• Mode: Set to RGB Color.
• Contents: Set to Transparent.
Keep these additional points in mind when creating your shapes:
• It does not matter which layers are visible when you save the shape’s file.
• You do not have to rasterize layers with text. You do have to flatten them if you apply
an effect to them.
• Be sure that the colors you use are within broadcast limits. You can create shapes that
look great in the graphics program but look a lot different once you use them in a DVD
project.
• You may want to design shapes with the specific intention of using them for drop
zones. This allows you to have drop zones with irregular edges. You need to use the
layers exactly as you do when creating a button’s shape, except that the highlight layer
is not used with drop zones. Shapes created for buttons can also be used for drop
zones. See Adding Drop Zones to Your Menu for more information.
Shape Aspect Ratios
Shape graphics are automatically scaled to maintain their aspect ratio. If you create a
square graphic and import it as a shape, it will be scaled so that it remains a square graphic
in DVD Studio Pro (as long as you add it to a menu by dragging it to an empty area).
Chapter 6 Preparing Menu Assets 111
While the rescaling makes the graphic look correct in the Menu Editor, the shape’s
dimensions look incorrect as shown in the Button Inspector or Drop Zone Inspector. For
example, if you create a square shape that is 200 pixels wide by 200 pixels high, its size
will appear as either 200 pixels wide by 180 high (if applied to an NTSC menu) or 187
pixels wide by 200 pixels high (if applied to a PAL menu), when added to a menu as a
button or drop zone.
Creating Graphics for Drop Zones and Buttons
Assets used in drop zones and buttons do not need to conform to video aspect ratios
because drop zones and buttons can be resized independently in the horizontal and
vertical directions. Additionally, drop zones and buttons support a graphic’s transparency.
This means you can create a graphic with irregular edges, such as a logo, and when it is
assigned as the asset for a drop zone or button, the transparency will control how the
graphic appears.
Similar to graphics used for shapes, drop zone and button graphics are automatically
scaled to maintain their aspect ratio. If you create a square graphic and import it as an
asset for a drop zone or button, it is scaled so that it remains a square graphic in
DVD Studio Pro. See Shape Aspect Ratios for more information.
Note: To force the drop zone or button active area to match the graphic’s aspect ratio,
press Shift while dragging one of its corners.
Getting Good Results Using Assets That Include an Alpha Channel
A video asset, either still or with motion, that includes an alpha channel can be very
effective when assigned as a drop zone’s asset. DVD Studio Pro composites the asset
over the menu background using the alpha channel to control the compositing.
For best results, be sure the video is premultiplied (also known as shaped). Premultiplied
video will have correct soft and anti-aliased edges when used in the Menu Editor. A
video channel that is straight (also known as unshaped) will have incorrect edges when
composited in the Menu Editor.
If the application you are using to create your assets provides a choice, it is best to
choose premultiplied video.
112 Chapter 6 Preparing Menu Assets
Before you can add a slideshow to a DVD project, you must have correctly prepared
slideshow source material.
This chapter covers the following:
• Slideshow File Formats (p. 113)
• Aspect Ratio and Resolution (p. 114)
• Colors (p. 114)
• Audio (p. 114)
Slideshow File Formats
When preparing still images for use in DVD Studio Pro slideshows, most of the same rules
for preparing menu backgrounds apply. These same considerations apply if you intend
to add slides to a track.
DVD Studio Pro lets you use most common image formats in slideshows:
• Photoshop PSD files using the 8-bit RGB mode
Slideshows do not support layer selection, as menus do. The layers visible when the
file was last saved become the visible image of the graphic.
• PICT files
• BMP files
• JPEG files
• QuickTime image files
• Targa (TGA) format files
• TIFF (TIF) format files
Once a still is imported into DVD Studio Pro and you build the project it is assigned to, it
is converted into an MPEG image and, if necessary, automatically scaled to fit the frame
size defined by the slideshow’s resolution and display mode settings.
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Preparing Slideshow Assets 7
Aspect Ratio and Resolution
You can create 4:3 and 16:9 slideshows. In HD projects, you can also choose a resolution
for the slideshow.
Note: In HD projects, the 720 x 480p, 720 x 576p, 1280 x 720p, and 1920 x 1080i resolutions
do not support the 4:3 aspect ratio.
When creating 16:9 slideshows, you are able to choose the display mode (pan and scan,
letterbox, or pan and scan and letterbox) used when viewed on a 4:3 monitor.
For the best results, you should make sure your slides match the resolution of your
slideshow. Slides that are smaller or larger than the slideshow’s resolution are automatically
scaled to fit it. Slides whose aspect ratio does not match the slideshow’s aspect ratio have
a background color added to fill in the gaps. The background color is part of
DVD Studio Pro Preferences. See Setting DVD Studio Pro Preferences for more information.
Colors
The DVD specification requires all video, including stills and menu graphics, to conform
to the NTSC or PAL video broadcast standard for allowable colors. In order to support
broadcast bandwidths, NTSC and PAL video must use colors that are substantially restricted
compared to those your graphics program can create. It’s important to work within the
broadcast standard, because pictures and graphics that look fantastic when viewed in a
graphics application can look very different when viewed on a DVD. Highly saturated
colors create the biggest problems and produce the biggest disappointments when
viewed on a video monitor.
Before importing your pictures and graphics, be sure to open them in a graphics
application and use a filter to constrict the colors to NTSC or PAL color space.
Audio
Slideshows can have either an individual audio clip assigned to one or more of the stills
or one or more audio clips for the overall slideshow.
Important: If you assign an audio clip to the individual stills or use multiple audio clips
as the overall slideshow audio, all audio clips in the slideshow must be in the same format
(AC-3, AIFF, and so on), have the same bit rate, and have identical resolution.
114 Chapter 7 Preparing Slideshow Assets
Alpha Transitions make it possible for you to create customized transitions for use in your
DVD Studio Pro menus, tracks, and slideshows.
This chapter covers the following:
• Introduction to Preparing Alpha Transitions (p. 115)
• Transition Asset Folder (p. 116)
• Asset Movie (p. 117)
• Asset Matte Movie (p. 118)
• Background Matte Movie (p. 119)
• About Alpha Transition Durations (p. 119)
• About NTSC and PAL Alpha Transitions (p. 120)
Introduction to Preparing Alpha Transitions
All DVD Studio Pro transitions have a start and end frame, based on where the transition
is being used. The standard transitions are able to transform the start and end frame
video, providing the ability to have a variety of effects, such as rotating or blurring, directly
applied to the video. An Alpha Transition does not directly transform the start and end
frame video—it simply transitions from the start to the end based on QuickTime movies
you create.
Creating an Alpha Transition requires from one to three QuickTime movies, depending
on the type of transition you want to create. Some features to consider include:
• Do you want any kind of video other than the start and end frames to appear during
the transition? For example, if you want a spinning DVD to fly across the screen during
the transition, you must have an asset movie that provides the flying DVD image.
• Do you want to see the start and end frames on the screen at the same time during
the transition? In the example with the spinning DVD, maybe you want to see the start
frame around the outside edge of the DVD and the end frame in the DVD’s center. To
see the start and end frames at the same time, you must have a background matte
movie.
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Preparing Alpha Transitions 8
• Do you want a simple wipe transition that uses a custom shape? You can use a
background matte movie to create a wipe transition with hard or soft edges in any
shape you like.
An Alpha Transition has several components:
• The transition asset folder: Contains the transition’s assets. Additionally, the name of
this folder is the name of the transition. Each Alpha Transition requires a separate
transition asset folder.
• The asset movie: Required if you want any kind of video other than the start and end
frames to appear during the transition.
• The asset matte movie: Required if your asset movie does not include an alpha channel.
• The background matte movie: Required if you want to see the start and end frame video
at the same time or if you want to create a wipe transition.
The DVD image is from the
asset movie, with an asset matte
movie controlling where the
background video appears.
Start frame (red in this
example)
End frame (blue in this
example)
The background matte
movie (not visible)
controls whether the
background shows the
start or end video.
Important: For best results, be sure to use progressive (non-interlaced) video in your
movies at either 60 fps for NTSC or 50 fps for PAL. Also, make sure to create movies that
match the aspect ratio (4:3 or 16:9) and, in the case of HD projects, the resolution of the
elements you will use the transitions with. DVD Studio Pro will scale the movies to match
the element if necessary; however, there will be a loss in quality.
Transition Asset Folder
The transition asset folder contains the movies that make up the Alpha Transition. The
name of this folder becomes the name of the transition. The names of the files within
the folder must include the folder name, with additional text to distinguish the file’s
purpose.
116 Chapter 8 Preparing Alpha Transitions
When you open DVD Studio Pro, it looks in two locations for transition asset folders:
• At the root of your disk, in this location: [root]/Library/Application
Support/Final Cut Studio/DVD Studio Pro/Transitions/
• In your home folder, in this location: [user]/Library/Application
Support/Final Cut Studio/DVD Studio Pro/Transitions/
Note: If you add a transition folder while DVD Studio Pro is open, it is ignored until the
next time you open DVD Studio Pro.
Asset Movie
The asset movie is required if you want any kind of video other than the start and end
frames to appear during the transition. For example, if you want a spinning DVD to fly
across the screen during the transition, it is the asset movie that provides the flying DVD
image.
The asset movie must have the same name as the transition asset folder and can have
an extension. For example, if the transition asset folder’s name is Spinning DVD, the asset
movie could be named Spinning DVD.mov.
The asset movie provides
transition video in addition
to the start and end frames.
The asset movie can
contain an alpha channel
to control where the
background appears.
There are two optional aspects to the asset movie: an alpha channel and a switch point.
Alpha Channels
In the example with the spinning DVD flying by discussed in the previous section, Asset
Movie, you would most likely want to be able to see the start or end frame video through
the DVD’s hole and around its edges. For this to happen, there must be an alpha channel
for DVD Studio Pro to know which parts of the asset movie video should appear and
which should be ignored.
There are two ways to provide this alpha channel: embedded with the asset movie or as
a separate asset matte movie (described in Asset Matte Movie).
Chapter 8 Preparing Alpha Transitions 117
Important: When the alpha channel is embedded with the asset movie, be sure the video
output is premultiplied.
Switch Points
If your transition does not require the start and end frame video to be on the screen at
the same time, you can add a switch point marker to the asset movie to control when
the transition switches from showing the start frame to showing the end frame. If you
do want to have both the start and end frame video on the screen at the same time, you
must use a background matte movie (described in Background Matte Movie).
If the transition asset folder does not contain a background matte movie, DVD Studio Pro
does the following to set the switch point:
• DVD Studio Pro first looks in the asset movie to see if it includes a marker named
TransitionSwitchPoint. If present, this marker is used as the switch point.
• If not present, DVD Studio Pro looks to see if there are any markers in the asset movie.
If present, the first marker is used as the switch point.
• If no markers are present in the asset movie, the switch point is set to the asset movie’s
halfway point.
Asset Matte Movie
The asset matte movie is required only when an asset movie that does not include an
alpha channel is used by the transition. Having a separate asset matte movie is particularly
useful when the asset movie is normal video (as opposed to an animation).
The asset matte movie must have the same name as the transition asset folder, followed
by “-matte” and can have an extension. For example, if the transition asset folder’s name
is Spinning DVD, the asset matte movie could be named Spinning DVD-matte.mov.
The white areas define
where the asset movie
video appears.
The black areas define
where the background
video (start or end frame,
depending on the switch
point or background
matte movie) appears.
The gray areas define
where the asset movie
video appears, but
is transparent.
118 Chapter 8 Preparing Alpha Transitions
The asset matte movie needs to be monochrome, with white identifying the asset movie
video to use, and black identifying the places where the start or end frame video appears.
You can also use levels in between white and black to set a transparency and add soft
edges.
Background Matte Movie
The background matte movie can be used in one of two different ways:
• It can be used in conjunction with the asset movie to control which areas of the screen
should show the start frame video and which should show the end frame video.
• It can be used as the only movie in the transition assets folder to provide a wipe
transition. As when used with the asset movie, the background matte movie controls
which areas of the screen should show the start frame video and which should show
the end frame video.
The background matte movie must have the same name as the transition asset folder,
followed by “-backgroundMatte” and can have an extension. For example, if the transition
asset folder’s name is Spinning DVD, the background matte movie could be named
Spinning DVD-backgroundMatte.mov.
The white areas define
where the start frame
background video
appears.
The black areas define
where the end frame
background video
appears.
The background matte movie needs to be monochrome, with white identifying where
the start frame video appears, and black identifying where the end frame video appears.
As a general rule, the background matte movie should start with a full white screen and
end with a full black screen. You can also use levels in between white and black to set a
transparency and add soft edges.
About Alpha Transition Durations
The asset movie (if present) or the background matte movie (if the asset movie is not
present) determine the default duration of the Alpha Transition. When configuring the
transition in DVD Studio Pro, you are able to set the duration from one half the default
(but not less than one second) to twice the default duration.
Chapter 8 Preparing Alpha Transitions 119
About NTSC and PAL Alpha Transitions
Each Alpha Transition is either NTSC or PAL. DVD Studio Pro uses the frame rate of the
transition assets to determine whether they are NTSC or PAL. Only those appropriate to
the current project’s video standard are available in DVD Studio Pro.
Note: Alpha Transitions using a frame rate of 24 fps can be used only in NTSC projects,
though they may show undesirable artifacts when the frame rate is scaled to match the
project.
120 Chapter 8 Preparing Alpha Transitions
When you start a new DVD project, especially if it’s the first project you’ve created on a
particular system, you need to set certain preferences and disc properties before you
begin working with your assets.
DVD Studio Pro includes a number of views and windows that you use while building
your DVD. See The DVD Studio Pro Interface for a complete description.
This chapter covers the following:
• Opening DVD Studio Pro (p. 121)
• Setting DVD Studio Pro Preferences (p. 124)
• Creating a New Project (p. 138)
• Opening an Existing Project (p. 143)
• Video Standards of the World (p. 145)
• Changing a Project’s Video Standard (p. 145)
• Changing a Project’s DVD Standard (p. 146)
Opening DVD Studio Pro
The first time you open DVD Studio Pro, a dialog appears where you choose the user
interface configuration, the video standard, the DVD standard, and the default language
to use. When opened after this, DVD Studio Pro uses the configuration, video standard,
and DVD standard in use when it was last closed.
Note: The choices you make in this dialog are not permanent; all of these can be changed
in either DVD Studio Pro Preferences or, in the case of the configurations, in the Window
menu.
To open DVD Studio Pro the first time
1 Start up your computer.
2 Double-click the DVD Studio Pro icon (in the Applications folder) to open the application.
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Starting a Project 9
The Choose Application Defaults dialog appears.
3 Select the configuration that best fits your needs.
• Basic: Use this configuration if you intend to use the templates and styles provided by
DVD Studio Pro, and intend to rely on dragging and dropping assets to create your
projects. This configuration is intended for users familiar with iDVD and users new to
creating DVDs.
122 Chapter 9 Starting a Project
• Extended: Use this configuration if you are familiar with the DVD creation process and
require easy access to more of the features of DVD Studio Pro. The extended
configuration displays three quadrants to provide access to additional tabs, and the
Inspector.
• Advanced: Use this configuration to gain access to all of the capabilities of
DVD Studio Pro. Use this configuration if you are authoring complex titles.
Chapter 9 Starting a Project 123
Note: Once DVD Studio Pro opens, you can choose from these three configurations and
others suitable for specific monitors. In addition, you can create and save your own
configurations. See Configuring the Interface for more information on selecting, creating,
and saving configurations.
4 Select the video standard, NTSC or PAL, that you will use for your projects. If you are
unsure of which standard to use, see Video Standards of the World.
5 Select the default project resolution, SD DVD (Standard Definition DVD) or HD DVD (High
Definition DVD), that you will use for your projects.
6 Select the default language for your projects.
7 Select the “Show at startup” checkbox to have this dialog appear each time you open
DVD Studio Pro.
8 Click OK to confirm your choices and continue opening DVD Studio Pro.
An untitled project opens, using the selected configuration and defaults.
See The DVD Studio Pro Interface for information on working with the quadrants, tearing
off tabs into their own windows, and configuring the toolbar.
Setting DVD Studio Pro Preferences
The DVD Studio Pro Preferences window contains settings that you can use to configure
its default operations. These settings affect all projects you create, although most of them
can be overridden for individual projects within the DVD Studio Pro editors and Inspectors.
Taking some time now to select these settings can make creating your projects faster
and easier.
To open DVD Studio Pro Preferences
μ Choose DVD Studio Pro > Preferences, or press Command-Comma (,).
124 Chapter 9 Starting a Project
The Preferences window opens, displaying the last selected pane. The Preferences window
includes ten panes, each containing settings related to specific areas of DVD Studio Pro.
To use the Preferences window
Do one of the following:
μ Click an icon along the top to open its pane.
μ Click Apply to apply the current settings and leave the Preferences window open.
μ Click OK to apply the current settings and close the Preferences window.
μ Click Cancel to close the Preferences window without applying the current settings.
Project Preferences
The Project pane in DVD Studio Pro Preferences contains settings used to define basic
aspects of new projects.
Note: These settings do not affect the currently open project.
• DVD Standard: Choose to define whether new projects are SD DVD (Standard Definition
DVD) or HD DVD (High Definition DVD).
• Video Standard: Select the video standard to use.
• NTSC: Select this to set new projects to use the NTSC video standard.
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• PAL: Select this to set new projects to use the PAL video standard.
• Default Language: Choose to set the default menu language for new projects.
General Preferences
The General pane in DVD Studio Pro Preferences contains settings used in a variety of
areas in DVD Studio Pro.
Slideshows and Tracks
• Default Slide Length: Enter a value, in seconds, that is used as the duration of still images
added to slideshows and to a track’s video stream.
• Background Color: You can set the color used as a background by the Slideshow Editor.
Normally, this color is not seen because it is covered by the slide. It is seen if the still
image is not the correct size to fit in the video frame. In that case, this background
color fills the gaps that exist. This color is also used by the Track Editor if you add still
images that are not the correct size to fit in the video frame.
Important: This setting is not saved as part of the project. If you change this setting,
it will affect all projects, including previously saved ones, that have this color visible.
SD DVD Menus, Tracks, and Slideshows
• Display Mode: Choose the default aspect ratio to use when creating menus, tracks, and
slideshows in SD projects. You can choose from 4:3, 16:9 Pan-Scan, 16:9 Letterbox, and
16:9 Pan-Scan & Letterbox.
HD DVD Menus, Tracks, and Slideshows
• Resolution: Choose the default video resolution to use when creating menus, tracks,
and slideshows in HD projects. You can choose from 720 x 480i, 720 x 480p, 1280 x
720p, 1440 x 1080i, and 1920 x 1080i.
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• Display Mode: Choose the default aspect ratio to use when creating menus, tracks, and
slideshows in HD projects. You can choose from 4:3, 16:9 Pan-Scan, 16:9 Letterbox, and
16:9 Pan-Scan & Letterbox.
Note: The 4:3 setting is not available if you choose a Resolution setting that does not
support it (720 x 480p, 720 x 576p, 1280 x 720p, and 1920 x 1080i).
Thumbnail Size
• Palette: Select a thumbnail size.
• Small: Select this to use small thumbnails in the Palette.
• Large: Select this to use large thumbnails in the Palette.
• Slideshow: Select a thumbnail size to use in slideshows.
• Small: Select this to use small thumbnails in the Slideshow Editor.
• Large: Select this to use large thumbnails in the Slideshow Editor.
Subtitle
• Fade In: Enter a value, in frames, that controls whether a subtitle, by default, appears
instantly (0 frames) or fades on over a number of frames.
• Length: Enter a value, in seconds, that controls the default length of new subtitles you
create.
• Fade Out: Enter a value, in frames, that controls whether a subtitle, by default, disappears
instantly (0 frames) or fades off over a number of frames.
Menu Preferences
The Menu preferences allow you to set a variety of defaults used when creating menus.
• Motion Duration: Enter a default duration, in seconds, to use when you create a motion
menu. See Configuring Motion Menu Settings for more information.
• Auto Assign Button Navigation: See Right-to-Left Reading Mode for more information.
• Left to right: Set the Auto Assign feature to wrap button navigation for left-to-right
reading.
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• Right to left: Set the Auto Assign feature to wrap button navigation for right-to-left
reading.
• Final Rendering: Because menus can contain a variety of elements layered over the
background, such as buttons, drop zones, and text, they must be rendered into a single
layer, similar to flattening a multiple layer graphic file. With still menus, this takes little
time, but with motion menus, where each frame must be rendered, this can be a
time-consuming process. Additionally, all transitions you add to your project must be
rendered. See About Menu Rendering for more information.
The Final Rendering settings allow you to select how the menus and transitions are
rendered:
• Hardware based: This setting provides the fastest rendering. However, because the
quality is dependent on your system’s video card, the quality might not be as good
as when using the “Software based” setting and may not be consistent between
different systems.
• Software based: This setting provides consistent, good-quality rendering on all systems.
However, depending on your system, it may take substantially longer than the
“Hardware based” setting.
• Drop Palette Delay: Position the slider to control how long of a delay there is before
the Drop Palette appears over the Menu Editor when you drag an asset to it.
• Video Background Color: You can set the color used as a background by the Menu Editor
when no asset has been assigned as the menu’s background. Normally, this color is
not seen because it is covered by the menu background. It is seen if the background
image is not the correct size to fit in the video frame. In that case, this background
color fills the gaps that exist.
Important: This setting is not saved as part of the project. If you change this setting,
it will affect all projects, including previously saved ones, that have this color visible.
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Track Preferences
The Track preferences allow you to set a variety of defaults used when creating tracks.
• Marker Prefix (Root) Name: Enter the name that all new markers use as their prefix. The
Generate Marker Names setting, below, controls whether this root name is followed
by a number of timecode value.
• Check for unique name: Select this checkbox to ensure you will not have two markers
with the same name within a track.
• Generate Marker Names: You can select how markers are named when you create them.
Note: You can rename the markers in the Marker Inspector.
• Automatically: This setting names new markers with the prefix followed by a number
that increments each time you add a marker. (You set the prefix below.) An advantage
of this option is that you can easily tell how many markers have been added (although
the number does not take into account any markers that you may have deleted). A
disadvantage is that, because you can add markers between existing ones, the
numerical order of the markers is not necessarily the same as their order in the
timeline—the numerical order is based on the order the markers are created, not on
their position.
• Timecode based: This setting names new markers with the prefix followed by the
timecode of the video asset. (You set the prefix below.) An advantage of this option
is that the marker names are always in the order they appear in the timeline. A
disadvantage is that you cannot easily tell how many markers you have in the track.
When you select “Timecode based,” the “Auto update” checkbox becomes available.
Selecting this checkbox causes the timecode value assigned to a marker’s name to
update if you move the marker.
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• Snap To: This setting controls what happens when you place a marker in the timeline.
In DVD Studio Pro, markers can only be placed on I-frames, which occur once per group
of pictures (GOP). A GOP is typically 12 to 15 frames long, which means that when you
place a marker, you generally will not be able to place it on the exact frame you would
like. This setting allows you to control how DVD Studio Pro chooses the frame to use.
See Working with GOP Settings for more information on GOPs.
• Previous GOP: This setting places the marker on the GOP occurring before the selected
location.
• Next GOP: This setting places the marker on the GOP occurring after the selected
location.
• Nearest GOP: This setting places the marker on the GOP closest to the selected
location, either before or after it.
• Thumbnail Offset: A thumbnail image of the video asset, representing its first frame,
appears in the Video tab in the Palette, in the Video Asset Inspector that appears when
you select a video asset in the Assets tab, and at the first frame of the video stream in
the Track Editor. This setting allows you to determine whether the thumbnail used in
those places is based on the video frame at the start of the video asset or on a frame
up to five seconds later in the asset. Because video assets often start at black and fade
up, this setting allows you to set the thumbnail to a frame that has video that better
represents the asset.
• Default Language: You can choose a language that is automatically assigned to all
audio and subtitle streams in new tracks. Choose Not Specified to have no language
assigned to the streams.
• Space bar toggles between play/pause: This setting controls what happens when you
press the Space bar while viewing a track. When you play a track, the timeline’s playhead
follows along. With the checkbox next to “Space bar toggles between play/pause”
selected, the playhead in the track’s timeline remains at its current position when you
press the Space bar. When the checkbox is not selected, the playhead jumps back to
where you started playing from when you press the Space bar.
Note: This setting does not affect the pause and stop controls in the Viewer tab—only
what happens when you use the Space bar while playing a track.
• Fix invalid markers on build: While creating your tracks, it is possible to end up with
markers that either are not positioned on GOP boundaries or fall outside of the V1
stream. When this checkbox is not selected, a build operation stops if any invalid markers
are detected. With the checkbox selected, a build operation automatically repositions
any markers that are not placed on GOP boundaries and removes any markers that are
outside the V1 stream.
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• Find matching audio when dragging: Select this checkbox to have DVD Studio Pro
automatically try to locate an audio file with the same name as the video file you have
dragged to an element, such as a menu or the Assets tab, of your project. DVD Studio Pro
only checks the folder the video file was dragged from. DVD Studio Pro does not try to
find matching audio if you drag a mixture of video and audio files. You can press the
Command key after you start dragging a video asset to temporarily override this setting.
Alignment Preferences
The Alignment preferences apply to the Menu and Subtitle Editors, allowing you to
customize the rulers, guides, and snapping actions.
• Rulers: These settings allow you to customize the rulers that appear in the Menu Editor.
Note: Alignment guides can only be dragged onto the Menu Editor if the rulers are
visible.
• Show: Select this to show the rulers in the Menu Editor.
• Hide: Select this to hide the rulers in the Menu Editor.
• Units: Choose the units for the rulers from the pop-up menu.
• Pixels: The rulers show the number of pixels.
• Centimeters: The rulers show the number of centimeters, based on 28.35 pixels per
centimeter.
• Inches: The rulers show the number of inches, based on 72 pixels per inch.
• Percentage: The rulers show the percentage of the frame.
• Center ruler origin: Select this checkbox to have the rulers start at the center of the
frame. This places “0” at the center of the rulers, with the units counting up from there
in both directions. When this checkbox is not selected, the ruler’s origin is the frame’s
upper-left corner.
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• Show ruler guide tooltips measurements: Select this checkbox to have the pointer’s
coordinates appear when dragging an alignment guide. The values are in pixels, based
on a position of 0, 0 for the upper-left corner.
• Guides: These settings apply to the guides that appear in the Menu and Subtitle Editors.
Note: You cannot add menu guides in the Subtitle Editor.
• Show: Select this to show the guides in the Menu and Subtitle Editors.
• Hide: Select this to hide the guides in the Menu and Subtitle Editors.
• Guide color: Set the color for the menu guides and the dynamic guides that appear
when you move an item in the Menu or Subtitle Editor. Click to open the Colors window.
• Show Dynamic Guides at object center: Select this checkbox to have the dynamic guides
that appear when you drag an item in the Menu and Subtitle Editors show lines
referenced to the item’s center.
• Show Dynamic Guides at object edges: Select this checkbox to have the dynamic guides
that appear when you drag an item in the Menu and Subtitle Editors show lines
referenced to the item’s edges.
Text Preferences
The Text preferences contain the default settings that apply when adding text to a menu,
a menu’s button, and to a subtitle.
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All Text Types
The following settings apply to all types of text you can configure.
• Show: Choose the type of text to configure (subtitle, menu, or menu button). The type
you choose determines the other settings available in this pane.
• Font: Shows the current settings.
• Font Panel: Click to open the Fonts window to configure the font.
Subtitle Text Settings
The following settings apply to subtitle text.
Note: You cannot set the subtitle text color as you can for the menu button and menu
text items.
• Horizontal: Select the horizontal justification (left, center, or right) to use for your subtitle
text. Use this to set the default positioning of text-based subtitles you create in
DVD Studio Pro. See Creating Subtitles with DVD Studio Pro for more information.
• Horizontal Offset: Enter values to modify the horizontal justification setting. For example,
you can enter a horizontal offset value to move the text slightly toward the center
when you have selected left justified as the horizontal setting. Negative values move
the text to the left and positive values move it to the right.
• Vertical: Select the vertical justification (top, center, or bottom) to use for your subtitle
text.
• Vertical Offset: Enter values to modify the vertical justification setting. For example, you
can enter a vertical offset value to move the text slightly toward the center when you
have selected bottom justified as the vertical setting. Negative values move the text
up and positive values move it down.
Menu Button Defaults
The following settings apply to menu button text. See Adding Text to a Button for more
information.
• Color Panel: Click to open the Colors window for configuring the text color.
• Position: Select the default position for the button’s text (Bottom, Top, Right, Left, or
Center).
• Include text in highlight: Select this checkbox to have the text included as part of the
button’s highlight area.
Menu Text Settings
The following setting applies to menu text. See Adding Text Objects to a Menu for more
information.
• Color Panel: Click to open the Colors window for configuring the text color.
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Colors Preferences
The Colors pane contains the color mapping settings for the Menu and Subtitle Editors.
• Show: Choose whether to show the settings for the Menu Editor or Subtitle Editor. This
affects all other settings in this pane.
• Mapping Type: Choose the type of overlay mapping, Chroma or Grayscale, you are
using. This only applies if you are using advanced overlays. See Using Advanced Overlay
Color Mapping for more information.
• Selection State: Choose which of the three selection states (Normal, Selected, or
Activated) to configure.
• Set: Select which of the three color mapping sets to configure. These settings are only
active when the Selection State is set to Selected or Activated. See Color Mapping Sets
for more information.
• Key, Color, and Opacity Settings: Choose the color and opacity setting for each of the
overlay’s four colors (shown in the Key column) for each selection state and set. See
Colors Tab in the Menu Inspector with Advanced Selected for more information.
Note: Shapes and simple overlays use the black key color (the top one) for their
highlights.
• Palette: This shows the colors in the color mapping palette. You can change a color by
clicking it and selecting a new color in the Colors window. See Setting the Colors in
the Color Palette for more information.
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Simulator Preferences
The Simulator preferences apply to the Simulator you can use to test your project. See
Simulating Your Project for more information.
Default Language Settings
• Audio, Subtitle, and DVD Menu Default Language: Choose the languages to use as the
Simulator’s default for menus, audio, and subtitles. This simulates the language settings
in a DVD player. If you want any of these elements to use the stream settings in the
Disc Inspector in place of the language settings, choose Not Specified.
Features
• Enable DVD@CCESS Web Links: Select so that the Simulator can process any DVD@CCESS
links in the project. This is useful to verify that email and web links work correctly. See
Testing DVD@CCESS Links for more information.
Region Code
• Default Region: Choose the region code to simulate. You can choose All or a specific
region.
Playback Output
• Video: Choose the destination for the Simulator video. The two choices are Simulator
Window, which is the default setting, and Digital Cinema Desktop Preview, which
actually selects your system’s second monitor, whether it is an S-Video monitor, an
Apple Cinema Display, or any other appropriate display. See Simulating with an External
Video and Audio Monitor for more information.
• Audio: Choose the destination for the Simulator, Assets tab, and any of the editors’
(Track, Story, Slideshow, and Menu Editor) audio. Common choices include Built-in
Audio, for normal system audio, and Built-in Audio (S/PDIF), which uses your system’s
optical digital audio output (if available) to output the audio to an external AC-3 or
DTS decoder.
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• Resolution: Choose the monitor resolution to simulate. The choices include SD, HD 720,
and HD 1080.
• Display Mode: Choose the monitoring situation to simulate.
• 4:3 Pan-Scan: This setting simulates a 4:3 aspect ratio monitor with a DVD player
configured to use the pan-scan method when showing 16:9 content.
• 4:3 Letterbox: This setting simulates a 4:3 aspect ratio monitor with a DVD player
configured to use the letterbox method when showing 16:9 content.
• 16:9: This setting simulates a 16:9 aspect ratio monitor.
Destinations Preferences
The Destinations preferences control the location of files created during a variety of
processes within DVD Studio Pro.
• Show: Choose the process whose path you want to configure.
• Encoding: This process specifies the location for the video and audio files that are
created by the integrated MPEG and AIFF encoders when you import QuickTime files
into your project. See Importing Assets That Are Not DVD-Compliant and Using the
Integrated MPEG Encoder for more information.
• Image Encoding: This process specifies the location for the MPEG files that are created
when you use non-MPEG still images in your menus, slideshows, and within a track.
See Using Still Assets That Are Not DVD-Compliant for more information.
• MPEG Parsing: This process specifies the location for the parse files that are created
when you import MPEG files. See About the Parse Files for more information.
• Build/Format: This process contains settings that define the default location to which
the AUDIO_TS and VIDEO_TS folders, created during the build process, are saved.
See Building Your Project for more information on building your project.
• Palette Elements: This process specifies the location for the stock (Apple supplied)
and custom items that appear in the Palette. Each setting has its own Choose and
Reset buttons. Click Choose to open a dialog to choose the folder to use. Click Reset
to revert to the factory default settings. The default location for the stock items is
/Library/Application Support/Final Cut Studio/DVD Studio Pro/.
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• Location: Select the location to save files to.
• Same Folder as the Asset: This is the default setting. It places the files into an MPEG
or PAR subfolder (depending on the type of file being created) in the original file’s
folder. For QuickTime assets, an MPEG folder is created, with a PAR subfolder. The
encoded file is placed in the MPEG folder and, if necessary, the parse file is placed in
the PAR folder. For assets that are already MPEG-encoded, a PAR folder is created
and the parse file is placed there. If the original files are on a volume that can’t be
written to, such as a CD-ROM disc or a disk you do not have Write privileges for,
DVD Studio Pro automatically writes to the Specified Folder/Fallback Folder location.
• Project Bundle: This setting saves the files to the project file. To see the contents of
the project file (the file created when you saved your project), locate the file in the
Finder, Control-click it, then choose Show Package Contents from the shortcut menu.
If you have not saved your project yet, the files are saved at your Specified
Folder/Fallback Folder location.
• Specified Folder/Fallback Folder: This setting saves the files to a disk and folder you
choose. You can either enter the path directly or click Choose to open a dialog to
choose the folder to use. It is also used when DVD Studio Pro is unable to write to
the Same Folder as the Asset or Project Bundle locations. The default path is in your
home folder at /Library/Caches/DVD Studio Pro Files. If you specify a location that
cannot be written to, this default path is used in its place.
Encoding Preferences
The Encoding pane contains the settings that control the integrated MPEG encoder,
which is used when you import a QuickTime asset. See Using the Integrated MPEG Encoder
for more information on the integrated MPEG encoder and details on these settings.
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Creating a New Project
When you open DVD Studio Pro, a new project file is automatically created. You can also
create a new project at any time.
To create a new project
1 Choose File > New (or press Command-N).
A dialog asks whether you want to save the currently open project. Once you select an
answer, a new, empty project opens.
2 Choose File > Save, specify a name and location for your project file, then click Save.
Saving your project early ensures that if any files need to be saved to your project during
the authoring process, they have a place to be written to.
Once you have created and saved your project, there are four areas you might want to
configure before you begin.
• Setting the video standard: DVD-Video titles are based on one of two video standards:
NTSC or PAL. You cannot create a DVD-Video title that supports both video standards.
DVD Studio Pro includes a video standard setting that applies to projects created after
the standard has been set. It’s a good idea to confirm this setting if this is the first
DVD Studio Pro project you are creating or if you author both NTSC and PAL titles on
this system. See Setting the Video Standard for more information.
• Setting the DVD standard: You can author either SD or HD projects with DVD Studio Pro.
If you are authoring an SD project, you can change it to HD. If you are authoring an HD
project, you cannot change it to an SD project just by changing the DVD standard. See
Changing a Project’s DVD Standard for more information.
• Naming the project: Each project is given a name that can be seen by the viewer when
the finished DVD is played on a computer or on some set-top DVD players.
DVD Studio Pro automatically uses the project’s filename, created when you saved the
project, as the project name. See Naming the Project for information on how to change
this.
• Setting the disc size: By default, DVD Studio Pro is set to use a 4.7 GB disc. This setting
affects not only the disc burning process but also the toolbar’s disc meter. See Setting
the Disc Size for information on changing this setting if you intend to work with other
disc sizes.
• Setting the First Play element: Each project must have an element designated as “first
play.” This is the element that appears when the viewer first starts playing the DVD. By
default, it is Menu 1. You can set this to be any element in your project. See Setting
the Project’s First Play for more information.
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Setting the Video Standard
The DVD-Video specification supports two video standards: NTSC and PAL. This may
appear to leave out those countries that use the SECAM or PAL-M video standards.
However, because the MPEG video on DVDs is in a component format, your sources, once
MPEG-encoded, only need to conform to the line and frame rates of either the NTSC or
PAL standard.
• Use the NTSC video standard: If you are in a country that supports either the NTSC or
PAL-M video standard. Both standards use a 29.97 fps frame rate with 525 lines per
frame. As a general rule, if your country uses 60 Hz AC power, you should use the NTSC
video standard.
• Use the PAL video standard: If you are in a country that supports either the PAL or SECAM
video standard. Both standards use a 25 fps frame rate with 625 lines per frame. As a
general rule, if your country uses 50 Hz AC power, you should use the PAL video
standard.
See Video Standards of the World for a list of countries and the video standards they
support.
You cannot mix NTSC and PAL assets on a DVD. See NTSC or PAL? for more information.
Also see Changing a Project’s Video Standard for information on converting a project
from one video standard to the other.
Important: If you have any doubts about whether your system is set to the correct
standard, you should verify its setting (described next) and change it if necessary before
you start adding assets to your project.
To set the video standard for the current project in the Disc Inspector
1 Choose View > Show Inspector if the Inspector is not visible.
2 Do one of the following:
• Select the project’s name (next to the disc icon) in the Outline tab. (Choose Window >
Outline if the Outline tab is not visible.)
• Click an empty area in the Graphical tab.
The Disc Inspector appears.
Select the video standard
before adding assets.
3 In the General tab, select either NTSC or PAL to set the project’s video standard.
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Note: You cannot change a project’s video standard once you have added motion assets
to it. See Changing a Project’s Video Standard for more information.
The other Disc Inspector settings can be made later. See Finishing a Project for details on
these settings.
To set the video standard for DVD Studio Pro in the Preferences window
1 Choose DVD Studio Pro > Preferences, or press Command-Comma (,) to open the
Preferences window.
2 Click the Project icon at the top of the Preferences window to open the Project pane.
3 Choose either the NTSC or PAL video standard.
This setting only affects projects created after it is set.
Setting the DVD Standard
You can choose from two DVD standards when you start your project: the original SD
DVD standard based on standard definition video assets and the new HD DVD standard
designed to use high definition video assets.
Most asset formats supported by SD-based DVDs are also supported by HD-based DVDs.
The exception is MPEG-1 video, which is not supported in HD projects. See About Standard
and High Definition DVDs for more information.
There are two places to set the DVD standard—each is used for different circumstances.
Setting the DVD Standard in DVD Studio Pro Preferences
You can set the DVD standard for all new projects in the Project pane of DVD Studio Pro
Preferences. This setting does not affect the current project.
To set the DVD standard for new projects
1 Choose DVD Studio Pro > Preferences, or press Command-Comma (,) to open the
Preferences window:
2 Click the Project icon at the top of the Preferences window to open the Project pane.
3 Choose either SD DVD or HD DVD from the DVD Standard pop-up menu.
Setting the DVD Standard in the Disc Inspector
The General tab in the Disc Inspector contains a setting that shows the DVD standard for
the currently open project.
• If SD DVD is selected: You can change the project to HD DVD.
• If HD DVD is selected: The settings are deactivated and you cannot change the project
to SD DVD.
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Note: If you create a new project and it has HD DVD selected when you actually intend
to create an SD project, you must change the DVD Standard setting in the Project pane
of DVD Studio Pro Preferences.
To change the DVD standard for the current project using the Disc Inspector
1 Choose View > Show Inspector if the Inspector is not visible.
2 Do one of the following:
• Select the project’s name (next to the disc icon) in the Outline tab.
• Click an empty area in the Graphical tab.
The Disc Inspector appears.
3 Select the General tab (if it’s not already selected).
4 Note the DVD Standard setting.
• If SD DVD is selected: You can change the project to HD DVD. A warning appears saying
that you will not be able to change the project back to the SD DVD standard.
• If HD DVD is selected: The settings are deactivated and you cannot change the project
to SD DVD.
See Changing a Project’s DVD Standard for more information.
Naming the Project
By default, each DVD disc you create is automatically given the same name as the project’s
file, entered when you saved it. The disc’s name can be seen by the viewer when the
finished DVD is played on a computer or on some set-top DVD players.
In most cases, the name of the project’s file is suitable to use as the disc’s name. However,
there are some cases in which you might want to set the disc’s name independently of
the project’s filename. For example, you may have several versions of a project, such as
Bicycles 1, Bicycles 2, and Bicycles 3, that you will choose from for the final project. In this
case, if you choose the Bicycles 2 version of the project, you would not want the final
disc to appear as Bicycles 2 when the viewer plays the title—you would want it to say
simply Bicycles.
The name of the disc is restricted to uppercase letters, numbers, and the underscore
character. There is a maximum of 32 characters. The project’s filename is automatically
converted to work with these restrictions when it is used as the disc’s name. For example,
a project filename of Bicycle 2 is converted to a disc name of BICYCLE2.
To name the disc in the Disc Inspector
1 Do one of the following:
• Select the disc’s name (next to the disc icon) in the Outline tab.
• Click an empty area in the Graphical tab.
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The Disc Inspector appears.
Note: Choose View > Show Inspector if the Inspector is not visible.
2 Enter the new name for the disc in the Name field at the top of the Disc Inspector, then
press Return.
Setting the Disc Size
The DVD Studio Pro default is set to a 4.7 GB DVD-5. This setting affects both the actual
disc burning process when you finish your project and the disc meter icon in the toolbar.
In addition to showing the estimated project size numerically, the disc meter also shows
how full the disc is getting graphically. The disc meter uses the project’s disc size setting
to determine the disc’s capacity.
As long as you intend to burn DVD-5 discs, the disc meter is accurate. If you intend to
burn a blue laser, dual-layer, or 8 cm disc, you need to set the disc size to the proper
format so that the disc meter reflects the changed requirements of your project.
To set a project’s disc size
1 Do one of the following:
• Select the project’s name (next to the disc icon) in the Outline tab.
• Click an empty area in the Graphical tab.
The Disc Inspector appears. (Choose Window > Outline if the Outline tab is not visible.
Choose View > Show Inspector if the Inspector is not visible.)
2 Click the Disc/Volume tab in the Disc Inspector.
Select the disc capacity
required for this project.
Select the disc size
required for this project.
Select the disc media
required for this project
(HD projects only).
Based on the other
settings, shows the disc
capacity.
3 Select Red Laser or Blue Laser as the Disc Media (HD projects only).
4 Select Single or Dual as the Layer Options.
5 Select 8 cm or the standard 12 cm as the Disc Size.
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The maximum size for the project appears below the Disc Size setting.
The other Disc Inspector settings can be made later. See Finishing a Project for details on
these settings. See Disc Options for more information on available DVD sizes. See topics
relating to finishing a project for more information on these settings.
Setting the Project’s First Play
An important consideration when starting a project is deciding which of its elements will
be the first to appear when a viewer starts playing the DVD. Some examples might be:
• Using the default setting and opening Menu 1 when the DVD starts playing
• Setting First Play to a motion menu or track that plays before the main menu appears.
This motion menu or track could be a short animated company logo or a disclaimer.
• Creating a DVD for continuous kiosk playback. You may want to have a disc that plays
a track over and over, with no menus or other viewer interaction. In that case, you
would set the track to be the First Play element and set the track’s End Jump setting
to be that same track.
• Running a script to determine if the DVD should be allowed to play on this player. A
script could also be used to configure playback to match the DVD player’s languages
or its display’s aspect ratio. The script would end by choosing the first element to play
for the viewer. (The viewer would not actually know that a script is the First Play
element.)
To set the project’s First Play to an element other than Menu 1, you must first create that
element. For this reason, you do not have to (and often can’t) set the project’s First Play
when you start creating your project, but it is a good idea to have a plan in mind.
You can set the project’s First Play in the Disc Inspector, the Connections tab, the Outline
tab, and the Graphical tab. See Assigning the First Play Element for information on using
the Outline and Graphical tabs to set the First Play. See Settings at the Top of the Disc
Inspector for information on using the Disc Inspector to set the First Play. See Source
Details for information on using the Connections tab to set the First Play.
Opening an Existing Project
There are several methods you can use to open an existing DVD Studio Pro 4 project.
These methods can also be used to open projects created with earlier versions of
DVD Studio Pro. See Importing Other Projects for more information on opening earlier
DVD Studio Pro projects.
To open an existing project
Do one of the following:
μ Choose File > Open (or press Command-O).
Chapter 9 Starting a Project 143
μ Press Command-O.
μ Double-click the project file in a Finder window.
If a project is already open in DVD Studio Pro, a dialog appears, prompting you to save
it if it has not already been saved.
Note: DVD Studio Pro only allows you to have one project open at a time.
To open a recently opened project
μ Choose File > Open Recent > [name of project].
You can choose File > Open Recent > Clear Menu to remove existing projects from the
Open Recent submenu.
There are several issues to be aware of when opening an existing project:
• If you open a DVD Studio Pro project that uses a font that is not on the computer you
are opening it on (either because the font was deleted or the project was created on
a different computer), any items using the missing font have a different font substituted
with no warning.
There are three items in a DVD Studio Pro project that utilize fonts: a menu’s text objects,
a button’s text, and text-based subtitles.
• When you open a project that uses assets requiring parse files, DVD Studio Pro checks
to see if the files are available. If not, it creates them as part of the project-opening
process; in these cases, the project takes longer to open. It is not uncommon for the
parse files to be left behind when moving a project and its assets from one computer
to another. Creating the parse files can take from a few seconds to several minutes,
depending on the number and length of the assets used in the project. A progress bar
indicates the completion status of the parse file. See About the Parse Files for more
information about parse files.
• When you open a project that DVD Studio Pro is unable to locate assets for, a Missing
Files window appears. You can use the window to manually locate the assets. If you
choose to open the project with missing assets, those assets are displayed in red in the
Assets tab, and any elements that use them are disabled. See Missing or Renamed
Assets for more information.
• Multiple users can open the same project over a network. This can lead to problems if
each user makes changes and resaves the project. When another user opens the same
project you are currently working with, an alert appears that names the other user and
computer that opened the project.
Important: DVD Studio Pro does not prevent multiple users from writing to a project.
You must use care to avoid this situation and immediately resolve any alerts that appear.
144 Chapter 9 Starting a Project
Video Standards of the World
Because you may find yourself needing to know the video standard of a particular country,
following is a list of the different continents and regions of the world and the video
standards they use.
Note: This list is subject to change and should be used as a guideline only.
Continents and regions Video standard
All countries in the African continent use either the PAL or SECAM
video standard.
Africa
All countries in the Asian continent use either the PAL or SECAM
video standard, with the exception of Burma, Japan, the Philippines,
South Korea, Taiwan, and Vietnam, which use the NTSC video
standard.
Asia
All islands in the Caribbean region use the NTSC video standard,
with the exception of Guadeloupe and Martinique, which use the
SECAM video standard.
Caribbean
Central America All countries in Central America use the NTSC video standard.
All countries in the European continent use either the PAL or SECAM
video standard.
Europe
All countries in the Middle East use either the PAL or SECAM video
standard.
Middle East
All countries in North America use the NTSC video standard, with
the exception of Greenland, which uses the PAL video standard.
North America
All countries in the Oceania region, including Australia and New
Zealand, use either the PAL or SECAM video standard, with the
exception of American Samoa, Guam, the Marshall Islands,
Micronesia, the Midway Islands, Palau, and Samoa, which use the
NTSC video standard.
Oceania
All countries in South America use the NTSC video standard, with
the exception of Brazil, which uses the PAL-M video standard, and
Argentina, Paraguay, Uruguay, and French Guyana, which use either
the PAL or SECAM video standard.
South America
Changing a Project’s Video Standard
When you create a project, all assets used in it must be the same video standard (NTSC
or PAL). If you want the project to be available in both video standards, you need to create
two projects—one for each standard. You can minimize the amount of work involved in
re-creating the project in the other video standard by keeping the following rules in mind:
• You cannot have any video assets assigned to the project when you try to change the
project’s video standard. Before you can remove the assets from the project, they must
not be in use by any of the project’s elements.
Chapter 9 Starting a Project 145
• Any markers placed in the Track Editor remain behind when you remove the video
asset. If you then change the project’s video standard and import a version of the video
asset in the new video standard, the markers are applied to the new asset. The timecode
values of the markers change to match the new video standard. Depending on the
encoding used, the markers may no longer occur at GOP boundaries. Be sure to select
the “Fix invalid markers on build” setting in the Track pane of DVD Studio Pro Preferences
to ensure you will be able to build the project. See Track Preferences for more
information.
• Still assets do not need to be removed before you change a project’s video standard.
DVD Studio Pro automatically rescales still assets (except overlays) to the new video
standard; however, for the best quality, it is recommended that you remove the original
assets and import versions that match the new video standard.
• All menu settings, including button connections, drop zones, and text objects, are
retained when you change a project’s video standard. This reduces the amount of
reconfiguration you have to go through when changing video standards, even if you
have to change the menu’s background.
Note: An exception is if any buttons or drop zones use motion assets—the assets must
be removed from these elements before you change the video standard.
• Audio assets can be used with either video standard.
• If you add a QuickTime asset whose video standard is different from the project’s current
setting, the integrated MPEG encoder automatically transcodes the asset to the project’s
video standard while encoding it. For example, if you are working on a PAL project and
accidentally import an NTSC QuickTime file, the NTSC file is encoded as a PAL asset
and is imported into the project.
• Templates and styles are specific to the video standard. If your project relies on custom
templates and styles, you will need to create versions in both NTSC and PAL to be able
to use them in both standards.
Note: Apple templates and styles are supplied in both the NTSC and PAL standards.
Shapes are not specific to the video standard.
Changing a Project’s DVD Standard
DVD Studio Pro makes it easy to convert an SD project to an HD project. However, there
is no comparable method to use to convert an HD project to an SD project. For that
reason, if you are intending to build both an SD and HD version of the project, you should
start by building the SD version first.
Note: If you create a new project and it has HD DVD selected when you actually intend
to create an SD project, you must change the DVD Standard setting in the Project pane
of DVD Studio Pro Preferences.
146 Chapter 9 Starting a Project
To convert an SD project to an HD project
1 Do one of the following:
• Select the project’s name (next to the disc icon) in the Outline tab.
• Click an empty area in the Graphical tab.
The Disc Inspector appears. (Choose Window > Outline if the Outline tab is not visible.
Choose View > Show Inspector if the Inspector is not visible.)
2 Click the General tab in the Disc Inspector.
3 Select the HD DVD setting for DVD Standard.
A warning appears stating that you will not be able to convert the project back to the
SD DVD standard.
4 Save the project using a new project name.
This ensures the original SD project will remain as it is and not be overwritten.
There are a few things to keep in mind when converting an SD project to an HD project:
• HD projects cannot have MPEG-1 video.
• When you import QuickTime HD assets into an SD project, DVD Studio Pro automatically
creates an SD MPEG-2 format version of them using its integrated MPEG encoder. If
you then convert the project to an HD project, the HD project continues to use these
SD MPEG-2 assets.
You can have the integrated MPEG encoder create MPEG-2 HD versions of those assets
by Control-clicking them, choosing Encoder Settings from the shortcut menu, and then
choosing new encoder settings for the asset.
Once the assets have been reencoded, you can change the resolution of any elements
that use them, such as menus or tracks, to match their new HD format.
Note: If you choose a new bit rate when reencoding an asset to an HD format, the
original SD-encoded asset remains available for use by the SD project. If you do not
choose a new bit rate, the SD-encoded asset may be overwritten by the HD-encoded
asset.
• If your SD project contains QuickTime video assets that use an HD video resolution,
you can have the integrated MPEG encoder create MPEG-2 HD versions of those assets
by Control-clicking them, choosing Encoder Settings from the shortcut menu, and then
choosing new encoder settings for the asset.
Chapter 9 Starting a Project 147
The DVD Studio Pro user interface is designed to provide a flexible environment that can
be configured easily to fit the needs and skill levels of all users.
This chapter covers the following:
• Introduction to the DVD Studio Pro Interface (p. 150)
• Configuring the Interface (p. 152)
• Working with the Quadrants (p. 154)
• Working with the Tabs (p. 157)
• Overview of the Quadrant Tabs (p. 161)
• Inspector (p. 167)
• Palette (p. 168)
• Toolbar (p. 174)
• Drop Palette (p. 177)
• Comparing the Outline and Graphical Project Views (p. 177)
• Using the Outline Tab (p. 178)
• Using the Graphical Tab (p. 180)
• Managing Elements Using the Outline and Graphical Tabs (p. 190)
149
The DVD Studio Pro Interface 10
Introduction to the DVD Studio Pro Interface
A wide variety of users use DVD Studio Pro, from those who are familiar with iDVD and
want to access a few more DVD authoring features, to those who have extensive
experience with professional DVD authoring applications.
Tabs in the lower-right
quadrant
Toolbar
You can arrange the DVD Studio Pro interface to display as much information as you
need. The main interface can be arranged to display from one to four quadrants. Each
quadrant can contain one or more tabs. Each tab provides access to specific functions.
For example, the Menu tab contains the Menu Editor which you use to create menus.
Some tabs will be used by all users while others are only used for advanced features. See
Overview of the Quadrant Tabs for information on the tabs.
The interface also includes a customizable toolbar. You can choose which tools appear
and which are hidden. See Toolbar for more information.
150 Chapter 10 The DVD Studio Pro Interface
A floating Inspector displays properties for each project element, with its contents
changing based on the currently selected element. For example, if you are working on a
menu’s buttons, the Inspector displays all properties and settings that apply to buttons.
When creating basic DVD Studio Pro projects, you might find it easier to keep the Inspector
closed, only opening it when necessary. See Inspector for more information.
Inspector
A floating Palette provides easy access to features that help you create menus and tracks.
These features include:
• Templates and styles
• Shapes
• Media tabs
Chapter 10 The DVD Studio Pro Interface 151
See Palette for more information.
Palette
Configuring the Interface
To make it easy to change between different configurations of the DVD Studio Pro
interface, DVD Studio Pro lets you save each configuration. For example, once you
configure the quadrants so they are optimized for creating subtitles, you can save that
configuration for easy recall later.
Each configuration includes:
• The current arrangement of the quadrants, including their sizes, the tabs assigned to
them, and the tab that is currently visible
• Any tabs that have been torn off into separate windows. See Tearing Off a Tab into Its
Own Window for more information.
• The tools in the toolbar
• The column configuration in the Assets tab
• The Inspector and Palette window arrangements, including whether they are visible,
their size, and their position
DVD Studio Pro includes several standard configurations you can choose from. These
configurations provide three levels of access to the features of DVD Studio Pro—basic,
extended, and advanced.
You can use these configurations as they are, perhaps adding a new tool to the toolbar
or another tab to a quadrant, or as a starting point for creating your own configurations.
152 Chapter 10 The DVD Studio Pro Interface
To choose a DVD Studio Pro configuration
μ Choose Window > Configurations, then choose a configuration from the submenu.
Each standard configuration
has a keyboard shortcut
assigned.
The submenu lists the supplied configurations plus any that you have created. Each of
the first three supplied configurations are automatically assigned keyboard shortcuts F1
through F3. You can assign keyboard shortcuts for any custom configurations in the
Manage Configurations dialog.
Once you select a configuration, the DVD Studio Pro interface changes to the new settings.
You can make your own changes to the interface and save it as a new, custom
configuration.
To save a configuration
1 Configure the interface as needed, including the quadrants and their tabs, the toolbar,
the Inspector, and the Palette. See the following for more information:
• Working with the Quadrants
• Inspector
• Palette
• Toolbar
2 Choose Window > Save Configuration.
The following dialog appears.
3 Enter a name for the configuration.
4 Click Save.
Chapter 10 The DVD Studio Pro Interface 153
The new configuration is added to the list of configurations available to your system.
Note: To update a custom configuration, save the updated version using the original
version’s name.
To manage your configurations
1 Choose Window > Manage Configurations.
A list of existing configurations appears. The Key column lists the “F” key assigned as each
configuration’s keyboard shortcut.
2 Do any of the following:
• Click the Add (+) button to add a new configuration.
• Delete a configuration by selecting it and then clicking the Delete (–) button.
• Rename a configuration by double-clicking it and entering a new name.
• Assign a keyboard shortcut to a configuration by choosing an “F” key from its Key
pop-up menu.
Important: F9, F10, and F11 are used by default by the Mac OS X Exposé feature. You
can reconfigure them in System Preferences. F14 and F15 are used by Mac OS X to
control the monitor brightness.
• Apply a configuration by selecting it and then clicking the Apply button.
3 Click Done to close the dialog and save the changes.
Working with the Quadrants
The main DVD Studio Pro interface can contain from one to four quadrants. Each quadrant
contains one or more tabs that contain controls for specific functions. You have great
flexibility in customizing what is displayed in each quadrant and how it’s displayed.
If you choose the basic configuration, one quadrant appears. With the extended
configuration, three quadrants appear. See Adding Quadrants to the Basic and Extended
Configurations for details on working with the basic and extended configurations.
154 Chapter 10 The DVD Studio Pro Interface
You can adjust each quadrant’s size by dragging its borders, or adjust the size of all four
quadrants at once by dragging the point where they intersect. You can “close” a quadrant
by dragging its inside edge to the DVD Studio Pro interface edge.
Resizing the Quadrants
You can resize the quadrants in pairs, either horizontally or vertically, or resize them all
at once. When all four quadrants are displayed, making individual horizontal or vertical
adjustments affects all four quadrants. For example, dragging the horizontal boundary
up causes both lower quadrants to get bigger, while both upper quadrants get smaller.
The pointer changes its shape when it is at a quadrant boundary, indicating that you can
drag it from there.
You can also quickly make the current quadrant expand to full window.
To make the current quadrant full window
Do one of the following:
μ Choose Window > Expand [tab name]. The currently active tab’s name is shown, and its
quadrant is the one that becomes full window.
μ Press Shift-Space bar.
μ Press Command-Option-Grave Accent (`, on the same key as the tilde).
In all cases, you can use these same methods to restore the quadrant to its normal size.
Note: If you perform a function that requires a different tab to appear, the quadrant is
automatically restored to its normal size.
To resize the quadrants manually
Do one of the following:
μ To change only the heights of the upper and lower quadrants, drag the boundary between
the upper and lower halves up or down.
Chapter 10 The DVD Studio Pro Interface 155
μ To change only the widths of the left and right quadrants, drag the boundary between
the left and right halves left or right.
μ To change both the heights and widths of the four quadrants, drag the point where they
intersect.
μ To split either the vertical or horizontal boundary, so that you can resize two quadrants
while leaving the other two as they are, Option-drag the boundary you want to move.
This creates two intersection points, each of which can be dragged as needed. To
reconnect the split boundaries, drag one of them so that it aligns with the other, then
release it. They are now reconnected and will move as a single boundary.
When a horizontal or vertical boundary gets close to an edge of the user interface, the
boundary snaps to that edge, instantly hiding the smaller quadrant. This makes it easy
to quickly display only one or two of the quadrants. You can display the hidden quadrants
by dragging the edge back toward the center of the window.
156 Chapter 10 The DVD Studio Pro Interface
Adding Quadrants to the Basic and Extended Configurations
There are two ways to add quadrants to the basic and extended configurations: Choose
a different configuration or drag their edges in toward the center.
The basic configuration is actually just the upper-right quadrant with its left and bottom
boundaries dragged to the edges of the interface. To add a quadrant to the left half of
the interface, drag the left edge toward the center. To add a quadrant to the bottom half,
drag the bottom edge toward the center.
The extended configuration has the lower-left quadrant hidden. To add it, drag the
lower-left edge toward the center.
Working with the Tabs
The quadrants hold the tabs that contain the primary controls of the DVD Studio Pro
interface. You can select a tab to make it active, move the tab to a different quadrant, or
“tear off” the tab to make it available in its own window.
Viewing a Tab’s Contents
When you have multiple tabs in a quadrant, only one is active and can be seen. There
are several methods you can use to make a tab active so that it appears in front of the
others.
To view a tab’s contents
Do one of the following:
μ Click the tab you want to view.
μ Choose Window > [name of tab].
μ Use the tab’s keyboard shortcut. For a compete list of keyboard shortcuts, see
Keyboard Shortcuts.
Note: If a tab is hidden, choosing it from the Window menu or using the keyboard shortcut
makes it appear as a separate window.
In many cases, selecting an element in the Outline or Graphical tab automatically activates
related tabs (if they are assigned to a quadrant). For example, if you double-click a menu
in the Outline tab, the Menu tab becomes active.
Rearranging Tabs Within a Quadrant
You can change the order in which tabs appear within a quadrant.
To change the order of tabs
μ Drag a tab to a new position.
Chapter 10 The DVD Studio Pro Interface 157
Moving a Tab to a Different Quadrant
You can move a tab from one quadrant to another. This allows you to group tabs that
work best for you. For example, you may group the tabs so that you can reduce the
number of quadrants that appear and see just the tabs you use most.
To move a tab to a different quadrant by dragging
μ Drag a tab to the new quadrant’s tab area.
Dragging the Graphical
tab to the upper-right
quadrant
As you drag the tab, an outline surrounds the tab area in the quadrant to which you’re
moving the tab. You can drag the tab to a specific position among the quadrant’s current
tabs.
To move a tab to a quadrant using a shortcut menu
μ Control-click an empty part of the tab area in the quadrant you want to add a tab to,
then choose the tab to add from the shortcut menu. (Tabs with checkmarks are already
part of the quadrant.)
The tab you choose is removed from its existing location and added to the end of the
quadrant’s current tabs. (If the tab was torn off into a separate window, its window is
closed as long as there are no other tabs in the window.)
158 Chapter 10 The DVD Studio Pro Interface
Tearing Off a Tab into Its Own Window
You can “tear off” a tab so that it appears in its own window. This is useful if you have a
large computer display or use multiple displays and are able to spread out. It is also useful
if you have a small display and a limited workspace, because it allows you to have larger
windows without resizing the quadrants.
To tear off a tab
Do one of the following:
μ Drag a tab to a position outside of the immediate tab area.
μ Control-click the tab, then choose Tear Off Tab from the shortcut menu.
μ Control-click in the area next to the tabs in its quadrant, then choose the tab’s name from
the shortcut menu.
The tab’s window can be sized and positioned as needed. You can also drag additional
tabs to the window.
Restoring a Torn-Off Tab to a Quadrant
You can add a tab back into a quadrant using several methods.
To restore a tab to its quadrant
Do one of the following:
μ Drag the tab’s name to a quadrant. The tab snaps back into place and its window closes
(as long as the window has no other tabs).
Chapter 10 The DVD Studio Pro Interface 159
Note: This is different from dragging the window’s title bar, which just repositions the
window.
Dragging the Graphical
window’s tab to add it to
the upper-left quadrant
μ Control-click an empty area of a quadrant’s tab area, then choose the tab from the shortcut
menu. You can also do this if the tab’s window has been closed.
What Happens If You Close a Torn-Off Tab’s Window?
If you close a tab’s window by clicking the close button in the upper-left corner of the
window, the tab does not automatically get added back to a quadrant, and it is no longer
displayed.
You can either reopen the window or add the tab to one of the quadrants (as described
in the previous section, Restoring a Torn-Off Tab to a Quadrant).
To reopen the tab in its own window
Do one of the following:
μ Choose Window > [the tab name].
μ Press the tab’s keyboard shortcut.
μ Double-click an element that requires the tab in the Outline or Graphical tab.
The tab opens in its window at the same position and size as when it was closed.
160 Chapter 10 The DVD Studio Pro Interface
Overview of the Quadrant Tabs
Following is an alphabetical list of the tabs that can be included in the quadrants.
Assets Tab
The Assets tab is a central location for managing the assets used in your project. It displays
extensive information about each asset in columns that you can configure to see just the
information you want. Additionally, you can create folders and subfolders to help organize
assets when you are working with large projects. See About the Assets Tab for details on
working with the Assets tab.
Connections Tab
The Connections tab provides a comprehensive tool for linking elements—such as a
menu button and a track marker—to each other. While there are a number of ways to
make most connections, including directly in the Menu Editor, the Connections tab is the
only way to access some advanced features. See Establishing Connections for details on
working with the Connections tab.
Chapter 10 The DVD Studio Pro Interface 161
Graphical Tab
The Graphical tab provides a tile-based view of all elements in your project. You are able
to arrange the tiles and display lines indicating how they connect to each other. This
makes it possible to create a flowchart of your project, which can be printed and used
for project planning and approvals. See Using the Graphical Tab for more information.
Log Tab
You can use the Log tab to see status information for a variety of functions:
• Build: Displays messages generated while building your project’s files in preparation
for writing them to a DVD disc.
• Encode: Displays messages generated by the integrated MPEG and AIFF encoders.
• Simulate: Displays messages generated while using the Simulator with your project.
162 Chapter 10 The DVD Studio Pro Interface
Menu Tab
The Menu tab contains the Menu Editor. You use the tools in the Menu Editor to build
your project’s menus. The editor contains a display to show the menu’s video contents,
along with controls to configure the display. See About the Menu Editor for details on
using the Menu Editor.
Outline Tab
The Outline tab provides an organized list of all project elements. Each element is grouped
by type, such as Menus or Tracks, in sections that function a bit like file folders. Next to
each section name is a disclosure triangle—clicking the triangle allows you to hide or
display the elements listed in that section. See Using the Outline Tab for details on using
the Outline tab.
Chapter 10 The DVD Studio Pro Interface 163
The Outline tab also contains the VTS Editor. The VTS Editor (Video Title Set Editor) allows
you to manually place project elements into specific VTS blocks. See VTS Editor for more
information.
Script Tab
The Script tab contains the Script Editor. You use the Script Editor to add and manage
commands in your scripts. The editor lists each command and its step number. See The
Scripting User Interface for details on using the Script Editor.
164 Chapter 10 The DVD Studio Pro Interface
Slideshow Tab
The Slideshow tab contains the Slideshow Editor. You use the tools in the Slideshow
Editor to create and edit slideshows. The editor contains thumbnails of each slide in
display order, along with the slide’s duration. You can also add audio to your slideshow
in the editor. See Slideshow Editor Settings for details on using the Slideshow Editor.
Story Tab
The Story tab contains the Story Editor, which you use when creating a story for a track.
To create a story, you choose which sections of the track to play, as defined by chapter
markers. See Using the Story Editor for details on using the Story Editor.
Chapter 10 The DVD Studio Pro Interface 165
Track Tab
The Track tab contains the Track Editor. The Track Editor displays all streams associated
with a track (video, audio, and subtitle) in a linear, timecode-based manner. It provides
tools for adding and editing markers. It allows you to trim and combine multiple assets
on a single stream. See Configuring the Track Editor for details on using the Track Editor.
Viewer Tab
The Viewer tab lets you view your project’s elements. See Viewing a Track for details on
using the Viewer tab.
The Viewer tab is also used when editing subtitles. You use the tools along the bottom
to build subtitles within DVD Studio Pro or to view subtitles imported from an external
source. The display shows both the subtitle and the first frame of video that it appears
over. See Creating Subtitles with DVD Studio Pro.
166 Chapter 10 The DVD Studio Pro Interface
Inspector
The Inspector is a floating window that displays the properties of the element you are
currently working with. In some cases, it contains multiple tabs, with the properties
grouped by type and function.
With the exception of the Palette, the Inspector always has the highest viewing priority
of the DVD Studio Pro windows—it is never covered by any other DVD Studio Pro window.
(If the Inspector and Palette are in the same area of the screen, the one last selected will
cover the other.) Because it is always on top of the other interface elements, you may
find it useful to keep the window closed until you need it.
You can hide and show the Inspector to suit your needs.
To hide the Inspector
Do one of the following:
μ Choose View > Hide Inspector (or press Command-Option-I).
μ Click the close button in the upper-left corner of the window.
μ Click Inspector in the toolbar.
To show the Inspector
Do one of the following:
μ Choose View > Show Inspector (or press Command-Option-I).
μ Click Inspector in the toolbar.
Chapter 10 The DVD Studio Pro Interface 167
Palette
The Palette provides easy access to the templates, styles, and shapes used to create
menus. Additionally, the Palette includes three media tabs—Audio, Stills, and Video—that
can make it easier to locate the assets you want to import.
Hiding and Showing the Palette
With the exception of the Inspector, the Palette always has the highest viewing priority
of the DVD Studio Pro windows—it is never covered by any other DVD Studio Pro window.
(If the Palette and Inspector are in the same area of the screen, the one last selected will
cover the other.) Because it is always on top of the other interface elements, you may
find it useful to keep the window closed until you need it.
To hide the Palette
Do one of the following:
μ Choose View > Hide Palette (or press Command-Option-P).
μ Click the close button in the upper-left corner of the window.
μ Click Palette in the toolbar.
To show the Palette
Do one of the following:
μ Choose View > Show Palette (or press Command-Option-P).
μ Click Palette in the toolbar.
168 Chapter 10 The DVD Studio Pro Interface
Templates and Styles Tabs
A template comprises up to five styles that define most aspects of a menu. You can create
your own templates and styles or use those that DVD Studio Pro provides. You can apply
all or just selected parts of a template or style to a menu or a selected part of a menu.
This makes it easy to create a series of menus using an identical button layout and
background.
See Using Templates, Styles, and Shapes to Create Your Menus for details on using
templates and styles to create your menus.
Click to select the
category of styles you
want to view.
Shapes Tab
Shapes are graphics elements that you can add to your menu as either a button or a drop
zone. You can drag them directly from the Shapes tab to your menu background or
choose the shape to use in the Button Inspector’s Style tab or in the Drop Zone Inspector.
You can use the shapes that DVD Studio Pro provides, or you can create and import your
own.
Chapter 10 The DVD Studio Pro Interface 169
See Creating Shapes for details on creating shapes and Adding Shapes to a Menu for
details on using them in your menus.
170 Chapter 10 The DVD Studio Pro Interface
Media Tabs
The Palette includes a set of three media tabs—labeled Audio, Stills, and Video—that
display DVD Studio Pro–compatible assets located in folders that you specify. You can
add these assets to your project by dragging them from the Palette to the Assets tab,
Menu Editor, or anywhere else you can directly add assets.
Select a folder from this
list to view its contents.
Click this button
to play the selected
audio or video asset.
The assets in the
selected folder
Drag this separator bar
to control how many
folders appear.
Enter text to search for
in the selected folder.
Use these to add
and delete folders.
The media tabs, and the folders assigned to them, are available to all DVD Studio Pro
projects. They provide an additional method to organize your assets, and are especially
useful for accessing assets you use often.
Important: Assets that appear in the media tabs are not automatically part of a project
in DVD Studio Pro. You must add them to a project by dragging them to it. You should
think of the media tabs as being a specialized Finder window.
Adding Folders to the Folder List
The folder list appears at the top of the three media tabs. Before you can see your assets
in any of the media tabs, you must add one or more folders to the folder list.
To add a folder to the folder list
1 Click the tab of the asset type to add a folder to (Audio, Stills, or Video).
2 Add a folder by doing one of the following:
• Drag a folder from a Finder window to the folder list.
Chapter 10 The DVD Studio Pro Interface 171
Note: If you click outside of DVD Studio Pro without dragging a folder to a media tab,
the Palette disappears and you will need to reselect DVD Studio Pro to see the Palette
again.
• Click the Add (+) button. A folder selection dialog appears. Select the folder or folders
to add and click Add.
• Control-click in the list where you want the added folder to go, then choose Add Folder
from the shortcut menu. A folder selection dialog appears. Select the folder or folders
to add and click Add.
The folder appears in the folder list. You can now select the folder to see a list of its assets.
Note: Only assets in the selected folder appear. Assets in subfolders (nested folders) are
ignored.
Managing the Folder List
There are different ways to make the folder list easier to use:
• You can change the folder list display order to have folders you use frequently appear
at the top.
• You can remove folders that are no longer needed, such as those specific to a project
that is completed.
To change the folder list display order
1 Click the tab whose display order you want to change (Audio, Stills, or Video).
2 Drag the folder to be moved slightly to the right or left, then up or down to its new
location. A black line appears to show where the folder will be placed when you release
it.
Note: Dragging straight up or down does not move the folder—it selects the folders the
pointer moves over and shows their contents in the assets area.
To remove a folder from the folder list
1 Click the tab to remove the folder from (Audio, Stills, or Video).
2 Select the folder or folders to remove in the folder list.
3 Do one of the following to remove the folder:
• Click the Delete button.
• Control-click the folder, then choose Remove Folder from the shortcut menu.
• Press the Delete key.
The folder is removed from the folder list.
Note: This does not delete the folder or its assets from your hard disk and has no effect
on assets that may have been added to your project from this folder.
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Viewing and Using Assets
Once you have added folders containing compatible assets, you can show the assets and
drag them to your project.
To show a folder’s assets
μ Select the folder that contains the assets you want to see. You can select multiple folders
by dragging the pointer over a group of folders, holding down the Shift key and clicking
the folders (if they are contiguous), or holding down the Command key and clicking the
folders (if they are not together).
You can change the Palette’s size to control how many assets you can see. You can also
drag its separator bar to control the sizes of the folder list and assets area.
There are five columns in the Audio tab (Name, Artist, Length, Sample, and Type) that
show additional information about each asset. Similar to the columns in the Assets tab,
you can change the column order and size, and sort the list based on the column heading
you click. See Managing Columns in the Assets Tab for more information.
To play a folder’s video or audio asset
μ Click the Play button in the bottom-right corner of the Audio or Video tab. Click it a second
time to stop playback.
Audio assets play through your system’s audio setup.
Video assets play in their thumbnail image. The General pane in DVD Studio Pro
Preferences contains a setting that allows you to choose small or large thumbnail images,
which may make viewing the video easier. Also, audio will play along with the video if it
is a QuickTime file with video and audio together or an MPEG file with an audio file in
the same folder with the same root name.
To use the assets in your project
μ Drag the asset to the Menu Editor, Assets tab, or to any other project element within
DVD Studio Pro that allows you to drag assets in.
You can select and drag multiple assets. You can also drag a folder from the folder list to
the project element to create a slideshow.
Depending on the “Find matching audio when dragging” setting in the Track pane in
DVD Studio Pro Preferences, when you drag an MPEG video asset to an element,
DVD Studio Pro can automatically add the companion audio asset to the element as long
as it is in the same folder and has the same root name as the video asset. Press the
Command key after you start dragging to override the preferences’ setting for dragging
a video file. When you drag a QuickTime asset that also has audio from the Video tab, it
is treated like a video/audio pair.
Chapter 10 The DVD Studio Pro Interface 173
Toolbar
The DVD Studio Pro interface includes a toolbar that can be customized to display exactly
the tools you need. The toolbar provides one-click access to a variety of functions, such
as creating menus and slideshows or simulating your title.
You can customize the toolbar in a variety of ways, including selecting the tools to include,
rearranging them, and choosing whether both the tool’s icon and text appear.
Note: Choosing a new user configuration from the Window menu also changes the
toolbar contents. Be sure to save a new user configuration once you are finished
customizing the toolbar.
Hiding and Showing the Toolbar
You can choose to hide the toolbar completely.
To hide the toolbar
μ Choose View > Hide Toolbar.
To show a toolbar that has been hidden
μ Choose View > Show Toolbar.
Managing the Toolbar
DVD Studio Pro provides a simple drag-and-drop interface for managing the toolbar.
To manage the toolbar
1 To display the toolbar palette, do one of the following:
• Choose View > Customize Toolbar.
• Control-click the toolbar, then choose Customize Toolbar from the shortcut menu.
2 To add tools to the toolbar, drag their icons from the toolbar palette to their new position
in the toolbar.
3 Do one of the following to remove tools from the toolbar:
• Drag the tool you want to remove out of the toolbar.
174 Chapter 10 The DVD Studio Pro Interface
• Control-click the tool you want to remove and choose Remove Item from the shortcut
menu.
4 To change the order of the tools in the toolbar, drag each tool to its new position.
5 To set the toolbar to a default configuration, drag the default set of tools to the toolbar.
6 Do one of the following to control whether each tool’s icon and text appear in the toolbar:
• Choose Text Only, Icon Only, or Icon & Text from the Show pop-up menu in the toolbar
palette.
• Control-click the toolbar and choose Text Only, Icon Only, or Icon & Text from the
shortcut menu.
7 Click Done when you are finished configuring the toolbar.
Toolbar Items
The following items (listed in alphabetical order) can appear in the toolbar.
Note: With the exception of Space, Flexible Space, and Separator, you can have only one
of each item in the toolbar.
• Add Language: Adds a new menu language to the project.
• Add Layered Menu: Adds a new layered menu to the project.
• Add Menu: Adds a new standard menu to the project.
• Add Slideshow: Adds a new slideshow to the project.
• Add Story: Adds a story to the currently selected track (or the first one, if none is currently
selected).
• Add Script: Adds a new script to the project.
• Add Track: Adds a new track to the project.
Chapter 10 The DVD Studio Pro Interface 175
• Build: Compiles your project and creates a video title set (VIDEO_TS folder) of your
project.
• Build/Format: First builds the video title set, then writes it to a DVD drive, DLT drive, or
as a disk image to a hard disk.
• Burn: Builds the video title set and writes it to your DVD burner using the current Disc
Inspector settings.
• Configurations: Opens the Configuration Manager dialog so that you can manage or
apply an interface configuration.
• Customize Toolbar: Opens the toolbar palette.
• Disc Meter: Displays the disc meter. A progress bar shows both the amount of disc
space used and what is still available (based on the Disc Media you select in the
Disc/Volume tab in the Disc Inspector). The number underneath the progress bar shows
the amount of space used.
• Flexible Space: Inserts a space into the toolbar that automatically expands to fill any
existing empty space. This ensures that there are tools at the left and right edges of
the toolbar.
• Format: Writes the video title set to a DVD drive, Digital Linear Tape (DLT) drive, or as
a disk image to a hard disk.
• Import Asset: Opens the Import Asset dialog, allowing you to select assets to import
into the project.
• Inspector: Displays the Inspector.
• Menu Editor: Displays the Menu Editor.
• Palette: Displays the Palette in its last configuration.
• Read DLT: If a DLT drive is connected and a DLT tape inserted, reads the tape contents
and writes them to the designated drive.
• Separator: Inserts a vertical bar into the toolbar, allowing you to group tools.
• Show Colors: Opens the Colors window.
• Show Fonts: Opens the Fonts window.
• Simulate: Opens the project Simulator, allowing you to try out your project before
actually building it.
• Slideshow Editor: Displays the Slideshow Editor.
• Space: Inserts a fixed space into the toolbar. This allows you to group tools by adding
a fixed space between them.
• Story Editor: Displays the Story Editor.
• Track Editor: Displays the Track Editor.
• Viewer: Displays the Viewer tab.
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Drop Palette
The Drop Palette appears in the Menu Editor when you drag an asset or project element
to it. Once you stop moving the pointer, the Drop Palette appears, allowing you to choose
how to use the asset within the menu. The contents of the Drop Palette vary, depending
on the asset or element type, how many assets you drag, and whether you have dragged
to an existing button.
See Options in the Drop Palette for Standard Menus and Options in the Drop Palette for
Layered Menus for a complete listing of the options in the Drop Palette.
Comparing the Outline and Graphical Project Views
DVD Studio Pro includes two tabs you can use to view and work with your project: the
Outline tab and the Graphical tab. Each tab has its own advantages, and you will most
likely find yourself using both as you create your project.
The Outline and Graphical tabs both:
• Show all project elements
• Allow you to select an element so that you can work on it
• Allow you to rename an element
• Allow you to add, delete, and duplicate elements
• Allow you to show the selected element in the Simulator
• Automatically create new elements when assets are dragged to the tabs, or modify
existing elements if assets are dragged to an existing element in the tabs
• Allow you to drag elements to the Menu Editor to establish connections
Chapter 10 The DVD Studio Pro Interface 177
The Outline tab also has these capabilities:
• It includes the menu language elements that you use when configuring your menus
to support multiple languages.
• It includes the VTS Editor that provides extensive control over how your project’s
elements are burned to a DVD.
The Graphical tab also has these capabilities:
• You can choose whether to view all elements or just specific types.
• Elements that use the transitions feature are marked.
• The element assigned as First Play has a special icon.
• You can view connection lines that show which elements have targets set to other
elements.
• You can arrange the tiles to provide a flowchart view of the project.
• You can print the Graphical tab.
• You can set a flag on specific elements, making it easy to distinguish them.
See Using the Outline Tab and Using the Graphical Tab for detailed information on using
each tab. See Managing Elements Using the Outline and Graphical Tabs for information
on using the tabs to manage your project’s elements.
See Dragging Assets to the Outline and Graphical Tabs for information on what happens
when you drag assets directly to the Outline or Graphical tab.
Using the Outline Tab
The Outline tab provides a simple list view of your project’s elements. It contains two
displays: By Type and By VTS. You can click the Alternate View button to switch between
the two displays or drag the partition to show both displays at the same time.
The elements in the By VTS and By Type displays are very similar and can be used to do
many of the same things. For example, double-clicking an element in either display opens
it in its editor and inspector. (Selecting an element in one display also selects that same
element in the other.)
The primary difference is in how they are organized.
• By VTS: Lists the elements based on the VTS they belong to. A VTS can have only one
track (which can also have stories) or one slideshow, but it can have multiple menus
and scripts. The primary use of the By VTS display is to control how your project’s
elements are written to a DVD. See VTS Editor for more information.
• By Type: Lists the elements based on their type (menus, tracks, slideshows, and scripts).
See Using the Outline Tab for more information on using the By Type display.
178 Chapter 10 The DVD Studio Pro Interface
Note: The Languages section in the By Type display does not represent actual elements—it
represents languages that can be used for the menus. It does not appear in the By VTS
display because it is not specific to a VTS.
Click each section’s
disclosure triangle to
view its contents.
Option-click the Tracks
disclosure triangle to also
show the stories.
Layered menus use a
different icon than
standard menus.
Alternate View button
swaps view between By
Type and By VTS.
Drag this partition to split
the tab and show both
By Type and By VTS.
Adds a new
empty VTS (active only
in the By VTS view).
Selecting Elements
The most common way to use the Outline tab is to select a project element so that you
can configure it. Selecting an element changes the Inspector and the element’s editor to
display settings for that particular element. Double-clicking an element brings the editor
to the front of the DVD Studio Pro interface, the same as if you clicked its tab.
You can select several elements at once by holding down the Command key while clicking
the elements, or select all elements by pressing Command-A. You can delete, duplicate,
and save descriptions of a group of elements.
If you hold the pointer over an element in the Outline tab, a tooltip appears that shows
additional information about the element, such as what type of menu it is or how many
streams it has.
Moving Elements in the By Type Display
You can move an element from one position to another within the same section.
Note: The order of the elements in the By Type display does not affect how the elements
are written to the DVD.
Chapter 10 The DVD Studio Pro Interface 179
To change an element’s position in the Outline tab’s By Type display
μ Drag the element to its new position. As you drag, a line appears between elements to
indicate where the dragged element will be moved when you release it.
Using the Graphical Tab
The Graphical tab uses a tile-based interface to show a project’s elements.
Tile viewing
and editing tools
Macro view shows
entire tile area.
Connections, tile size,
and snap grid settings
Project element tile
Connection line
Choose tile types
to view.
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Graphical Tab Introduction
The Graphical tab uses tiles to represent each element in your project. Similar to the
Outline tab, you can use the Graphical tab to select elements to work with and can rename
the elements. Each tile contains a thumbnail image that represents the element. You are
able to position the tiles as needed and can choose to view either large or small versions
of the tiles. You can also choose to view connection lines between the elements.
Graphical Tab Viewing Options
Depending on the size of your project, the Graphical tab can have a large number of tiles
and not be able to fit in the tab’s window. You can make the tab’s view larger so that
more tiles can be seen, zoom out to fit the tiles to the window, or use scrollers to view a
portion of the tile area.
To make the tab’s view larger
Do one of the following:
μ With the Graphical tab selected, press Shift–Space bar.
The tab’s contents fill the DVD Studio Pro interface. Press Shift–Space bar again to restore
the tab to normal size. If you double-click a tile, the tab’s view reverts to normal size so
that you can see the editors.
Note: If you hold down Shift–Space bar, the large view becomes temporary and will revert
back to normal once you release the keys.
μ Press Command–Option–Grave Accent (`, on the same key as the tilde).
μ Drag an edge of its quadrant.
See Resizing the Quadrants for more information.
μ Tear the tab off into its own window.
See Tearing Off a Tab into Its Own Window for more information.
To fit the tiles to the current window size
Do one of the following:
μ Press Shift-Z.
μ Click the Graphical tab’s Zoom to Fit button.
Zoom to Fit button
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When there are more tiles than can be displayed in the Graphical tab, scrollers appear
that allow you to control which part of the tile area shows. The scrollers also allow you
to zoom in or out on the tile area.
To use the Graphical tab scrollers
Do one of the following:
μ Drag them to control which part of the tile area you can see.
μ Drag the ends of the horizontal scroller to zoom in or out on the tile area.
Drag the scroller ends
to zoom in or out on the
tile area.
There are also several zoom and positioning keyboard shortcuts available.
To zoom using keyboard shortcuts
Do one of the following:
μ Press Z, then click the area of the Graphical tab that you want to zoom in on. Press
Option-Z, then click to zoom out.
μ Press Z, then drag the pointer across the area that you want to zoom in on.
μ Press the Space bar. The pointer changes to a hand that you can use to control which
part of the tile area is visible, similar to using the scrollers.
μ Press Command–Plus Sign (+) to zoom in and Command–Hyphen (-) to zoom out on the
Graphical tab, maintaining its center position.
Using the Macro View
The Graphical tab includes a macro view capability. The macro view is a small display
showing a view of the entire tile area. It includes a visible-view rectangle that indicates
the part of the tile area currently showing. You can drag the visible-view rectangle to
choose the part of the tile area that shows, and you can change the rectangle’s size to
zoom in or out.
Displaying the Macro View
The macro view floats over the top of the Graphical tab. There are several methods you
can use to display or hide the macro view.
To display and hide the macro view
Do one of the following:
μ Press M.
182 Chapter 10 The DVD Studio Pro Interface
Note: You can temporarily display the macro view by holding down the M key.
μ Click the Graphical tab’s macro view button.
Shows and hides the
macro view.
μ Position the pointer over the macro view (which causes the title bar to appear), then click
the hide symbol in the macro view’s title bar to hide the macro view.
Note: The title bar can appear on the top or bottom of the macro view, depending on
where the pointer is.
Working with the Macro View
You are able to position the macro view anywhere within the tab, but you cannot move
it outside the tab’s boundaries.
To move the macro view within the Graphical tab
μ Position the pointer over the macro view (which causes the title bar to appear), then drag
the title bar to the new position.
To change the size of the macro view display
μ Drag the resize corner of the title bar.
Chapter 10 The DVD Studio Pro Interface 183
The visible-view rectangle can be moved and resized to control the tile area that shows.
To use the visible-view rectangle
Do one of the following:
μ Click within the rectangle to drag it to a new position.
μ Click outside the rectangle to have the rectangle jump to a new position, with the point
you clicked being as close as possible to the rectangle’s center.
μ Drag a corner of the rectangle to change its size. Making the rectangle bigger zooms out
on the tile area, showing more tiles. Making the rectangle smaller zooms in on the tile
area, showing fewer tiles.
Selecting and Managing Tiles
You can use several tools to select and arrange tiles—many are the same as those used
with buttons in the Menu Editor. There are also a variety of methods you can use to add,
delete, and copy tiles.
Selecting Tiles
There are several reasons you might want to select one or more tiles:
• Selecting a tile makes it the current element, and opens it in its editor.
• Selecting one or more tiles allows you to arrange them.
• Selecting one or more tiles allows you to delete or copy them.
To select one or more tiles
Do one of the following:
μ Click a tile to select it. Any other selected tiles are deselected.
μ Press the Shift or Command key, then click a tile to select it. Any other selected tiles
remain selected.
μ Drag the pointer over a group of tiles. This creates a selection rectangle that selects all
tiles it touches.
μ Choose Edit > Select All (or press Command-A) to select all tiles. You can also choose Edit
> Deselect All (or press Command-Shift-A) or click an empty part of the Graphical tab to
deselect all tiles.
Moving Tiles by Dragging
You can move a tile or group of tiles once they are selected by simply dragging them. If
connections are showing, they move with the tiles. You can also use the arrow keys to
move selected tiles.
If you move a tile to an edge of the Graphical tab, the tile area scrolls to show its new
position. If the edge of the tile area is reached, it is automatically expanded to
accommodate the tile’s new position.
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To make it easier to see a larger area while dragging a tile, you can press the Z key after
you start dragging the tile to temporarily zoom out.
You can enable a snap grid to make it easier to organize the tile in straight lines and
columns.
To enable the snap grid
μ Choose Snap to Grid from the Graphical tab’s Settings pop-up menu.
You may want to drag a tile to the Menu Editor. This is an easy way to link either a new
or an existing button in the current menu to the element being dragged.
To drag an element to the Menu Editor
1 Click the element’s tile and hold down the mouse button for a moment without moving
the tile.
A transparent tile appears.
2 Drag the transparent tile to the Menu Editor.
You can also drag multiple tiles to the Menu Editor by selecting them before holding
down the mouse button when the pointer is on one of them.
Using Distribute Objects
The distribute objects feature allows you to select a group of tiles and evenly space them
between each other using one of four methods:
• Horizontally: Only active when more than one tile is selected. Tiles in between the tile
furthermost to the left and furthermost to the right are positioned evenly horizontally.
• Vertically: Only active when more than one tile is selected. Tiles in between the tile
furthermost to the top and furthermost to the bottom are positioned evenly vertically.
• By Type: With no tiles selected, all tiles are affected; with one or more tiles selected,
only the selected tiles are affected. Arranges the tiles in evenly spaced rows and columns
based on their types. The type order is:
• Menus
• Layered menus
• Tracks
• Stories
• Slideshows
• Scripts
• Autolayout: With no tiles selected, all tiles are affected; with one or more tiles selected,
only the selected tiles are affected. The tiles are arranged based on connections, types,
and quantity.
Chapter 10 The DVD Studio Pro Interface 185
To use the distribute objects feature
1 Depending on the distribution method you intend to use, select the group of tiles to
distribute. See Selecting and Managing Tiles for details on how to do this.
2 Choose Arrange > Distribute Objects, then choose the distribution method to use
(Horizontally, Vertically, By Type, or Autolayout).
Locking the Tile Positions
You can lock the tile positions and prevent accidentally rearranging them.
To lock the tile positions
Do one of the following:
μ Choose Arrange > Lock All Tiles (or press L).
μ Click the Graphical tab’s Lock button.
Tile position lock button
You can use the same button and keyboard shortcut to unlock the tiles. If you need to
move any tiles while they are locked, you can press the Option key, then drag the tiles
to the new location.
While the tile positions are locked, you are still able to change your view of the tiles by
zooming or using the scrollers. You can also change the connections view.
About the Tiles
There are six different tile types that can appear in the Graphical tab. Each type uses a
different color to differentiate it:
• Menu: Light blue
• Layered menu: Dark blue
• Track: Green
• Story: Teal
• Slideshow: Purple
• Script: Brown
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Each tile has a thumbnail image of the element. The aspect ratio of the thumbnail changes
to indicate whether the element uses 4:3 or 16:9 assets. A tooltip showing information
about the element appears when you position your pointer over it.
First Play icon
Transitions icon
Element name
The element designated as First Play has an icon added to it. Elements that are using the
transitions feature also have icon indications.
Tile Sizes
You can choose large or small sizes to view the tiles.
To change the tile size
μ Choose Small Tiles or Large Tiles from the Graphical tab’s Settings pop-up menu.
Flagging Tiles
You can flag a tile so that it stands out from the others. For example, you might want to
flag tiles for elements that still require assets or use DVD@CCESS.
To flag one or more tiles
Do one of the following:
μ Control-click a tile, then choose Flag from the shortcut menu. This also selects this tile
and deselects any others that are selected.
μ Shift-Control-click a tile, then choose Flag from the shortcut menu. This also selects this
tile and flags any others that are selected.
μ Position the pointer over a tile and press F. It does not matter whether the tile is selected
or not.
μ Select a group of tiles to be flagged, then choose Edit > Flag Tiles (or press F).
μ Select a group of tiles to be flagged, Control-click an empty area in the tile display, then
choose Flag from the shortcut menu.
You can use any of these methods to also turn off the flags on one or more tiles.
Chapter 10 The DVD Studio Pro Interface 187
Viewing Specific Tile Types
You can choose specific tile types to view. For example, you may only want to see the
slideshows.
Note: If you choose to hide a tile type, all connections to that tile type are also hidden.
The Graphical tab’s tile type Show/Hide buttons control which tiles are visible and which
are hidden.
Story tiles
Slideshow tiles
Menu tiles
Track tiles Script tiles
Clicking a button hides its tile type and the button background becomes lighter. Clicking
the button again shows its tile type and the button background becomes darker.
Viewing Connections
You can configure the Graphical tab to show lines indicating which elements are connected
to each other. Arrows indicate which element is the target.
The connection lines are useful when you want to view the project as a flowchart. They
can also be helpful to ensure you have not inadvertently left out an intended connection.
Note: You cannot make connections or change existing connections in the Graphical tab.
188 Chapter 10 The DVD Studio Pro Interface
You can customize how many connections appear with the Graphical tab’s Settings
pop-up menu.
• No Connections: No connection lines appear.
• Relative Connections: Only the connections relating to the currently selected tile or tiles
appear.
• All Connections: All tiles show their connections.
• Basic, Standard, and Advanced Connections: Control how much connection detail to
show. These three levels match a similar setting in the Connections tab. See Sources
and Source Details for more information.
To configure the Graphical tab’s connections view
1 Open the Graphical tab’s Settings pop-up menu.
2 Choose to show no connections, relative connections for selected tiles only, or all
connections.
3 Choose the level of connections to show (basic, standard, or advanced).
Printing the Graphical Tab’s Tile Area
Printing the Graphical tab’s tile area can be a useful way to show others the basic
construction of a project. The contents of the Graphical tab print as they currently appear
with respect to tile size and placement and connection view status.
You can choose to print the whole tile area on a single sheet of paper or to print the tile
area over multiple sheets of paper.
To print the Graphical tab’s tile area
1 Choose File > Print Graphical View (or press Command-P).
2 Choose DVD Studio Pro from the print configuration pop-up menu.
3 Select one of the following:
• Fit to Page: Prints the entire tile area on one sheet.
Chapter 10 The DVD Studio Pro Interface 189
• Multiple Pages: Prints the tile area at full size, using as many sheets of paper as necessary.
4 Select the Page Numbers option to add page numbers to each sheet. This is especially
useful when you select Multiple Pages.
5 Click Preview to see an example of how the printed document will look, or Print to print
the tile area.
Managing Elements Using the Outline and Graphical Tabs
You can use either the Outline or Graphical tab to manage your project’s elements.
Renaming Project Elements
In addition to entering an element’s name in its Inspector, you can rename an element
in the Outline or Graphical tab.
To rename an element in the Outline tab
1 Select the element whose name you want to change.
2 Click the element’s name.
3 Type the new name, then press Return.
The element’s name is changed.
To rename an element in the Graphical tab
1 Double-click the element’s name.
2 Type the new name, then press Return.
The element’s name is changed.
Deleting Elements
You can delete elements to remove them from your project.
To delete an element or group of elements
1 Select the element or group of elements to delete.
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2 Do one of the following:
• Choose Edit > Delete (or press the Delete key).
• Control-click in an empty area of the Outline or Graphical tab, then choose Delete from
the shortcut menu.
Important: If you delete a track that has stories, the stories are also deleted. An alert
appears to warn you of this.
Duplicating Elements
You can duplicate elements within the Outline and Graphical tabs. You can build a chapter
index menu, for example, and quickly make duplicates of it that just need to have their
connections changed to become functional.
To duplicate an element
1 Select the element to duplicate.
You can also select multiple elements.
2 Do one of the following:
• Choose Edit > Duplicate (or press Command-D).
• If you have selected a single element, Control-click the element, then choose Duplicate
from the shortcut menu.
• If you have selected a group of elements, Control-click in an empty area of the tab,
then choose Duplicate from the shortcut menu.
The new element is named with its type (menu, track, and so on) followed by the next
number. For example, if you duplicate a menu when there are already five menus, the
new one becomes “Menu 6.” In the Outline tab, the new element appears last in the
section.
Assigning the First Play Element
In addition to using the Disc Inspector or the Connections tab, you can assign your
project’s First Play element directly in the Outline or Graphical tab. The First Play element
is the one that plays when a DVD player begins playing the project.
To assign the First Play element in the Outline tab
Do one of the following:
μ Control-click the disc element, choose First Play from the shortcut menu, then choose
the First Play element from the submenu. This method allows you to select a specific
button (menu), slide (slideshow), or chapter marker (track or story) within an element to
play from.
Chapter 10 The DVD Studio Pro Interface 191
μ Control-click an element, then choose First Play from the shortcut menu. This method
uses the element’s default button (menu), first slide (slideshow), or first marker (track or
story) to play from.
To assign the First Play element in the Graphical tab
Do one of the following:
μ Control-click in an empty area of the Graphical tab, choose First Play from the shortcut
menu, then choose the First Play element from the submenu. This method allows you to
select a specific button (menu), slide (slideshow), or chapter marker (track or story) within
an element to play from.
μ Control-click a tile, then choose First Play from the shortcut menu. This method uses the
element’s default button (menu), first slide (slideshow), or first marker (track or story) to
play from.
See Setting the Project’s First Play for more information.
Simulating Elements
The Simulator provides a way to verify your project before you build the title. Starting
the Simulator by clicking Simulate in the toolbar simulates the project from its beginning,
at the element designated as “First Play.” However, often you will want to start the
Simulator at a specific project element, for example, to verify the navigation of a chapter
index menu.
You can use the Outline or Graphical tab to start the Simulator at a specific element so
that you can quickly verify it is working as planned.
To start the Simulator at a specific element
Do one of the following:
μ Choose File > Simulate Element, where “Element” is the type of element currently selected.
μ In the Outline or Graphical tab, Control-click the element at which you want to start the
Simulator, then choose Simulate from the shortcut menu.
μ Select the element to start the Simulator with, then press Command-Option-0 (zero).
Note: Clicking Simulate in the toolbar always starts the Simulator with the element
assigned as first play. If no first play element has been assigned, the Simulator starts by
playing the first track.
Using Item Descriptions
An item description is an XML text file that lists all the properties of an element. You can
save and load an item description, and view the description using TextEdit. You can also
load an item description from one project into another. This can make it easy to create
menus in multiple projects that all look the same or to copy a script between projects.
192 Chapter 10 The DVD Studio Pro Interface
To save an item description
1 Select the element for which you want to save a description.
You can select the element in the Outline or Graphical tab or in any of the editors.
Note: You cannot export an item description of a story. Item descriptions of tracks include
their stories.
2 Choose File > Export > Item Description.
3 Enter a name for the file and select its destination in the dialog that appears, then click
Export.
DVD Studio Pro creates the file and saves it in the location you specified.
To load an item description
1 Choose File > Import > Item Description.
2 Locate the description file to load and click Import in the dialog that appears.
Important: Item descriptions from previous versions of DVD Studio Pro cannot be loaded
into DVD Studio Pro 4. An alternative is to open a project in DVD Studio Pro 4 that contains
the element you originally made the item description from, then save a new item
description from it.
With the exception of script item descriptions, you cannot import item descriptions
created in one DVD standard (SD DVD or HD DVD) into the other DVD standard.
Additionally, you cannot import item descriptions from one video standard (NTSC or PAL)
into another video standard.
The description file loads and a new element appears in the Outline and Graphical tabs.
The description file uses the same name it had when it was saved, unless that name is
already in use. If the name already exists, a number is added to the end of its name, or if
a number already exists, the number increments to form a unique name.
Note: When you load an item description into a project, all of the assets used when the
description was saved must still be available. An error message appears if any problems
are encountered.
Chapter 10 The DVD Studio Pro Interface 193
DVD Studio Pro provides tools and workflow options that give you the flexibility to decide
how best to import and manage your assets.
This chapter covers the following:
• How DVD Studio Pro Manages Assets (p. 195)
• About the Assets Tab (p. 201)
• Importing Assets (p. 207)
• Removing Selected Assets (p. 213)
• Renaming Assets (p. 213)
• Refreshing Still and QuickTime Assets (p. 214)
• Opening Assets in Their Editor (p. 216)
• Identifying an Asset (p. 216)
• Previewing Assets (p. 216)
• Asset Inspector (p. 218)
How DVD Studio Pro Manages Assets
As you work on your DVD project, it’s important to give some thought as to how best to
organize and manage your assets. Even a simple project can use enough assets to make
it worth investing the time to plan for them. Moderately ambitious projects can use
hundreds of assets, creating a large potential for confusion as you try to keep track of
them.
Additionally, if you intend to author both SD and HD versions of your project, keeping
the assets organized is crucial to avoid confusing an SD version of a video asset with an
HD version of it.
There are several methods you can use to import an asset into a project, but in all cases
the assets are treated the same.
195
Importing and Managing Assets 11
Importing an asset into a DVD project does not actually copy or move the asset file from
its current location. The Assets tab simply lists references to the actual asset files. The
folder structure you create in the Assets tab does not affect the folder structure of the
files on your hard disk; it only helps you manage the asset names while working on your
project.
Missing or Renamed Assets
Once you import an asset into a project, it’s important not to move or rename its source
file. A Missing Files window appears if you open a project and DVD Studio Pro cannot
locate an asset in its original location. You can manually locate the asset or cancel the
dialog.
To locate a missing asset when opening a project
1 Select the asset in the Missing Files window.
2 Do one of the following:
• Click Locate and use the file location dialog to find the asset.
• If the asset is a QuickTime file and its MPEG-2 or AIFF encoded version is available, you
can click “Replace with encoded file.” In these cases, the QuickTime version of the asset
is not required, and instead its encoded versions are used by the project. See Should
You Remove the Original QuickTime Files? for more information.
If you open the project without locating the assets, or the assets become missing while
the project is open, the names of the missing assets are displayed in red and any elements
in which the assets are used are disabled.
To reconnect an asset to a project
Do one of the following:
μ Choose File > Asset > Re-Link.
μ In the Assets tab, Control-click the asset’s name, then choose Relink from the shortcut
menu.
You can only relink assets whose names appear in red.
196 Chapter 11 Importing and Managing Assets
Any elements that use missing assets are displayed in red in the Outline and Graphical
tabs. The elements cannot be opened, either from the Outline tab, the Graphical tab, or
in their editor. If you select an element with missing assets, a dialog appears with three
choices:
• Relink: The Missing Files window opens so that you can locate the missing files.
• Delete Clips/Slides/Assets: The missing assets are removed from the element.
• For tracks: Any clips with missing assets are removed.
• For menus: Any item with a missing asset is set to “not set” as its asset (no items are
removed—only their asset assignment is changed).
• For slideshows: Any missing slides are removed from the slideshow.
• Continue: The element shows as being selected in the Outline and Graphical tabs, but
it is not opened in its editor. This provides the opportunity to delete the element, which
removes it from the project.
Using Video and Audio Assets That Are Not DVD-Compliant
When you import motion assets (video or audio) that are not DVD-compliant into a
DVD Studio Pro project, the integrated MPEG encoder converts them to be DVD-compliant
(if they are in a supported format). In addition to the general MPEG encoding settings,
the Encoding pane in DVD Studio Pro Preferences includes a setting that controls whether
the encoding begins immediately as a background function or waits until you build the
final project into the VIDEO_TS folder.
There is also a preferences setting in the Destinations pane to control where the encoded
files are saved. See Destinations Preferences for more information.
To set the Encoding preferences
1 Choose DVD Studio Pro > Preferences.
2 Click the Encoding icon to open the Encoding pane.
3 Set the encoding method by selecting one of the following:
• Background encoding: The encoding begins as soon as you import the asset. The
encoding takes place in the background, allowing you to continue working on your
project. A progress bar appears in the Status column of the Assets tab. Once the
encoding process finishes, the Status column displays Done. See Default Columns in
the Assets Tab for more information.
• Encode on build: The encoding does not start until you complete your project and build
the VIDEO_TS or HVDVD_TS files.
4 Configure the remaining encoding items as needed. See Using the Integrated MPEG
Encoder for more information.
5 Click Apply to enable the settings and OK to close the Preferences window.
Chapter 11 Importing and Managing Assets 197
The current encoding settings are applied to assets as soon as they are imported, whether
you choose to start encoding them right away or wait to encode them when you build
your project. Changes you make to the Encoding preferences only affect assets you import
from then on. See Verifying and Changing Encoding Settings for more information.
How the Encoded Files Are Named
When you import QuickTime video assets into DVD Studio Pro, the integrated MPEG
encoder names the encoded files as follows:
• The first half is the complete original filename, including its extension.
• The second half has three parts—the video standard (NTSC or PAL), the encoding bit
rate (shown as a four-digit number), and the “.m2v” extension.
For example, if you import an asset named “Main Program.mov,” use the NTSC standard
and a bit rate of 5.5 Mbps, the MPEG-encoded filename will be “Main
Program.mov_NTSC_5500.m2v.”
Audio files created by the embedded AIFF encoder use the original filename with an
added “.aiff” extension.
See Using the Integrated MPEG Encoder for more information on the integrated MPEG
encoder.
Should You Remove the Original QuickTime Files?
When you import motion assets that are not DVD-compliant, the integrated MPEG and
AIFF encoders create the files (video and audio) required by the DVD-Video specification.
To free up hard disk space, you may decide to remove the original files.
Even after the encoders have created the new DVD-compliant files, DVD Studio Pro
continues to keep track of the original files. The advantage of this is that you can reencode
the files if you decide later to use a different bit rate or encoding mode. For example, you
might find that, after the initial encoding, the MPEG-2 video looks great but is a larger
file than you planned for. You can decide to re-encode using a lower bit rate and use the
slower but higher quality two-pass VBR option.
Additionally, if you convert an SD project to an HD project, HD assets imported as
QuickTime files can be encoded to HD MPEG-2.
If you decide to remove the original file, DVD Studio Pro notices it is missing and presents
you with the Missing Files window. If you then click “Replace with encoded file,” the
original file will no longer be associated with the project, and DVD Studio Pro will no
longer try to find it. See Missing or Renamed Assets for more information. You also will
no longer be able to re-encode the asset.
198 Chapter 11 Importing and Managing Assets
Verifying and Changing Encoding Settings
If your project contains a mixture of 4:3 and 16:9 assets or has some assets you want to
encode differently than others, you must be sure to set the Encoding preferences settings
before you import the assets. You can verify and change the encoding settings on assets
that have been imported.
You can also re-encode a QuickTime asset if you want to try different encoding settings.
To change the encoding settings after importing an asset
1 Do one of the following:
• Select the asset and choose File > Encoder Settings (or press Command-E).
• Control-click the video asset in the Assets tab, then choose Encoder Settings from the
shortcut menu.
Note: The Encoder Settings option in the Assets tab shortcut menu is only available if
the original QuickTime video file is available.
A dialog appears that contains the same settings found in the Encoding preferences pane.
2 Configure the encoder settings and click OK.
When you have the “Background encoding” method selected in Encoding preferences
and you make any changes in this dialog, one of two things happens:
• If you change the bit rate setting: The current file, whether a complete or partially
complete file, is left as is and the encoder starts encoding a new file. This allows you
to compare the quality of the two bit rates. If you decide to continue the encoding of
the partially completed file, you can set the bit rate (and any other settings you might
have changed) to the value it used, and the encoder will continue encoding it.
Note: If the encoded files are being written to the project bundle, they are deleted
whether or not you change the bit rate setting.
• If you do not change the bit rate setting: The original asset is deleted, whether a complete
or partially completed file, and a new encoded file is created. For example, if you want
to see the difference between one-pass VBR and two-pass VBR encoding and want to
keep the files from both encoding sessions, you need to rename or move the completed
one-pass VBR encoded file before re-encoding with the two-pass VBR setting.
If you have the “Encode on build” method selected, these changes will apply once you
build your project.
Note: Changing the encoding settings for an asset does not affect the encoding settings
for other assets.
Chapter 11 Importing and Managing Assets 199
This method of configuring encoding settings for specific assets allows you to customize
how the integrated MPEG encoder gets used in your project. It also makes it possible to
have a mixture of assets with different encoding requirements (such as some that use
the 4:3 aspect ratio and others that use the 16:9 aspect ratio).
Using Still Assets That Are Not DVD-Compliant
You can add still assets in any format supported by QuickTime to a slideshow or a track.
DVD Studio Pro automatically converts them to the MPEG format once you start the build
process. It creates an MPEG folder in the location specified in the Destinations pane of
DVD Studio Pro Preferences. See Destinations Preferences for details on setting up this
preference.
Using DVD-Compliant Assets
When you import supported assets that are DVD-compliant, they are left in their original
locations with no processing (other than the parse file being created, as described in the
next section).
About the Parse Files
To use an asset in a project, DVD Studio Pro needs to know some general information
about it, such as its length, type, and integrity. Video assets encoded within DVD Studio Pro
can include this information in the encoded files, or can create separate files for it. Assets
encoded by Compressor outside of DVD Studio Pro can include this information if you
select the “Add DVD Studio Pro meta-data” option in the Extras pane of the Encoder
settings.
Assets encoded with other encoders, or with the “Add DVD Studio Pro meta-data” option
deselected when using Compressor, must be parsed before DVD Studio Pro can use them.
Parsing creates a small file, with the same name as the video asset and a “.par” extension
that contains the required information. The parse file can take from several seconds to
several minutes to create, depending on the size of the asset file.
See Destinations Preferences for details on setting up the parse file preference.
About Segmented MPEG Files
The segmented MPEG files created by some third-party encoders do not import correctly
into DVD Studio Pro. Some encoders segment their large encoded files into 1 GB files.
When imported into DVD Studio Pro, only the first 1 GB segment is imported. You need
to append the files into a single file before importing the asset into DVD Studio Pro. There
are several third-party applications that can be used to append a segmented MPEG file
into a single file.
200 Chapter 11 Importing and Managing Assets
Using Motion, LiveType, and Soundtrack Pro Projects
DVD Studio Pro allows you to import Motion, LiveType, and Soundtrack Pro projects
directly into your DVD project. This has several benefits:
• You do not have to render the projects before importing them. DVD Studio Pro allows
you to use them as if you had rendered them and exported a QuickTime movie from
them. You import the projects using the same methods you would use to import other
assets.
Note: Playing projects requires significantly more system resources than playing a
QuickTime movie. Depending on your system, projects may skip frames or show artifacts
when playing as part of a menu or track.
• You can open the Motion, LiveType, or Soundtrack Pro project from DVD Studio Pro. If
you make changes to the project in Motion, LiveType, or Soundtrack Pro, DVD Studio Pro
automatically uses the updated project.
To open a Motion or LiveType project in that application, from within DVD Studio Pro
Do one of the following:
μ Select the project in the Assets tab, then choose File > Asset > Open in Editor.
μ Control-click the project in the Assets tab, then choose Open in Editor from the shortcut
menu.
μ Double-click the project in the Assets tab.
Note: The Motion or LiveType application must be available on your computer.
About the Assets Tab
The Assets tab displays a list of all assets imported into the project, whether they were
directly imported to the Assets tab or dragged to the Menu or Track Editor from the
Palette or a Finder window.
About QuickTime Files
QuickTime files often contain a video and audio stream. When you import a QuickTime
file with both video and audio, it is displayed in the Assets tab as two files, each with
the same name, one with the video icon and the other with the audio icon. The Type
column lists them as QuickTime Video or QuickTime Audio. In most cases, these files
are encoded with the integrated MPEG or AIFF encoder. You can re-encode the video
files by Control-clicking them, then choosing Encoder Settings from the shortcut menu.
An exception is the HDV and H.264 QuickTime files you can import into HD projects.
These QuickTime files do not require encoding with the integrated MPEG encoder and
cannot be re-encoded.
Chapter 11 Importing and Managing Assets 201
Note: Subtitle text files and shapes do not appear in the Assets tab.
Video icon
Still image icon
Audio icon
Click a folder’s disclosure
triangle to show or hide
its contents.
Click to open the
Import Assets dialog.
Click to create
a new folder.
Click to remove
the selected asset.
The Assets tab can contain up to 15 columns. For information on choosing which columns
appear, see Managing Columns in the Assets Tab.
The Assets tab also has three buttons you can use to manage the assets.
• Import: Opens the Import Assets dialog so you can choose assets to import. See Using
the Import Asset Feature for more information.
• New Folder: Creates a new folder in the assets list. If you have an existing folder selected,
the new folder becomes its subfolder. See Creating Asset Folders for more information.
• Remove: Removes the selected asset or assets, including folders, from the assets list. A
message appears if you try to remove assets that are currently in use by the project.
This does not affect the asset’s actual file—it just controls whether it appears in this
list. See Removing Selected Assets for more information.
Default Columns in the Assets Tab
The following columns appear by default in the Assets tab. You can remove these, change
their order, and add additional columns as needed. See Managing Columns in the Assets
Tab for more information.
• Name: Applies to all asset types. Displays the asset’s name and an icon that represents
the asset type. By default the asset name is the same as the asset filename, but you
can rename the asset to make it easier to identify within your project. See Renaming
Assets for more information.
202 Chapter 11 Importing and Managing Assets
The Name column also displays folders, with disclosure triangles, which you can use
to organize your assets.
• Status: Applies to all asset types. Displays whether the asset is being encoded, parsed,
or is ready to use.
• Progress bar: Appears while the asset is encoding or parsing.
• Yellow: The asset has not been encoded (applies to assets to be encoded with the
integrated MPEG or AIFF encoder). If the setting in the Encoding pane of
DVD Studio Pro Preferences is set to “Encode on build,” the yellow dot appears for
any assets that will be encoded once you build the project.
• Green: The asset has been encoded (applies to assets encoded with the integrated
MPEG or AIFF encoder only).
• Red: The asset encountered an error while encoding or parsing.
• In Use: Applies to all asset types. Shows a checkmark next to all assets currently in use
within the project.
• Type: Applies to all asset types. Displays the type of asset (QuickTime video, AC-3 audio,
and so on).
• Length: Applies to video and audio asset types. Displays the length (in
hours:minutes:seconds:frames) of the asset.
• Size: Applies to all asset types. Displays the file size of the asset. In the case of QuickTime
assets, shows the size of the original QuickTime file. You can select the asset to see its
encoded file size in the Asset Inspector.
• Rate: Applies to video and audio asset types. For video assets, displays the original
frame rate. For audio, displays the original sample rate (typically 48000 or 96000).
Additional Columns You Can Add
You can add the following additional columns to the Assets tab.
• Location: Applies to all asset types. Displays the asset’s actual filename and location
within your system.
• Timestamp: Applies to video and audio asset types. Displays the timecode value of the
first frame.
• Channels: Applies to audio assets. Displays the number of audio channels contained
in the file.
• Dimensions: Applies to video and still assets. Displays the size of the image in pixels
(before rescaling, if applicable).
• Layers: Applies to still assets. Displays the number of layers the still contains.
• Bit Depth: Applies to still assets. Displays the number of bits the still contains.
Chapter 11 Importing and Managing Assets 203
• Aspect: Applies to video and still assets. For video assets, displays the aspect ratio of
the asset (4:3 or 16:9). For still assets, shows whether the asset is being rescaled to fit
the video aspect ratio (Retain) or is displaying actual pixels (blank).
• Markers: Applies to video assets. Displays the number of chapter markers the video
contains.
Managing Columns in the Assets Tab
DVD Studio Pro lets you customize the columns in the Assets tab, making it easy to display
only the information you want.
To display a hidden column
μ Control-click the column name to the left of where you want the hidden one to appear,
then choose the column’s name from the shortcut menu.
All columns that are currently displayed have checkmarks next to their names.
To hide a column
μ Control-click in the column name area, then choose the column’s name from the shortcut
menu.
You can choose to display as few or as many of the columns as you like.
To change the order of the columns
μ Drag a column’s name to a new position.
When you drag a column
to a new position, the
other columns shift to
make room for the one
you are moving.
204 Chapter 11 Importing and Managing Assets
To change a column’s width
μ Position the pointer on its right edge. When the pointer changes to a double arrow, drag
to the new size.
The pointer changes
to a double arrow when
you change a column’s
width.
Managing the Contents of the Assets Tab
As you add assets to your project, you will want to keep them organized to reduce the
potential for confusion. There are several tools you can use to organize and keep track
of your assets:
• Folders: Folders are the most powerful organizing tool for managing your assets. For
added flexibility, you can create subfolders (folders within folders), import assets directly
into a folder, and move assets between folders. You can also drag a folder to a new
location.
• Sorting: You can sort the assets based on any of the columns.
• Asset information: You can select any asset to see its properties in the Asset Inspector.
Creating Asset Folders
You can create folders in the Assets tab at any time—before or after you have imported
your assets.
Chapter 11 Importing and Managing Assets 205
Important: Folders in the Assets tab help you organize your assets in your project. They
do not affect the actual media files on your hard disk.
Click the disclosure
triangle to open and
close folders.
To create and name a folder
1 Do one of the following:
• Choose Project > New Asset Folder (or press Command-Shift-N).
• Control-click anywhere within the Assets tab, then choose Create New Folder from the
shortcut menu.
• Click the New Folder button in the Assets tab.
2 Select the folder, click the folder’s name, then type a new name.
To create a new folder within an existing folder
μ Control-click the existing folder, then choose Create New Folder from the shortcut menu.
Sorting Assets
You can sort the assets in the Assets tab by any of the columns.
To sort the assets
1 Click the name of the column by which you want to sort the assets.
The assets sort in the order of that column’s contents, and a triangle appears next to the
column’s name to indicate it is controlling the sort and to show the sort’s direction (up
or down).
The triangle indicates
the column controlling
the sort and the sort
direction (up or down).
2 Click the name of the column a second time to change the sort’s direction.
206 Chapter 11 Importing and Managing Assets
Scrolling Through the Assets List
Once you have added a number of assets to your project, DVD Studio Pro provides a
variety of methods for scrolling through them.
To scroll through a list of assets
Do one of the following:
μ Drag the scroller located on the right edge of the Assets tab. Hold down the Option key
to scroll slowly through the list (useful with long lists).
μ Press the Up Arrow and Down Arrow keys to scroll through one asset at a time.
μ Press Option–Up Arrow to jump to the first asset in the list.
μ Press Option–Down Arrow to jump to the last asset in the list.
μ Press the Page Up and Page Down keys or hold down the Option key while clicking the
scroller’s arrows to scroll through the list one page at a time.
Importing Assets
DVD Studio Pro provides several methods for importing assets into a project.
• Using the Import Asset feature: You can click the Import Asset icon in the toolbar, click
the Import button in the Assets tab, or use a shortcut menu in the Assets tab to import
assets directly into the Assets tab.
• Dragging assets to the Assets tab: You can drag assets from the media tabs in the Palette
or a Finder window to the Assets tab.
• Dragging assets directly to project elements: You can drag assets directly to the Menu
Editor, Track Editor, and several other elements in your DVD Studio Pro project. These
assets are also automatically added to the Assets tab.
See Media Tabs for information on using the Audio, Stills, and Video tabs in the Palette.
Note: To help organize your assets, it’s a good idea to create folders in the Assets tab
before you import your assets, although you can create folders and move assets into
them at any time.
Importing Assets That Are Not DVD-Compliant
When you import video and audio assets that are not DVD-compliant, DVD Studio Pro
uses its integrated MPEG encoder to convert them. In DVD Studio Pro Preferences, you
can specify whether the encoding happens immediately, in the background, or waits
until you build your completed project. See Using Video and Audio Assets That Are Not
DVD-Compliant for more information.
Once the encoding starts, a progress bar appears in the Status column of the Assets tab.
Chapter 11 Importing and Managing Assets 207
Using the Import Asset Feature
You can import assets directly from within the Assets tab by using the Import button or
by using the Import Asset icon in the toolbar. You can import single assets, multiple
assets, or entire folders of assets.
Note: The “Find matching audio when dragging” setting in the Track pane of
DVD Studio Pro Preferences does not apply when you use the Import Asset dialog. Only
the files you select are imported into the Assets tab.
To import assets from within the Assets tab
1 Select the folder in the Assets tab that you want to import the assets into (if applicable).
2 Open the Import Asset dialog by doing one of the following:
• Choose File > Import > Asset (or press Command-Shift-I).
• Control-click the folder or an empty area of the Assets tab, then choose Import from
the shortcut menu.
• Click the Import button in the Assets tab.
• Click Import Asset in the toolbar.
• Double-click an empty area of the Assets tab.
3 Locate the assets or folder to be imported, then click Open.
The assets are imported into the Assets tab. If you select a folder, the folder and all
recognized asset files in it are added to the Assets tab. Any subfolders within the imported
folder are also imported. A message appears if the folder contains assets that are not
supported by DVD Studio Pro.
Note: An asset cannot be imported more than once, and it can only appear once in the
Assets tab. However, any asset in the Assets tab can be used multiple times in a project.
Dragging Assets to the Assets Tab
You can drag one or more assets from the Palette or a Finder window to the Assets tab
and place them directly in folders if desired.
To import assets from the Palette or a Finder window
1 In the Palette or a Finder window, select the assets to be imported.
2 Do one of the following:
• To import them at the root level of the Assets tab: Drag the assets to an empty area of
the tab.
• To import them into a folder in the Assets tab: Drag the assets directly to the folder.
208 Chapter 11 Importing and Managing Assets
If you select a folder in the Finder window and drag it to the Assets tab, the folder and
all recognized asset files in it are added to the Assets tab. Any subfolders within the
imported folder are also imported. A message appears if the folder contains assets that
are not supported by DVD Studio Pro.
The Track pane of DVD Studio Pro Preferences includes a “Find matching audio when
dragging” setting. When this checkbox is selected and you drag a video asset or group
of video assets, DVD Studio Pro automatically looks for audio assets with the same base
name in the same folder, and imports them as well. This does not happen if you drag a
mixture of asset types, such as video and still images. It also does not happen when you
use the Import Asset dialog. You can temporarily override the preferences setting by
holding down the Command key after you start dragging video assets.
About Dragging Assets Directly to a Project Element
You can drag an asset from the Assets tab, the Palette, or a Finder window directly to the
element that is going to use it. Assets dragged from the Palette or a Finder window are
also added to the Assets tab. See Dragging Assets to the Menu Editor, Dragging Assets
to the Track Editor, Dragging Assets to the Slideshow Editor, and Dragging Assets to the
Outline and Graphical Tabs for more information.
As is the case when you drag video assets to the Assets tab, the “Find matching audio
when dragging” setting in the Track pane of DVD Studio Pro Preferences controls whether
audio assets automatically follow the video assets when they are dragged to an element.
Dragging Assets to the Menu Editor
You can drag video, audio, and still images to the Menu Editor. You can drag multiple
assets, but they must all be of the same type (video or still image). You can drag a folder
that contains still images to create a slideshow.
• If you drag the asset to the Menu Editor and drop it immediately: It uses the default action
for that asset type.
• If you drag the asset to the Menu Editor and pause: The context-sensitive Drop Palette
appears so that you can choose the asset’s action. The choices available depend on
the type of asset you are dragging and whether you are dragging it to an empty part
of the Menu Editor, a button, or a drop zone. See Options in the Drop Palette for
Standard Menus and Options in the Drop Palette for Layered Menus for a complete list
of the actions available.
• If you drag video assets to the Menu Editor: DVD Studio Pro automatically looks for audio
assets with the same base name in the same folder and imports them as well. This does
not happen if you drag a mixture of asset types, such as video and still images.
Chapter 11 Importing and Managing Assets 209
You can also drag templates and styles from the Palette. Any assets used by the template
or style, such as a background video or an asset assigned to a drop zone, are also added
to the list in the Assets tab, in a folder named Templates. See Using Templates, Styles,
and Shapes to Create Your Menus for more information on using templates and styles.
Dragging Assets to the Track Editor
You can drag video, audio, and still images to streams in the Track Editor. You can drag
multiple assets, but you cannot drag a folder. See Adding Video and Audio Assets for
details on how the assets are placed in their streams.
You can also drag one or more still images, as well as a folder containing multiple still
images, to a subtitle stream. Each still image creates a subtitle clip. See Importing a
Graphics File for more information.
Dragging Assets to the Slideshow Editor
You can drag one or more still images, as well as a folder, to the Slideshow Editor. The
still images are automatically added to the slideshow. See Creating Slideshows for more
information on slideshows.
Dragging Assets to the Outline and Graphical Tabs
You can drag video, audio, and still images to the Outline and Graphical tabs. How the
assets are used depends on where you drag the assets. The only difference between
dragging to the Outline or Graphical tab is that only the Outline tab has section titles for
each element type. The following tables list the supported actions.
Note: Most of the following actions work with the Outline tab’s By Type and By VTS
displays. The exceptions are dragging assets to the Tracks and Slideshows sections,
because the By VTS display does not have these sections. Additionally, with the By VTS
display, all menus created by dragging assets to the Menu section of a VTS are
automatically assigned to that VTS. See Showing the VTS Editor for more information on
the By VTS display.
The following table lists the actions when you drag assets to an empty area or the disc’s
name.
Assets Action
One video asset Creates a track and adds the video to stream V1.
Multiple video assets Creates a track for each and adds the video to stream V1.
One audio asset Creates a track and adds the audio to stream A1.
Multiple audio assets Creates a track for each and adds the audio to stream A1.
Creates a track and adds the video to stream V1 and the audio to
stream A1.
One video/audio asset pair
One still image Creates a menu and sets the still image as its background.
210 Chapter 11 Importing and Managing Assets
Assets Action
Multiple still images Creates a slideshow and adds the still images to it.
Creates a standard menu and sets the file as the background with
all layers selected.
One multiple-layer PSD file
One folder Creates a slideshow and adds the still images to it.
The following table lists the actions when you drag assets to the Menus section title in
the Outline tab.
Assets Action
One video asset Creates a menu and sets the video as its background.
Multiple video assets Creates multiple menus and sets the video as their backgrounds.
One audio asset Creates a menu and assigns the audio to it.
Creates a menu and sets the video as its background and assigns
the audio to it.
One video/audio asset pair
One still image Creates a menu and sets the still image as its background.
Creates multiple menus and sets the still images as their
backgrounds.
Multiple still images
Creates a standard menu and sets the file as the background with
all layers selected.
One multiple-layer PSD file
The following table lists the actions when you drag assets to a specific standard menu.
Assets Action
One video asset Sets the video as the menu’s background.
One audio asset Assigns the audio to the menu.
Multiple audio assets Assigns the audio to the menu.
Sets the video as the menu’s background and assigns the audio to
it.
One video/audio asset pair
One still image Sets the still image as the menu’s background.
One multiple-layer PSD file Sets the file as the menu’s background with all layers selected.
The following table lists the actions when you drag assets to a specific layered menu.
Assets Action
One still image Sets the still image as the menu’s background.
One multiple-layer PSD file Sets the file as the menu’s background with all layers selected.
The following table lists the actions when you drag assets to the Tracks section title in
the Outline tab.
Chapter 11 Importing and Managing Assets 211
Assets Action
One video asset Creates a track and adds the video to stream V1.
Creates a track for each video asset and adds the video to stream
V1 on each track.
Multiple video assets
One audio asset Creates a track and adds the audio to stream A1.
Creates a track and adds the video to stream V1 and the audio to
stream A1.
One video/audio asset pair
One still image Creates a track and adds the still image to stream V1.
Multiple still images Creates a track and adds the still images to stream V1.
Creates a track and adds the still image to stream V1, using only
the layers set as visible in Photoshop.
One multiple-layer PSD file
The following table lists the actions when you drag assets to a specific track.
Assets Action
One video asset Adds the video to stream V1, at the end of any existing video.
Multiple video assets Adds the videos to stream V1, at the end of any existing video.
One audio asset Adds the audio to stream A1, at the end of any existing audio.
Multiple audio assets Adds the audios to stream A1, at the end of any existing audio.
Adds the video and audio to streams V1 and A1, at the end of any
existing video and audio.
One video/audio asset pair
One still image Adds the still image to stream V1, at the end of any existing video.
Multiple still images Adds the still images to stream V1, at the end of any existing video.
Adds the still image to stream V1, at the end of any existing video,
using only the layers set as visible in Photoshop.
One multiple-layer PSD file
The following table lists the actions when you drag assets to the Slideshow section title
in the Outline tab.
Assets Action
One audio asset Creates a slideshow and assigns this as its overall audio.
One still image Creates a slideshow and adds the still image to it.
Multiple still images Creates a slideshow and adds the still images to it.
Creates a slideshow and adds the still image to it, using only the
layers set as visible in Photoshop.
One multiple-layer PSD file
One folder of images Creates a slideshow and adds the still images to it.
The following table lists the actions when you drag assets to a specific slideshow.
Assets Action
One still image Adds the still image at the end of the slideshow.
212 Chapter 11 Importing and Managing Assets
Assets Action
Multiple still images Adds the still images at the end of the slideshow.
Adds the still image at the end of the slideshow, using only the
layers set as visible in Photoshop.
One multiple-layer PSD file
One folder of images Adds the still images at the end of the slideshow.
Removing Selected Assets
If you no longer need assets in a project, you can remove them from the Assets tab.
Important: The Assets tab only contains links to the actual asset files. Removing an asset
from the Assets tab does not actually delete the asset’s file from your hard disk.
To remove assets from the Assets tab
1 Select one or more assets to remove.
2 Do one of the following:
• Choose Edit > Remove Asset (or press Delete).
• Control-click in the Assets tab, then choose Remove from the shortcut menu.
• Click the Remove button in the Assets tab.
You cannot remove assets that are currently in use by the project. If you try to do so, an
error message appears listing the selected assets that are in use and which project element
is using them.
List of assets that
cannot be removed
Locations that use the
asset you select in the
above assets list
You can click an asset in the list to see which elements use it, or use the Up Arrow and
Down Arrow keys to scroll through the assets list.
Renaming Assets
You can rename assets as they appear in DVD Studio Pro. This does not affect the actual
name of the asset’s file.
Chapter 11 Importing and Managing Assets 213
To rename an asset
1 Select the asset in the Assets tab.
2 Change its name by doing one of the following:
• Click the asset’s name after the asset has been selected and type a new name.
• Enter a new name in the Asset Inspector’s Name field.
See Asset Inspector for more information on the Asset Inspector.
Refreshing Still and QuickTime Assets
It is possible, during the course of creating your project, that you will need to update a
still or QuickTime asset. DVD Studio Pro includes both an automatic and a manual asset
refresh capability to make it easier to use updated versions of your still and QuickTime
assets.
Important: An alert appears when updated assets have been detected, and the Encode
view of the Log tab lists specific elements that use those assets. It is important to verify
that each of these elements function correctly.
All still and QuickTime assets are automatically refreshed any time you bring
DVD Studio Pro to the foreground on your computer. For example, if you are working in
DVD Studio Pro and switch to a graphics program to update a still or QuickTime asset
used in the current project, the asset refreshes as soon as you switch back to
DVD Studio Pro.
Important: If the Simulator is active when assets are refreshed, you must close it and
restart it for the refreshed assets to appear correctly in it.
You can also manually refresh selected assets.
To manually refresh selected assets
Do one of the following:
μ Choose File > Asset > Refresh.
μ Control-click the asset to be refreshed in the Assets tab, then choose Refresh from the
shortcut menu.
Manually refreshing still and QuickTime assets is useful when you are updating them
using a networked computer.
Note: You cannot refresh MPEG motion assets.
Issues with Refreshing Still Assets
When used in slideshows and as clips in tracks, still assets that have been refreshed will
have no impact outside of the change you made to the still asset itself.
214 Chapter 11 Importing and Managing Assets
When used in a menu, there may be issues for you to work with. For example, if the asset
is used in a menu also using overlays, you may have to readjust the button active areas
to match any changes you have made to the graphic. The same is true if you have made
changes to the layers of a multiple-layer PSD file.
Issues with Refreshing QuickTime Assets
Changes made to QuickTime assets, which can include video, audio, or both together,
can have large impacts on any project elements that use them.
Re-encoding
Any QuickTime assets you make changes to that have already been MPEG encoded by
the DVD Studio Pro integrated MPEG encoder will need to be re-encoded. If you have
enabled background encoding in the Encoding pane of DVD Studio Pro Preferences, this
re-encoding will start automatically.
Video Asset Length Changes
If you have changed the length of a video asset that is used in a track, there could be
audio sync problems if other assets are used in the same track. For example, making the
asset shorter would cause all video assets in the timeline that are placed after it to shift
earlier because the V1 stream cannot have any gaps in it. The corresponding audio does
not shift though, because audio streams can have gaps.
Making the QuickTime video asset longer does not change the clip in any tracks that use
it. You have to manually change the clip’s duration in the tracks to use the added video.
When used as backgrounds in motion menus, you may need to adjust the menu’s duration
to better fit with the asset’s new length.
Video Asset Content Changes
If you have changed the content of a video asset, you may need to adjust marker positions
to match the new content or, in the case of motion menus, adjust the loop point.
Audio Asset Length Changes
If you have changed the length of an audio asset that is used in a slideshow, there are
several issues that may arise.
• If the audio is assigned to a specific slide: That slide’s length will change.
• If the audio is assigned to the slideshow as overall audio and Fit to Audio has been
selected: The slideshow’s duration will change.
In both cases, if you have shortened the audio asset it is possible that the slide and
transition durations cannot be shortened enough to match the audio.
Making the QuickTime audio asset longer does not change the clip in any tracks that use
it. You have to manually change the clip’s duration in the tracks to use the added audio.
Chapter 11 Importing and Managing Assets 215
Opening Assets in Their Editor
You can open a selected asset in a different application. This can make it easier for you
to update the asset.
Note: See Using Motion, LiveType, and Soundtrack Pro Projects for information on opening
Motion and LiveType projects.
To open an asset in a different application
Do one of the following:
μ Choose File > Asset > Open In Editor or File > Asset > Open With.
μ Control-click the asset to be opened in the Assets tab, then choose Open In Editor or
Open With from the shortcut menu.
Open In Editor and Open With have the following differences:
• Open In Editor: Choose this if you want to open the asset using its registered application
(exactly as would happen if you double-clicked the asset in the Finder).
• Open With: Choose this if you want to select the application to open the asset. This is
useful when the registered application for that asset type is not the application you
want to use.
With still assets, you can edit and save them using the selected application, and
DVD Studio Pro automatically refreshes the assets.
With audio and video motion assets, you may find that you are unable to resave the assets
once you have edited them. To ensure you can resave the audio or video motion assets,
close the DVD Studio Pro project once you have opened the asset in its application.
Identifying an Asset
You can identify an asset’s actual filename and location and even open a Finder window
that displays it. This is especially useful if you have renamed the assets within
DVD Studio Pro.
To identify an asset’s filename and location
Do one of the following:
μ Control-click the asset’s name, then choose Reveal In Finder from the shortcut menu. This
opens a Finder window displaying the asset’s file.
μ Add the Location column to the Assets tab. This column lists the details of the asset’s file.
Previewing Assets
You can display an asset in the Viewer tab or listen to its audio.
216 Chapter 11 Importing and Managing Assets
To preview an asset
1 Select the asset in the Assets tab.
2 Preview the asset by doing one of the following:
• Choose File > Asset > Preview (or press the Space bar).
• Control-click the asset, then choose Preview from the shortcut menu.
• Double-click the asset.
Preview controls
You can use the controls in the Viewer tab to pause and stop playback.
QuickTime video assets preview in their native format, even if they have been encoded
with the integrated MPEG encoder. To preview the MPEG-encoded version of the
QuickTime asset, you must add the asset to a track and preview it from the Track Editor.
The Settings pop-up menu contains several settings that control what you see in the
Viewer tab.
• Title Safe Area and Action Safe Area: These settings turn on a shaded area around the
outside edge of the menu, indicating portions of the menu that may not be viewable
on most consumer monitors. Placing buttons or text in these shaded areas can be risky
and should be avoided. There are two safe areas: title and action. The title safe area is
more constricted and should be observed for items that must be seen by the viewer.
All text and buttons should be within this area. The action safe area is closer to the
menu edges and is considered a boundary for items that you would like the viewer to
see but that are not required. You can also press Command-E to show or hide the title
safe area and Command-Option-E to show or hide the action safe area.
Chapter 11 Importing and Managing Assets 217
• Square Pixels and Rectangular Pixels: You can choose to switch between viewing assets
with square pixels or scaled to the video aspect ratio (either 4:3 or 16:9). See
Understanding Pixel Differences in Graphics and Video for more information. You can
also press P to toggle the pixel display type.
• Show Single Field: This setting optimizes playback when using field-based video sources.
This is especially important with video that has fast motion because it will reduce the
motion artifacts. However, selecting Show Single Field with frame-based video sources
results in reduced resolution (edges may appear jagged). This setting only affects how
the assets appear in the Viewer and does not change the actual assets themselves.
Note: Anamorphic still assets will preview as 4:3 assets.
Asset Inspector
When you select an asset in the Assets tab, the Asset Inspector appears.
The Asset Inspector shows general information about the selected asset. The only
information you can edit is the asset’s name as it appears in DVD Studio Pro.
Video assets include a thumbnail image and a scrubber so you can scrub through the
video. Still assets also include a thumbnail image.
218 Chapter 11 Importing and Managing Assets
Menus are the backbone of your project. To ensure a positive experience for the viewer,
it’s important to create menus that provide logical navigation and a consistent experience.
This chapter covers the following:
• About Menus (p. 219)
• About the Menu Editor (p. 224)
• Starting and Working with a Menu (p. 231)
About Menus
Menus provide the buttons that the person viewing a DVD uses to configure the disc’s
playback and to choose the tracks and slideshows that supply the DVD’s content. DVD
menus are made up of a background, which can be a still image or a full-motion movie,
and buttons. For the most part, the elements that make up a menu are created outside
of DVD Studio Pro. You use DVD Studio Pro to combine these elements into a complete
menu and assign actions to the buttons. See Preparing Menu Assets for details on creating
the graphics used in your menus.
DVD Studio Pro includes templates and styles that can make it easier to create menus.
You can use the supplied templates and styles to quickly create your menus, or you can
create your own templates and styles. Using templates and styles lets you apply a
standardized look to your menus for all of your projects—for example, to maintain a
corporate image. See Using Templates, Styles, and Shapes to Create Your Menus for more
information.
Before you create your menus, you need to understand the two different methods used
to create menus in DVD Studio Pro, and be aware of special considerations for menus
with a 16:9 aspect ratio. If you are authoring HD projects, you also need to be aware of
special issues when creating HD menus.
In DVD Studio Pro, you can create menus using either a standard, or overlay method, or
a layered method. You can use menus created with both methods in a project, so you
can use the method best suited to each individual menu.
219
Introduction to Creating Menus 12
The menu creation methods differ primarily in how each button’s states are displayed.
Each button in a menu has three states:
• Normal: How the button looks when not in the selected or activated state
• Selected: How the button looks when you navigate to it using the DVD player’s arrow
buttons
• Activated: How the button looks after you navigate to it and press Enter. This state is
typically displayed for just a short time before the menu clears and the next element
appears, based on the action assigned to the button.
Standard Menu Creation Method
The standard method uses an overlay structure to display each button’s states. As
described in detail in Creating Overlays, an overlay is a four-color image used to identify
the highlight area of each button. Each of the four colors is mapped to the actual color
and transparency values that appear for each of the three button states.
The standard method provides the most flexibility when creating menus.
• The background can be static, or it can be a full-motion video clip.
• The background can contain the normal state of the buttons, or it can be plain, with
the overlay supplying the normal button image.
• You can use DVD Studio Pro to type text over the menu. The text can be used to title
the menu or just provide basic information.
• You can add text to buttons or even create text-only buttons.
• You can use shapes on the menu as either buttons or drop zones. Shapes are
self-contained graphics that include the normal state image, a graphic that defines the
highlight area, and that can even display a full-motion thumbnail image of an assigned
asset. Some shapes, called patches, contain animated effects. Shapes can be fully
positioned and resized. DVD Studio Pro includes many stock shapes and can import
shapes you create. The stock shapes are particularly useful when you are creating menus
with minimal reliance on graphics programs.
• You can create drop zones on the menu. A drop zone is an area of the menu you can
assign an asset or shape to. You can reposition, resize, and rotate drop zones. Drop
zones become a part of the menu’s background when you build the project. They allow
you to add graphic elements to your menu that are not text- or button-related, making
it possible to create complex menu backgrounds.
• You can use templates and styles.
• You can add audio to the menu.
220 Chapter 12 Introduction to Creating Menus
The drawback of the standard method is that using overlays limits your creativity when
showing the different states of a button. While the normal state of a button can be a full
24-bit image, you can only use up to four colors (as defined by the DVD-Video specification)
to modify the normal image to show the selected and activated states. Because one of
these colors is typically used as a transparent background color, that leaves only three
colors. This is sufficient to add an outline or highlight to show when the button is selected
or activated, but it is not enough to allow you to radically alter the button.
See Creating Menus Using the Standard Method for details on creating standard menus.
Layered Menu Creation Method
The layered method allows you to create independent 24-bit versions of each button for
each of the three states (normal, selected, and activated). This gives you great flexibility
in changing a button’s appearance when it is selected and activated.
The layered method requires an Adobe Photoshop (PSD) graphics file that contains a
separate layer for each state of each button, in addition to the background graphic. This
means a menu with 12 buttons requires 36 layers to show the normal, selected, and
activated states of each button. You can combine overlays with buttons created using
the layered method.
There are several drawbacks to using the layered method:
• You cannot have motion in the background; backgrounds must be still images.
• You cannot use the text or shape features.
• You cannot use templates and styles.
• You cannot add audio to the menu.
• Viewers may experience a slow reaction time while navigating around the buttons on
DVD players.
Because layered menus use separate layers for each button state, DVD Studio Pro performs
some behind-the-scenes processing, creating separate hidden menus for each possible
state of the menu. In the above example with 12 buttons, 25 versions of the menu would
need to be created (one with all buttons in their normal state, and one for each button
in its selected and activated states). These menus are not visible as separate elements
within your project, but are displayed when you use the arrow buttons on the DVD player’s
remote control to navigate to a button and activate it.
Due to the number of menus that are created using the layered method, some DVD
players may have a slight delay in displaying the menus as viewers navigate around the
buttons, which may confuse impatient viewers.
See Creating Menus Using the Layered Method for details on creating layered menus.
Chapter 12 Introduction to Creating Menus 221
Working with 16:9 Menus
When using 16:9 menus in your project, you need to be aware of several things.
How the Menu Will Be Displayed on a 4:3 Monitor
Be sure to choose the proper display mode in the Menu tab of the Menu Inspector. Also,
a default Display Mode setting in DVD Studio Pro Preferences sets all new menus, tracks,
and slideshows to the proper display mode.
The options include 4:3, 16:9 Pan-Scan, 16:9 Letterbox, and 16:9 Pan-Scan & Letterbox. If
you select Pan-Scan, be aware that areas at the left and right edges of the menu will not
be visible. See Choosing an Aspect Ratio for more information on this and other aspect
ratio issues.
Fewer Buttons Can Be Used
When you set a menu’s display mode to 16:9 Pan-Scan or 16:9 Letterbox, you reduce the
total number of buttons you can have on the menu. For SD projects, the total number
of buttons drops from 36 to 18; for HD projects, the total drops from 48 to 24. This is
because DVD Studio Pro must create two menu overlays, one for each aspect ratio, and
automatically select the one to use based on the DVD player’s aspect ratio setting. When
you set a menu’s display mode to 16:9 Pan-Scan & Letterbox, the total number of buttons
you can have on a menu drops to 12 for SD projects, and 16 for HD projects, because
three menu overlays must be created.
16:9 Graphics Must Be Anamorphic in SD Projects
All graphics for 16:9 menus in SD projects must be anamorphic (horizontally compressed
to fit the 4:3 aspect ratio). See What Exactly Is a 16:9 Asset? for details on creating graphics
for 16:9 menus.
Creating Menus for HD Projects
Creating menus for HD projects is not much different from creating menus for SD projects.
The most common issue is understanding how the HD-based DVD menus handle
background video assets with respect to their resolutions.
There is a Resolution setting in the General pane of DVD Studio Pro Preferences that
defines the default resolution of all new menus (and tracks and slideshows) you create.
However, the actual resolution of a menu is usually defined by the background video
asset you assign to it.
For example, if your default resolution as defined by the preferences setting is 1280 x
720p and you create a new menu, its resolution is 1280 x 720p. If you set the menu’s
background video to a 1920 x 1080i asset, the menu’s resolution automatically changes
to match it.
222 Chapter 12 Introduction to Creating Menus
If you set a menu’s background asset to something that is non-standard, for example, a
still that is 800 x 600, the menu’s resolution changes to the highest resolution that is
smaller than the non-standard size (in this example, full D1, which is 720 x 480 for NTSC
or 720 x 576 for PAL), and the image is scaled to fit. If you set a menu’s background to
something that is smaller than full D1, it is scaled up to the full D1 size.
Note: As with SD-based DVD menus, when a menu’s background asset does not match
the 4:3 or 16:9 display mode, the empty areas are filled with the menu background color,
as defined in the Menu pane of DVD Studio Pro Preferences.
You must also be aware that the limit on the number of buttons your menu can have is
different than with SD-based DVD menus. Menus using the 4:3 aspect ratio can have up
to 48 buttons. Menus using the 16:9 Pan-Scan or 16:9 Letterbox modes can have up to
24 buttons. Menus using the 6:9 Pan-Scan & Letterbox modes can have up to 16 buttons.
Adding Intro and Transition Clips to Menus
You can make the DVD viewing experience more polished by adding short video clips
that play at the beginning of a menu (intro clips) and when buttons are pressed (transition
clips).
There are several approaches you can take to add these clips to your project. See Adding
Intro and Transition Clips to Menus for more information.
Chapter 12 Introduction to Creating Menus 223
About the Menu Editor
The Menu Editor is contained in the Menu tab. It displays the menu graphics in either a
4:3 or 16:9 aspect ratio (depending on what is set in the Menu tab in the Menu Inspector).
There are also several buttons and pop-up menus that let you select what appears in the
editor and provide tools that help with the menu creation process.
Menu Editor tools
Drag the Menu Editor
rulers to create guides.
Click this to hide
and show the
Menu Editor tools.
Choose a menu
to configure.
Open this pop-up
menu to choose
a menu language.
Open to configure
additional Menu Editor
settings.
The Menu Editor scales the menu to fit within its quadrant. As you make the quadrant
larger, the menu also increases up to the point that it reaches full size, when it stops
growing and the extra area around it is filled with gray. When working with the larger
HD resolutions, however, you may find it difficult to increase the quadrant’s size enough
to show the menu at full size. One option is to tear off the Menu tab into its own window,
which you can then resize without affecting the rest of the DVD Studio Pro interface. See
Tearing Off a Tab into Its Own Window for more information.
Using the Menu Rulers
The left and top sides of the Menu Editor can display rulers. When you click within the
Menu Editor, marks on the ruler show the pointer’s position. The Alignment pane in
DVD Studio Pro Preferences contains configuration settings for the ruler. These settings
include whether the rulers are shown and the units they use (pixels, percentage, and so
on). See Alignment Preferences for details on setting the ruler’s preferences.
To show or hide the menu rulers
Do one of the following:
μ Select the relevant setting in the Alignment pane of DVD Studio Pro Preferences.
224 Chapter 12 Introduction to Creating Menus
μ Press Command-R.
Using Menu Guides
You can create horizontal and vertical guides to assist you while creating your menu. The
guides are useful when lining up buttons or text on a menu. You can create as many
guides as you need, reposition them, and remove them. The guides include a snapping
feature that makes it easy to position menu items.
The Alignment pane in DVD Studio Pro Preferences contains configuration settings for
the guides. These settings include whether the guides are shown and their color. See
Alignment Preferences for details on setting the guide’s preferences.
To create a guide
μ Place the pointer over the top or left ruler, then drag into the Menu Editor.
Note: The rulers must be visible before you can add guides to the Menu Editor.
To reposition a guide
μ Drag the guide where you want it.
To hide or show previously created guides
Do one of the following:
μ Click the Guides button on the Menu Editor.
Shows and hides the
menu guides.
μ Press Command-Semicolon (;).
To temporarily disable snapping to the guides while moving an item
μ Press Command while dragging the item. This also disables the dynamic guides discussed
in the next section, Using Dynamic Guides.
To remove a guide
μ Drag the guide back to the ruler.
Note: Like button outlines, guides are not included when you build your project, so it is
not necessary for you to remove them when you are done.
Chapter 12 Introduction to Creating Menus 225
Using Dynamic Guides
In addition to the menu guides, there are also dynamic guides that automatically appear
as you drag menu objects. Dynamic guides make it easy to align menu objects with each
other and with the menu’s center. As you move a menu object around, lines appear and
the object snaps into position whenever one of its edges or its center is in alignment
with another object’s edge or center or the menu’s center.
This tool is especially useful when you are creating duplicates of an existing button (by
Option-dragging it) and want them all to line up with each other.
Only the guide preference’s color setting applies to dynamic guides—they do not
disappear when you hide the menu guides.
To temporarily hide the dynamic guides and disable their snapping action
μ Hold down the Command key while you drag the menu object.
Using the Align Objects Feature
The align objects feature allows you to select a group of objects and apply an alignment
mode to them. For example, you could select three buttons and set them so that their
left edges align.
The usual way of dragging to select a group of items will not work—you will end up
creating a new button.
To select multiple menu items
Do one of the following:
μ To individually select items, hold down the Shift key and click them.
μ To select a group of items by dragging, press the Command key while dragging over
them.
μ To select all items in the Menu Editor, press Command-A.
226 Chapter 12 Introduction to Creating Menus
μ To deselect all items, press Command-Shift-A.
Once you have the objects selected, you can align them.
To use the align objects feature
1 Select the group of objects to align.
Note: The last object you select is the reference object that the others align to.
2 Do one of the following:
• Choose Arrange > Align Objects, then choose the alignment to use (Top, Center, Bottom,
Left, Middle, or Right).
• Control-click one of the selected objects, then choose the alignment to use (Top, Center,
Bottom, Left, Middle, or Right) from Align Objects in the shortcut menu.
The objects move to the new alignment. If you get a surprising result, press Command-Z
to undo the alignment and verify that you had the right buttons selected and that you
selected the reference button last.
Using the Distribute Objects Feature
The distribute objects feature allows you to select a group of objects and evenly space
them between each other.
To use the distribute objects feature
1 Select the group of objects to distribute. See Using the Align Objects Feature for details
on how to do this.
Note: The order that you select the objects does not matter. The objects are distributed
between the two outermost objects.
2 Do one of the following:
• Choose Arrange > Distribute Objects, then choose the distribution method to use
(Horizontally or Vertically).
• Control-click one of the selected objects, then choose the distribution method to use
(Horizontally or Vertically) from Distribute Objects in the shortcut menu.
Menu Editor Pop-Up Menus and Tools
The Menu Editor tools let you customize the editor to your needs.
To show or hide the Menu Editor tools
μ Click the dots at the bottom of the Menu Editor.
Chapter 12 Introduction to Creating Menus 227
Menu Editor Pop-Up Menus
The top of the Menu Editor contains several pop-up menus.
• View: Choose the menu you want to open in the Menu Editor from this pop-up menu.
This is an alternative to selecting the menu in the Outline or Graphical tab.
• Language selection: Choose a language to configure for this menu from the pop-up
menu next to the View pop-up menu. See Using Languages with Menus for more
information.
• Settings: Contains a variety of settings that control what you see in the Menu Editor.
• Auto Assign Buttons Now and Auto Assign Buttons Continuously: You can choose to
have DVD Studio Pro automatically assign button navigation settings to the current
menu configuration or continuously. See Configuring Button Navigation for more
information.
• Display Background, Display Overlay, and Display Composite: You can choose to show
the background or overlay by itself or as a composite image. You can also press Q
to step through these options.
• Title Safe Area and Action Safe Area: These settings turn on a shaded area around the
outside edge of the menu, indicating portions of the menu that may not be viewable
on most consumer monitors. Placing buttons or text in these shaded areas can be
risky and should be avoided. There are two safe areas: title and action. The title safe
area is more constricted, and should be the boundary for items that must be seen
by the viewer. All text and buttons should be within this area. The action safe area
is closer to the menu edges, and is considered a boundary for items that you would
like the viewer to see but are not required. You can also press Command-E to show
or hide the title safe area, and Command-Option-E to show or hide the action safe
area.
• Square Pixels and Rectangle Pixels: You can choose to switch between viewing the
menu images with square pixels or scaled to the video aspect ratio (either 4:3 or
16:9). See Understanding Pixel Differences in Graphics and Video for more information.
You can also press P to toggle the pixel display type.
• Show Single Field: Optimizes playback when using field-based video sources. This is
especially important with video that has fast motion, because it reduces the motion
artifacts. However, selecting Show Single Field with frame-based video sources results
in reduced resolution (edges may appear jagged).
228 Chapter 12 Introduction to Creating Menus
Menu Editor Tools
The lower part of the Menu Editor contains a variety of buttons.
• Arrange controls: These buttons allow you to change the priority of the selected item,
letting you control which items have a higher priority by bringing them forward, or by
sending lower-priority items to the back. See About Button Numbers for more
information.
Brings the item
to the front, making
it the highest priority.
Sends the item’s
priority one step back.
Sends the item
to the back, making
it the lowest priority.
Moves the item’s
priority one step up.
• Add Submenu, Add Slideshow, and Add Track buttons: These buttons allow you to create
a new element in your project and add a button to the current menu that connects to
them. You can also press Command-Option-Y to create a submenu, Command-Option-K
to create a slideshow, and Command-Option-T to create a new track.
Creates an empty
slideshow.
Creates an empty track.
Creates a submenu
that uses this menu’s
template.
The new button added to the menu uses the menu’s default button style. See Setting
Default Styles for more information.
Chapter 12 Introduction to Creating Menus 229
• Button state selections: These buttons allow you to see the selected button in any of
the three states (normal, selected, or activated). You can also press W to step through
these options.
Shows the selected state.
Shows the
activated state.
Shows the normal state.
• Button Outlines button: You can turn on button outlines, which show each button’s
active area box and the button name. When your menu has buttons without an asset
or shape assigned, turning off button outlines can make them disappear, which can
be confusing if you later forget they are there and add them again.
• Guides button: You can show or hide the menu guides created when you drag from
the rulers into the Menu Editor. This does not affect the dynamic guides that appear
when you drag items in the menu. See Using Menu Guides for more information. See
Alignment Preferences for details on setting the menu guide preferences. You can also
press Command-Semicolon (;) to show or hide these guides.
Shows the menu guides.
Shows the button
outlines.
• Motion button: Applies to standard menus only. Use this button to start or stop playback
of video and audio assets assigned to the menu. This is useful for motion menus and
still menus that include audio, providing a preview of how the motion elements appear.
You can also press the Space bar or Command-J to turn the motion on and off.
Note: The Motion button in DVD Studio Pro does not work the same way as the similar
button in iDVD. In DVD Studio Pro, the Motion button does not have to be active to
create a motion menu. It does not affect how the menu will appear when you finish
the project and build the title.
230 Chapter 12 Introduction to Creating Menus
Starting and Working with a Menu
By default, all projects have an empty standard menu for you to start with. You can also
add additional menus as needed.
Creating a New Menu
The following describes how to add a new standard or layered menu to your project.
To add a standard menu
Do one of the following:
μ Choose Project > Add to Project > Menu (or press Command-Y).
μ Control-click in the Outline or Graphical tab, choose Add from the shortcut menu, then
choose Menu from the submenu.
μ Click Add Menu in the toolbar.
A new standard menu is added to the project, with the name “Menu _,” where “_” is the
number of that menu. You can rename menus, making it easier to locate specific ones.
To add a layered menu
Do one of the following:
μ Choose Project > Add to Project > Layered Menu (or press Command-Shift-Y).
μ Control-click in the Outline or Graphical tab, choose Add from the shortcut menu, then
choose Layered Menu from the submenu.
μ Click Add Layered Menu in the toolbar.
A new layered menu is added to the project, with the name “Menu _,” where “_” is the
number of that menu. You can rename menus, making it easier to locate specific ones.
You can also create a new standard submenu from an existing menu (standard or layered)
by clicking the Add Submenu button in the Menu Editor.
Creates an empty
slideshow.
Creates an empty track.
Creates a submenu
that uses this menu’s
template.
This creates a new menu based on the original menu, using its background, buttons, and
other settings. This also adds a new button to the existing menu that is linked to the new
submenu.
Chapter 12 Introduction to Creating Menus 231
Opening a Menu
To work with a menu, you need to open the Menu Editor for that menu. You can do so
from the Outline tab, the Graphical tab, or within the Menu Editor.
To open a menu from the Outline tab
1 Click the Outline tab.
2 Click the disclosure triangle next to Menus to display a list of current menus (if they are
not already visible).
3 Select a menu by clicking its name.
The menu appears in the Menu Editor, and the Inspector switches to show the menu’s
settings. If the Menu Editor is not visible, you can double-click the menu’s name in the
Outline tab to make it appear.
To open a menu from the Graphical tab
1 Click the Graphical tab.
2 Select a menu by clicking its tile.
The menu appears in the Menu Editor, and the Inspector switches to show the menu’s
settings. If the Menu Editor is not visible, you can double-click the menu’s tile in the
Graphical tab to make it appear.
To choose a menu in the Menu Editor
μ Choose the menu to open from the View pop-up menu, located along the top of the
Menu Editor.
The menu appears in the Menu Editor, and the Inspector switches to show the menu’s
settings.
Naming a Menu
As you add menus to your project, you should rename them to make it easier to locate
and group them.
To rename a menu
Do one of the following:
μ In the Outline tab, select the menu, click its name, then type the new name.
μ In the Graphical tab, select the menu tile, double-click its name, then type the new name.
μ Select the menu in the Outline tab, the Graphical tab, or the Menu Editor, then enter the
new name in the Name field of the Menu Inspector.
Adding Assets to a Menu
There are several ways to add assets to a menu:
• Drag an asset to the Menu Editor. See Dragging Assets to the Menu Editor for details.
232 Chapter 12 Introduction to Creating Menus
• Apply a template or style from the Palette. See Applying a Template or Style for details.
• Select the assets in the Menu Inspector. See Creating Menus Using the Standard Method
or Creating Menus Using the Layered Method for details.
Dragging Assets to the Menu Editor
One way to add an asset to a menu is to drag the asset to the Menu Editor, and then use
the Drop Palette to assign the asset a function. You can drag the asset from the Assets
tab, the Palette, or from the Finder. You can also drag tracks, menus, and slideshows from
the Outline or Graphical tab. When you drag an asset, the Drop Palette appears after a
short delay to let you choose what function the asset will serve. For example, if you drag
a still graphic, the menu may offer the options of using it as a background, an overlay,
or a button.
The top item in the Drop Palette is the default function. If you drag an asset or element
to the Menu Editor and release it before the Drop Palette appears, the default function
is applied.
Viewing the Drop Palette
The Drop Palette appears when you drag items to the Menu Editor.
To see the Drop Palette
μ Drag the asset to the Menu Editor. When it’s positioned exactly where you want it, hold
the asset there while you keep the mouse button pressed.
The Menu pane of DVD Studio Pro Preferences contains a setting that controls the length
of the delay before the Drop Palette appears. See Menu Preferences for more information.
Chapter 12 Introduction to Creating Menus 233
The options in the Drop Palette depend on the type of asset you are dragging, whether
you drag it to a button or an empty area of the menu, and the type of menu (standard
or layered). For example, if you drag a video asset to an existing button, the Drop Palette
provides the options of linking the video to the button and creating a track for it. If you
drag the same asset to an empty part of the menu, the Drop Palette contains options for
either using the video as the background, or adding a button at that location and linking
it to the video.
• If you drag an asset and you don’t see the options you expect in the Drop Palette: You may
not have dragged it to the right place. Continue holding down the mouse button and
drag the asset to the correct location.
• If you drag to the menu but do not wait for the Drop Palette to appear: A default action
is applied.
• If you select an option that creates a new button on the menu: That button will use the
default button style assigned to that menu. This style can determine whether or not
the new button shows a thumbnail image of the asset.
• If you are dragging multiple assets or elements and will be creating multiple buttons: The
new buttons will be stacked together. To avoid problems with having overlapping
buttons on a menu, be sure to drag them away from each other after they have been
created.
See Options in the Drop Palette for Standard Menus and Options in the Drop Palette for
Layered Menus for a complete list of Drop Palette options and details on what they do.
About Dragging Video and Audio Assets Together
Several of the Drop Palette options only appear when you select and drag a video/audio
asset pair. A video/audio asset pair is created when you select a video asset, and then
hold down the Command key and select a companion audio asset. (There are also other
ways to select an asset pair, depending on where you are dragging from.)
Having Audio Automatically Follow the Video
If you drag a motion video asset by itself to the Menu Editor and choose an option from
the Drop Palette that supports audio, DVD Studio Pro checks to see if there is an audio
asset in the same folder with the same basic name as the video asset. If the option does
support audio (such as creating a track or setting a menu’s background), and an audio
file is not already assigned to the target element, DVD Studio Pro can automatically add
the audio asset to the element, depending on the “Find matching audio when dragging”
setting in the Track pane of DVD Studio Pro Preferences.
Note: You can override the “Find matching audio when dragging” preferences setting
by pressing the Command key after you start dragging the video asset.
234 Chapter 12 Introduction to Creating Menus
If you drag a QuickTime movie, from a Finder window or the Video tab in the Palette,
that contains both video and audio to the Menu Editor, it is treated as if it were a
video/audio pair, with both the video and audio being added to the element.
Selecting Multiple Menu Items
As you create your menus, there will be times when you need to select multiple menu
items, such as buttons, drop zones, or text objects, so that they can all be moved, deleted,
or have an attribute applied. The usual way of dragging to select a group of items will
not work—you will end up creating a new button.
To select multiple menu items
Do one of the following:
μ To individually select items, hold down the Shift key and click them.
μ To select a group of items by dragging, press the Command key while dragging over
them. Any currently selected items are deselected first. Press the Command-Shift keys
while dragging to keep any currently selected items selected.
μ To select all items in the Menu Editor, press Command-A.
μ To deselect all items, press Command-Shift-A.
Copying Menu Items
You are able to copy menu items, such as buttons, drop zones, and text objects, within
an existing menu or from one menu to another. You can even copy multiple items at
once. See Selecting Multiple Menu Items for more information.
The copied items retain all attributes of their original, including assigned assets and, in
the case of buttons, their target settings. The new items have a higher priority than the
original items. See About Button Numbers for information on how you can modify the
item priorities.
There are several issues that can cause a copy operation to fail.
• You are not allowed to copy items that are incompatible with their destination (such
as copying a drop zone to a layered menu).
• You are not allowed to copy buttons to a menu that would cause it to exceed the
maximum allowed number of buttons. Menus with a 4:3 aspect ratio can have a
maximum of 36 buttons. Menus with a 16:9 aspect ratio can have a maximum of 18
buttons.
Copying Items by Dragging
You can copy one or more items within a menu by selecting them and then dragging
them to a new location.
To copy one or more items within a menu by dragging
1 Select the items to be copied.
Chapter 12 Introduction to Creating Menus 235
2 Press the Option key, then drag the items to their new position.
If multiple items are selected, they all move as a group, maintaining their relationships
to each other.
Using Copy, Cut, and Paste
You can use the Copy and Paste commands to copy items within a menu and between
menus.
To copy one or more items using the Copy and Paste commands
1 Select the items to be copied.
2 Choose Edit > Copy (or press Command-C).
This copies the selected items to the Clipboard. The selected items are not affected.
3 Select the menu where you want to paste the copied items.
4 Choose Edit > Paste (or press Command-V).
If no items are selected in the menu before you paste the copied items, the copied items
are placed in the same locations as the originals. If an item is selected in the menu before
you paste the copied items, the copied items are positioned relative to the selected item
with a small offset.
You can use the Paste command multiple times after using the Copy command. This
makes it easy to add a button to multiple menus.
To move one or more menu items using cut and paste
1 Select the items to be moved.
2 Choose Edit > Cut (or press Command-X).
This copies the items to the Clipboard and removes the items from the current menu.
3 Select the menu where you want to paste the cut items.
4 Choose Edit > Paste (or press Command-V).
This is most useful when you are moving menu items from one menu to another.
Moving and Resizing Menu Items
There are a number of methods you can use to move or resize your buttons, drop zones,
and text objects in your menu.
To move the item by dragging
μ Click inside the dashed lines and drag it to the new position.
To move the item by dragging in one direction only (horizontal or vertical)
μ Press the Shift key, then drag the item.
236 Chapter 12 Introduction to Creating Menus
To move the item by dragging with snapping and the dynamic guides temporarily
disabled
μ Press Command, then drag the item.
To move the item using the arrow keys
Do one of the following:
μ Select the item and press the arrow keys to move it one pixel at a time.
μ Press Shift and the arrow keys to move it 10 pixels at a time.
μ Press Shift-Option and the arrow keys to move it 20 pixels at a time.
To move a button or drop zone
μ Use the Coordinates & Size area in the Advanced tab in the Button Inspector or in the
Drop Zone Inspector to precisely set a button’s or drop zone’s size and position.
To move an item’s edge
μ Click the resize handle at the center of the edge and drag it to the new position. This
changes the item’s size.
To move an item’s corner (which moves two edges at once)
μ Click the resize handle at the corner and drag it to the new position. This also changes
the item’s size.
To change a button’s or drop zone’s size while maintaining the button’s aspect ratio
μ Shift-drag an edge or corner.
See Working with Assets in Buttons and Drop Zones for more information.
To change a button’s or drop zone’s size while keeping the button centered at its
current location
μ Click an edge or corner, start dragging, then press the Option key.
To delete an item
μ Select it (resize handles appear on its dashed line), then press the Delete key.
Verifying Your Menus
As you create your menus, you will want to verify several aspects of them:
• Button connections: Do the buttons connect to the correct project elements?
• Button navigation: As you navigate around the menu’s buttons using the arrow keys,
does the button selection follow a logical path?
• Menu aspect ratios and languages: Does the menu perform correctly with different
displays and DVD player languages?
Chapter 12 Introduction to Creating Menus 237
Verifying Button Connections
Each button’s Target setting (set in the Button Inspector) states its connection. Sometimes,
however, the names of the various project elements can make it easy to choose a target
that is not the one intended. For this reason, it’s important to verify the connections are
correct. There are two ways you can do this:
• Double-clicking the button in the Menu Editor: If you double-click a button that is
connected to a different menu, the Menu Editor automatically switches to show that
menu. If you double-click a button connected to a track, story, or slideshow, the
appropriate editor opens to that element and the Viewer prepares to play it (all you
need to do is click its play button).
• Simulating the menu: You can simulate the menu by either Control-clicking in the Menu
Editor, then choosing Simulate from the shortcut menu, or Control-clicking the menu
in the Outline or Graphical tab, then choosing Simulate from the shortcut menu. This
forces the Simulator to start at this menu instead of the First Play connection, as it does
when started from the toolbar.
Verifying Button Navigation
To verify button navigation, you need to use the Simulator. Either Control-click in the
Menu Editor, then choose Simulate from the shortcut menu, or Control-click the menu
in the Outline or Graphical tab, then choose Simulate from the shortcut menu. You can
now use the Simulator’s arrow keys to verify the navigation and highlight settings.
Verifying Menu Aspect Ratios and Languages
When you create menus using the 16:9 aspect ratio or multiple languages, you can use
the Simulator to verify the menu configurations. In DVD Studio Pro Preferences, you can
configure the Simulator to mimic a 16:9, 4:3 letterbox, or 4:3 pan-scan display. You can
also configure the default language settings of the Simulator.
Once you have configured the Simulator preferences, Control-click the menu’s name in
the Outline or Graphical tab, then choose Simulate from the shortcut menu.
About Chapter Index Menus
When you drag a video asset, track, or slideshow to the Menu Editor, you are given the
option of creating a chapter index menu. A chapter index menu is created automatically
and has buttons linked to the asset’s and track’s markers or the slides in a slideshow. How
the chapter index menu is created depends on the menu already in the Menu Editor:
• If the menu does not contain any buttons, text objects, or drop zones: That menu becomes
the first chapter index menu (with additional chapter index menus added if more
buttons are needed).
• If the menu contains one or more buttons (whether you drag to them or not): A new menu
is created to become the first chapter index menu (with additional chapter index menus
added if more buttons are needed).
238 Chapter 12 Introduction to Creating Menus
When you create a chapter index menu, a Choose Template or Layout Style dialog appears.
You use this dialog to select a template or layout style to provide the template for what
the menu will look like.
The template or layout style you select defines:
• How many buttons are on a menu
• Where the buttons are placed
• What shape the buttons use
• The navigation between the buttons
• Whether the marker names are used as button text
• Whether the marker’s video is used as a button asset
Templates can also define the menu background, assign an audio asset to the menu, and
add text objects, such as a title.
If there are more markers or slides than buttons on the template or layout style you select,
additional chapter index menus are created.
Templates and layout styles can also include buttons that do not get markers assigned
to them. These are special-purpose buttons that you can use to provide navigation
between the chapter index menu and other menus in your project.
Once the chapter index menu (or menus) are created, you need to configure the navigation
between each of them and the other menus in your project. For example, you would
need to provide a way to access the main menu from each chapter index menu, as well
as access to the chapter index menus from the main menu. DVD Studio Pro can
automatically configure the navigation if you use the correct special-purpose buttons.
See Applying Templates or Layout Styles to a Menu with Buttons for information on how
button attributes affect the creation of chapter index menus.
Additionally, you can modify any aspect of the chapter index menu that the template or
layout style you chose defined. For example, you can move the buttons around, change
their shapes, and add additional ones.
Chapter 12 Introduction to Creating Menus 239
DVD Studio Pro includes several templates and layout styles you can choose from, and
you can also create some of your own. See Using Templates, Styles, and Shapes to Create
Your Menus to learn more about templates and styles.
About the First Marker Button in a Chapter Index Menu
DVD Studio Pro automatically adds the first marker to all tracks. It is named “Start” when
the track is created by dragging a video asset to the Menu Editor. (When the asset is
dragged to the Track Editor, the name is based on the marker naming settings in the
Track pane of DVD Studio Pro Preferences.) When you create a chapter index menu, the
first button linked to a marker is linked to the “Start” marker set by DVD Studio Pro.
Because this marker is at the start of the track, pressing this button plays the track from
its beginning. If the marker names appear on your chapter index menu’s buttons, you
may want to edit this button’s text to better describe its function.
240 Chapter 12 Introduction to Creating Menus
Standard menus provide the most flexibility when you create menus. You can choose to
use static or full-motion backgrounds, audio, text objects, and drop zones.
This chapter covers the following:
• About Standard Menus (p. 242)
• Choosing the Menu’s Background (p. 243)
• Choosing the Menu’s Overlay (p. 246)
• Understanding Color Mapping (p. 248)
• Configuring the Menu Inspector for Standard Menus (p. 256)
• Adding Buttons to Your Menu (p. 265)
• Configuring Button Navigation (p. 281)
• Adding Drop Zones to Your Menu (p. 285)
• Working with Assets in Buttons and Drop Zones (p. 288)
• Adding Text Objects to a Menu (p. 288)
• Adding Audio to a Menu (p. 291)
• Configuring the Menu’s Drop Shadow Settings (p. 292)
• Configuring Motion Menu Settings (p. 293)
• Options in the Drop Palette for Standard Menus (p. 296)
• Drop Palette for Standard Menus—Dragging Assets (p. 296)
• Drop Palette for Standard Menus—Dragging Project Elements (p. 304)
• Drop Palette for Standard Menus—Dragging Templates and Styles (p. 309)
241
Creating Menus Using the
Standard Method 13
About Standard Menus
When creating a menu using the standard method, you have a wide variety of options:
• Choosing the background: You need to assign an asset as the menu background. This
can be a still graphic or a full-motion video image. It can contain art and text that
represents the buttons, or it can be plain, relying on an overlay, shapes, drop zones,
and the Menu Editor’s text capability to provide background and button art.
• Choosing the overlay: Although an overlay graphic is not required for a menu, you
typically use one to provide art for selected and activated button states, and in some
cases, for the normal state as well. If you do not choose an overlay, DVD Studio Pro
generates a full-screen white frame to be used in its place.
• Using shapes: You can use shapes either in place of the overlay, or in conjunction with
it.
• Adding drop zones: You can add graphic elements to your background by creating drop
zones and assigning assets to them.
• Adding text: You can type text onto the background. This text can be used to create
button labels, add titles to the menu, or provide viewing instructions.
• Adding drop shadows: You can configure the menu’s drop shadow settings and apply
them to the menu’s shapes, drop zones, and text.
• Configuring motion settings: In addition to the menu’s background, you can use motion
video in the shapes and drop zones. You choose whether the video loops once it reaches
the end.
• Adding audio: You can assign one or more audio assets to the menu.
You can also simplify the standard method by using the templates and styles feature and
choosing from the provided elements or adding your own. See Using Templates, Styles,
and Shapes to Create Your Menus for more information.
242 Chapter 13 Creating Menus Using the Standard Method
About Menu Rendering
Depending on how you create your standard menus, they may have to be rendered
into an MPEG-2 video asset when you build your project. The menu must be rendered
if it uses any of the following:
• Assets assigned to a button
• Shapes
• Drop zones
• Text objects
• SIF (MPEG-1 or MPEG-2), 1/2 D1, or cropped D1 video
Standard menus that only use a background (whether still or video), an overlay, and
one or more audio files do not get rendered.
Whether the menu gets rendered or not can be important for a couple of reasons:
• The time it takes: Rendering menus is a process that composites all of the menu
elements, one frame at a time, and creates an MPEG-2 file out of these composited
frames. Depending on your system and the length of your menus, this can take a
significant amount of time to process. See Menu Preferences for more information.
• Extra processing can affect video: If your menu background video must be rendered,
the extra processing has the potential to change the video a small amount. Anytime
you decode compressed video, process it (such as by compositing shapes or text over
it), then recompress it, you can expect some subtle changes to the background video.
In those cases where you have meticulously encoded your background video before
assigning it to a menu, this extra processing could noticeably change the video.
When SD menus are rendered, they are encoded at 7 Mbps using the one-pass VBR
method. HD menus are rendered at 21 Mbps using the one-pass VBR method.
Choosing the Menu’s Background
The first step in creating a menu is to choose its background. The menu background can
be a still image or a video clip.
Still Images for Backgrounds
You can use a wide variety of graphic formats as still backgrounds in DVD Studio Pro. See
Using Your Graphics Program for a list of supported formats.
Chapter 13 Creating Menus Using the Standard Method 243
For best quality, be sure your graphic:
• Matches the menu’s resolution and aspect ratio (4:3 or 16:9): If you are creating 16:9 menus
in SD projects, or with the 720 x 480p, 720 x 576p, or 1440 x 1080i HD resolutions in
HD projects, be sure the graphic is anamorphic. See Creating Graphics to Use in Menus
and Choosing an Aspect Ratio for details.
• Conforms to the broadcast video color space: Graphics that look stunning in your graphics
program can look very different when viewed on DVD. Most graphics applications let
you scale colors to NTSC or PAL color space.
DVD Studio Pro automatically scales the size of the background graphic to fit the frame
size if necessary. This can result in the menu’s background color being visible along some
edges.
Note: The color of an empty menu’s background can be set in the Menu pane of
DVD Studio Pro Preferences. By default this color is set to dark gray.
Video Clips for Backgrounds
Assigning a video clip as a menu’s background creates a motion menu. The video can be
an animation or live action. Often the video is actually a still background with several
small moving images representing scenes you can jump to. See Creating Video for Motion
Menus for more information on creating the video.
You can choose what happens when a menu’s video clip reaches its end:
• It can simply stop, displaying a still image of the last frame.
• It can loop, jumping from the end back to a point in the video clip that you choose.
It is common for a menu’s video clip to have a relatively complicated
introduction—perhaps with the buttons flying in and a piece of dialogue providing the
audio—and then resolve into a mostly still graphic, with lights flickering or objects moving
in a repetitive way. This kind of design makes it easier to create a loop that jumps from
the end back to the loop point as smoothly as possible.
See Configuring Motion Menu Settings for more information on setting looping options.
Assigning a Background to a Menu
There are several ways to assign a background to a menu. Use the method that you feel
most comfortable with. In all cases, these methods also replace an existing background.
Assigning a Menu Background Using the Inspector
You can assign a menu background using the Inspector. With this method, you can only
choose from assets already imported into DVD Studio Pro.
To assign a menu background using the Inspector
1 Select the menu and make sure the Menu Inspector displays the menu properties.
244 Chapter 13 Creating Menus Using the Standard Method
2 Choose a background from the Background pop-up menu.
The selected file appears as the menu background.
Assigning a Menu Background by Dragging
You can assign a background to a menu by dragging the asset from the Assets tab, the
Palette, or a Finder window.
To assign a menu background by dragging it to the Menu Editor
1 Select the menu in the Outline or Graphical tab or choose it from the Menu Editor’s View
pop-up menu to display it in the Menu Editor.
2 Locate the background file you want to use in the Assets tab, Palette, or Finder window.
3 Drag the asset to an empty part of the Menu Editor and pause until the Drop Palette
appears.
4 Choose Set Background from the Drop Palette.
The background appears in the Menu Editor.
To assign a menu background by dragging it to the Outline or Graphical tab
1 Select the menu in the Outline or Graphical tab or choose it from the Menu Editor’s View
pop-up menu to display it in the Menu Editor.
2 Locate the background file you want to use in the Assets tab, Palette, or Finder window.
3 Assign the background file to the menu by dragging it to the menu’s name in the Outline
tab or the menu’s tile in the Graphical tab. A box appears around the name or tile to let
you know the menu will receive the background file.
The background appears in the Menu Editor when you release the mouse button.
Choosing a Menu’s Background from a Layered Photoshop File
You can choose a layer (or several) from an Adobe Photoshop format (PSD) file to use as
the menu background. One PSD file can supply backgrounds and overlays for several
menus.
To choose a menu background from a PSD file
1 Either create a new menu or select an existing one.
2 Click the Menu tab in the Menu Inspector.
3 Assign the PSD as the menu’s background by doing one of the following:
• Choose it from the Background Asset pop-up menu in the Menu Inspector.
• Drag it to the Menu Editor and choose Set Background from the Drop Palette.
The PSD file’s layer names appear in the Background area of the General tab.
Chapter 13 Creating Menus Using the Standard Method 245
4 Select the checkboxes next to the layers that make up the background.
Select these checkboxes
to make the layers part
of the background.
Choosing the Menu’s Overlay
The second step in creating a menu is to choose its overlay (if you are using one). The
overlay is a graphic that defines what kind of highlight appears when the viewer selects
each button using the DVD player’s remote control, and where each button’s highlights
occur on the menu. The highlight can be an outline of the button, an underline, or even
text.
Note: If you intend to use shapes to create your menu buttons, you do not need to choose
an overlay file. You can use an overlay file and shapes in the same menu.
There are two types of overlays you can use when creating your menus:
• Simple overlay graphics: These have a single highlight color. Simple overlays use white
where they will be transparent, and black to define the highlight areas.
• Advanced overlay graphics: These can have up to four colors or shades of gray,
depending on the mapping type you intend to use. Using advanced overlays, you have
multiple highlight colors appear when selecting or activating buttons.
A single overlay graphic provides the highlights for all buttons. When creating your
buttons, you must single out each button’s active area to ensure that when the viewer
selects a button, only its part of the overlay graphic is highlighted.
The overlay typically provides the art only for each button’s selected and activated states.
It can also provide the art for the normal state, but this state is most often incorporated
into the background, allowing for very nice-looking, 24-bit resolution buttons. An advanced
overlay’s four-color limit, and especially a simple overlay’s one-color limit, greatly restrict
the visual quality of normal-state buttons.
The four colors used in an advanced overlay depend on the mapping type used for the
overlay:
• Chroma: The overlay must use the colors black, red, blue, and white, with white typically
being the background color.
• Grayscale: The overlay must use the colors black, dark gray, light gray, and white. White
is usually used as the background color.
246 Chapter 13 Creating Menus Using the Standard Method
The Mapping Type setting in the Menu Inspector’s Colors tab indicates the type of overlay
you are using.
If colors other than those specified are present in the overlay, they are mapped to their
closest equivalents, which can produce surprising results. Use care to include only the
specified colors when creating your overlays. See Creating Overlays for details on creating
overlay graphics, including the color values used by the chroma and grayscale mapping
types.
It is important to understand that the actual colors used in the overlay, whether you use
the chroma or grayscale method, are not what appear as the highlights in the menu. They
only identify where the actual highlight colors should appear. DVD Studio Pro uses color
mapping to set the highlight colors.
See Understanding Color Mapping to learn more about color mapping.
Assigning a Menu Overlay Using the Inspector
You can assign a menu overlay using the Inspector. With this method, you can only choose
from assets already imported into DVD Studio Pro.
To assign a menu overlay using the Inspector
1 Select the menu and make sure the Menu Inspector displays the menu properties.
2 Click the General tab in the Menu Inspector (if it’s not already visible).
3 Choose an overlay from the Overlay File pop-up menu.
The selected file is assigned as the menu overlay. Depending on other menu settings,
you may not see any changes in the Menu Editor.
Assigning a Menu Overlay by Dragging
You can assign an overlay to a menu by dragging it from the Assets tab, the Palette, or
a Finder window.
To assign a menu overlay by dragging it to the Menu Editor
1 Select the menu in the Outline or Graphical tab or choose it from the Menu Editor’s View
pop-up menu to display it in the Menu Editor.
2 Locate the overlay file you want to use in the Assets tab, Palette, or Finder window.
3 Drag the asset to an empty part of the Menu Editor and pause until the Drop Palette
appears.
4 Choose Set Overlay from the Drop Palette.
The selected file is assigned as the menu overlay. Depending on other menu settings,
you may not see any changes in the Menu Editor.
Chapter 13 Creating Menus Using the Standard Method 247
Choosing a Menu Overlay from a Layered Photoshop File
You can choose a layer from an Adobe Photoshop format (PSD) file to use as the menu
overlay. One PSD file can supply backgrounds and overlays for several menus.
To choose a menu overlay from a PSD file
1 Either create a new menu or select an existing one.
2 Click the General tab in the Menu Inspector.
3 Assign the PSD asset as the menu’s overlay by doing one of the following:
• Choose it from the Overlay File pop-up menu in the Menu Inspector.
• Drag it to the Menu Editor and choose Set Overlay from the Drop Palette.
4 Choose the layer to use as the overlay from the Overlay Layer pop-up menu.
Choose the overlay file.
Choose the overlay layer.
Understanding Color Mapping
Color mapping is the process of assigning highlight colors with transparency values to
the colors used in an overlay. The colors you assign can be different for each of the three
button states (normal, selected, and activated).
You can use two types of overlays: a simple one that uses a single overlay color and an
advanced one that uses up to four overlay colors. For many menus, a simple overlay will
provide what you need with minimal complexity. You may find, however, that an advanced
overlay provides greater flexibility when you are creating complicated menus.
Differences Between Simple and Advanced Overlays
The simple and advanced overlays differ primarily in how they use the overlay file.
• For simple overlays: The color white in the overlay graphic is set to be transparent—this
cannot be changed. The only other color allowed is black. If you add a graphic element
that has a soft glow or has been anti-aliased, the areas that are not black or white
appear with additional highlight colors (controlled by the advanced overlay color
mapping settings). You get to choose a highlight color and its transparency for each
of the three button states (normal, selected, and advanced). See Creating Simple
Overlays for more information.
• For advanced overlays: You can use up to four colors when creating your overlay graphic.
When setting up the color mapping, you assign a highlight color and transparency to
each of the four overlay colors, for each of the three button states. This allows you to
create much more varied looks to the menu. For example, you do not need to make
all highlight colors for a button the same color. Using an advanced overlay can also
allow you to take advantage of anti-aliased edges.
248 Chapter 13 Creating Menus Using the Standard Method
Both simple and advanced overlays use the same color mapping palette and color mapping
sets. When you map a color in a simple overlay, you are also mapping the color to the
black overlay color in the advanced overlay.
You can use simple overlay mapping for some buttons and advanced overlay mapping
for other buttons on the same menu.
Color Mapping Palette
The DVD specification allows a single 16-color palette to be assigned to each menu. This
palette provides the colors used by the overlay to create the three button states. You can
set each of the 16 colors and save the palette as the default palette for DVD Studio Pro.
You can also create a different palette for each menu.
Note: Avoid choosing highly saturated colors. All colors used in your project must conform
to broadcast limits. If necessary, the colors are restricted during playback and you may
find the colors you configured do not match those used in the title.
Setting the Colors in the Color Palette
You set each of the 16 colors in the palette independently.
To set a palette color
1 Select the menu and make sure the Menu Inspector displays the menu properties.
2 Click the Colors tab in the Menu Inspector.
3 Click Edit Palette at the bottom of the Colors tab.
The Color Palette window appears.
4 Select the color you want to change.
The Colors window appears.
5 Select the color-choosing method you want to use, then choose the color. See Methods
for Choosing Colors for information on the different methods.
6 As you choose your color, the color in the palette also changes.
To change another color in the palette, select it in the Color Palette and repeat the above
process. Click the close button once you have set the colors in the Color Palette.
Chapter 13 Creating Menus Using the Standard Method 249
In the Colors tab in the Menu Inspector, clicking the Save as Default button makes this
set of colors the DVD Studio Pro default palette, and it will be used in all menus and
projects created from now on (until it is changed again). Clicking Restore to Default
overrides any changes you have made to this palette and sets it to match the default
palette.
Note: Although they are identical in how they appear and work, the Color Palette used
for subtitles is independent of the one used for menus.
Methods for Choosing Colors
DVD Studio Pro uses the standard Mac OS X Colors window. The window provides a variety
of methods for choosing your colors, including a magnifying glass for grabbing colors
from anywhere on your system’s display. See Mac Help for information on using the Colors
window.
Color Mapping Sets
While the DVD specification limits you to 4 colors in a menu overlay and 16 colors in a
menu’s palette, you can use those colors in different ways on each button on a menu.
DVD Studio Pro lets you choose from three color mapping sets for each button.
Each set uses the same Color Palette, but allows you to assign different colors and
transparencies to each overlay color for the selected and activated states of the buttons.
There are two reasons you might want to do this:
• To include buttons with different highlight colors on the same menu
• To get around problems with overlapping buttons
Both the Menu and Button Inspectors have tabs with color mapping settings. The settings
you make in the Colors tab in the Menu Inspector affect all buttons that you have created
and will create for that menu. All buttons use color mapping set 1 when first created.
Once a button has been created, its properties appear in the Button Inspector. You can
select a different color mapping set (2 or 3) for this button in the Style tab. You can also
change the color mapping settings (for example, picking a different color for the selected
state of overlay color 2) in the Colors tab. However, this affects all buttons that use that
setting, not just the current button.
250 Chapter 13 Creating Menus Using the Standard Method
The illustration below shows a menu with six buttons. The menu uses the three color
mapping sets to group buttons with similar functions.
Color map set 1
Color map set 1
Color map set 1
Color map set 1
Credits OK! Bonus OK! Color map set 2 Color map set 3
Play Movie
Select Scene
Trailers
Cast Bios
OK!
OK!
OK!
OK!
Using Simple Overlay Color Mapping
Simple overlays have one color setting for each button state (normal, selected, and
activated). All white areas of the overlay graphic are automatically set to be
transparent—all black areas become a highlight area. You can use palettes and color
mapping sets with a simple overlay.
The following steps show you how to set up color mapping for a menu when using a
simple overlay. Once you start creating buttons (described in Adding Buttons to Your
Menu), you will be able to select the color mapping sets for them.
To set up color mapping for a menu using a simple overlay
1 Select a menu that has a background and overlay assigned.
The Menu Inspector appears.
2 Click the Colors tab in the Menu Inspector.
3 Select Simple next to Overlay Colors.
4 In the Menu Editor, choose Display Composite from the Settings pop-up menu to see
the normal color settings take effect as you set them. (You will not see the selected and
activated settings take effect until you start creating buttons.)
5 Set the color and opacity settings for the normal selection state.
• To choose the color: Open the Color pop-up menu and choose a color from the 16-color
palette that appears.
Chapter 13 Creating Menus Using the Standard Method 251
• To set the opacity: Either enter a new value in the fields to the right of the Opacity slider,
or drag the sliders. The values range from 0 (completely transparent) to 15 (completely
opaque).
Select Simple or Advanced,
depending on the overlay
you are using.
Select the color mapping
set to configure.
Set the highlight’s
opacity.
Choose a color for
each button state.
Set the normal color settings based on whether the background includes the normal
button graphics.
• If the normal button graphics are included in the background: Set the opacity for the
Normal color to 0 (completely transparent).
• If the normal graphics are not included in the background: Set the opacity and select the
color so that the buttons appear as intended.
6 Select Selected and Activated under Selection States and set the highlight color settings
for the selected and activated states.
You will not see any of these settings take effect until you start creating buttons. You can
configure the settings for all three of the color mapping sets by selecting their buttons
(1, 2, and 3).
Note: If you set the Normal opacity to 15 and see other colors around the edges of items
in the overlay graphic, the graphic has anti-aliased edges. To prevent the extra colors
from appearing, you should either correct the overlay graphic or use the advanced overlay
method.
Using Advanced Overlay Color Mapping
Using an advanced overlay, you can map highlight colors to up to four overlay colors.
You choose one of two mapping types for the overlay graphic (chroma or grayscale),
based on how you created the overlay graphic. See Creating Overlays for details.
252 Chapter 13 Creating Menus Using the Standard Method
Because advanced overlays can have up to four colors, you’re more likely to use them to
create the normal button states (in addition to the selected and activated states) than
you would be with a simple overlay. The following sections describe strategies you can
use for each button state.
Normal State
Normal settings determine what a button looks like when not selected or activated. They
apply to the entire overlay graphic, not just the areas identified by the button active areas.
• If the normal state of the button is part of the background (the overlay does not provide
button graphics): You generally set the opacity for each of the overlay colors to 0,
making them invisible (and making the highlight colors mapped to them unimportant).
• If the normal state of the button is not part of the background (the overlay provides the
button graphics): You need to assign a color and opacity for each overlay color for the
normal state.
Selected State
To avoid viewer confusion, it is important to clearly show that a button has been selected.
The way you do this depends on whether the normal state of the button is part of the
background.
• If the normal state of the button is part of the background: The overlay typically provides
a highlight by adding something to the existing button, such as an outline or a small
graphic (for example, a checkmark, logo, or some text).
• If the normal state of the button is not part of the background: You can change the colors
and transparency of the overlay colors used for the normal state button. For example,
you could have one of the overlay colors be transparent in the normal state and appear
as an additional graphic in the selected state.
Activated State
The activated state, like the selected state, must appear clearly to the user. However, the
activated state generally appears for only a short time—the amount of time it takes the
DVD to process the button’s action.
The following is an example of an advanced overlay, showing only one button and using
the grayscale mode.
Play Movie OK!
Light gray
checkmark
Dark gray
name
Black
“OK!”
White
background
Chapter 13 Creating Menus Using the Standard Method 253
This overlay uses a white background, main text that is dark gray, a light gray checkmark,
and a black “OK!”
Using color mapping, you can control how each of these elements appears in each of
the three states.
Overlay color Normal state Selected state Activated state
Black Transparent Transparent Yellow, opaque
Dark gray Yellow, opaque Yellow, opaque Brown, opaque
Light gray Transparent Green, opaque Transparent
White Transparent Transparent Transparent
In the above example, for the normal state only the main text (using the dark gray overlay
color settings) is visible, with its color set to yellow. When the button is selected, a green
checkmark (using the light gray overlay color settings) appears. When activated, the
checkmark disappears, the text turns brown, and a yellow “OK!” (using the black overlay
color settings) appears.
Setting Up a Menu’s Color Mapping Using an Advanced Overlay
The following steps show you how to set up color mapping for a menu when using an
advanced overlay. Once you start creating buttons (described in Adding Overlay-Based
Buttons), you will be able to select the color mapping sets for them separately.
To set up color mapping for a menu using an advanced overlay
1 Select a menu that has a background and overlay assigned.
The Menu Inspector appears.
2 Click the Colors tab in the Menu Inspector.
3 Select Advanced next to Overlay Colors.
4 Set the Mapping Type to either Chroma or Grayscale, depending on how the overlay was
created.
5 Select Normal under the Selection State.
6 In the Menu Editor, choose Display Composite from the Settings pop-up menu to see
the normal color settings take effect as you set them. (You will not see the selected and
activated settings take effect until you start creating buttons.)
7 Set the color and opacity settings for the normal selection state.
• To choose the color: Open the Color pop-up menu and choose a color from the 16-color
palette that appears.
• To set the opacity: Either enter a new value in the fields to the right of the Opacity
sliders, or drag the slider next to the value. The values range from 0 (completely
transparent) to 15 (completely opaque).
254 Chapter 13 Creating Menus Using the Standard Method
8 Set the normal color settings based on whether the background includes the normal
button graphics.
• If normal button graphics are included in the background: Set the opacity for each overlay
color to 0 (completely transparent).
• If normal graphics are not included in the background: Set the opacity and select the
color for each overlay color so that the buttons appear as desired.
9 Select Selected and Activated under Selection State and set the highlight color settings
for the selected and activated states.
You will not see any of these settings take effect until you start creating buttons. You can
configure the settings for all three of the color mapping sets by selecting their buttons
(1, 2, and 3).
Using an Advanced Overlay to Support Anti-Aliasing
Instead of using the advanced overlay’s four colors to create multiple color highlights,
you can use them to create pseudo-soft edges and take advantage of anti-aliased graphics.
This requires you to use the grayscale method, using either white elements on a black
background or black elements on a white background. The soft or anti-aliased edges are
mapped to the dark and light gray overlay colors. By mapping the same color to each
overlay color, but at reduced opacities on the dark and light gray overlay colors that occur
at the edges, you can effectively simulate soft or anti-aliased edges.
To configure an advanced overlay for anti-aliased edges
1 Select a menu that has a background and overlay with anti-aliased edges assigned.
The Menu Inspector appears.
2 Click the Colors tab in the Menu Inspector.
3 Select Advanced next to Overlay Colors.
4 Set the Mapping Type to Grayscale.
5 Select Normal under the Selection State.
6 In the Menu Editor, choose Display Composite from the Settings pop-up menu to see
the normal color settings take effect as you set them. (You will not see the selected and
activated settings take effect until you start creating buttons.)
7 If the overlay should appear in the normal selection state, set the color and opacity settings
as follows:
• Choose the same color from the Color pop-up menus for each of the overlay colors.
• Set the opacity for the primary overlay color (usually black) to 15.
• Set the opacity for the next overlay color (dark gray) to 10.
• Set the opacity for the next overlay color (light gray) to 5.
Chapter 13 Creating Menus Using the Standard Method 255
If the overlay should not appear in the normal selection state, set the opacity settings to
0 for each overlay color.
8 Select Selected and Activated under Selection State and set the highlight color settings
for the selected and activated states. Set the color and opacity settings using the same
method used in step 7. You will not see these settings take effect until you create buttons
on the menu.
Configuring the Menu Inspector for Standard Menus
The tabs within the Menu Inspector provide a variety of menu configuration settings.
These settings control everything from background and overlay configuration, to transition
and timeout settings.
The Menu Inspector has five tabs: General, Menu, Transition, Colors, and Advanced.
The Colors tab changes depending on whether you are using simple or advanced overlay
color mapping.
Settings at the Top of the Menu Inspector for Standard Menus
There are three settings at the top of the Menu Inspector:
• Name: Enter the name for this menu.
• Est. Size: Displays the estimated amount of disc space the menu requires based on the
type and duration of the assigned assets.
• Background: Choose the menu’s background. See Choosing the Menu’s Background
for more information.
256 Chapter 13 Creating Menus Using the Standard Method
General Tab in the Menu Inspector for Standard Menus
The General tab in the Menu Inspector is divided into four sections: The upper section
contains basic menu settings, the next section contains settings for motion menus and
menu timeout actions, the next section contains the overlay selection settings, and the
bottom section contains the audio file settings.
Motion menu settings
Audio settings
Menu timeout
and jump actions
Overlay selections
Motion Menu Settings
The motion menu settings apply whenever you assign a video asset as the menu’s
background or add audio to the menu. See Configuring Motion Menu Settings for more
details on these settings.
• Start: Defines the starting frame for the motion background. Use either the slider or
timecode field to set this value.
• Loop Point: Defines the frame that is jumped back to when the motion background is
looped. By default this frame is set to be the same as the Start timecode. This is also
the point where button highlights appear and the viewer can begin navigating the
buttons. (Because button highlights are still images, you may want to delay their
appearance until the buttons stop moving if you are flying them onto the screen.) Use
either the slider or timecode field to set this value. This value can also be set by a
chapter marker in the background video.
• End: Defines the last frame for the motion background. The At End setting becomes
active once this frame is reached. Use either the slider or timecode field to set this
value.
• Duration: Adjusts automatically to match the time between the Start and End settings.
Adjusting Duration only affects the End setting.
Chapter 13 Creating Menus Using the Standard Method 257
• Single Field: Optimizes playback when using field-based video sources. This is especially
important with video that has fast motion, and will reduce any motion artifacts. Selecting
Single Field with frame-based video sources results in reduced resolution (edges may
appear jagged).
• At End: Sets the motion menu action when the End time is reached during playback.
Choose one of these settings:
• Still: Freezes the video’s last frame once the video asset finishes playing. If there is
an audio file assigned, it will also play once and then stop.
• Loop: Activates the Start, Loop, and End controls if there is a video asset assigned as
the background. See Configuring Motion Menu Settings for information on using
these controls.
• Timeout: Activates the Sec and Action settings. This allows you to configure the menu
so that if the viewer does not select a button for a specified amount of time, the title
automatically jumps to the element specified with the Action setting.
Menu Timeout and Jump Action
You can set whether a menu appears indefinitely or has a timeout duration. If you set a
timeout duration, the title jumps to the element chosen in the Action pop-up menu after
the specified amount of time. If the menu has a video asset assigned as the background,
the timeout’s countdown does not start until the video finishes playing. You’d generally
use a timeout setting with titles played at a sales kiosk, where you want to have something
playing onscreen as much as possible.
• Sec: Enter the amount of time, in seconds, that the menu appears if no button is
selected.
• Action: Choose the element to jump to once the timeout value is reached. If the menu
has a default transition, the transition plays before the element is jumped to.
Overlay Selections
You use these settings only if you are using an overlay with this menu.
• Overlay File: Choose the file with the menu’s overlay. See Choosing the Menu’s Overlay
for more information.
• Overlay Layer: Becomes active whenever you assign a PSD file with layers as the menu’s
subpicture overlay. You choose the overlay layer from the pop-up menu.
Audio Settings
See Adding Audio to a Menu for more information on using the settings in this area.
• Filename area: Lists the audio files assigned to the menu. You can add audio files to
the menu by dragging them here. You can rearrange their order by dragging the
filenames to a new position.
258 Chapter 13 Creating Menus Using the Standard Method
• Add (+): Opens the file selection dialog, allowing you to add one or more audio files
to the menu.
• Delete (–): Removes the selected audio file from the menu.
• Total Audio Duration: Shows the combined duration of all audio files assigned to the
menu.
Menu Tab in the Menu Inspector for Standard Menus
Most settings in the Menu tab in the Menu Inspector are optional. Exceptions are the
Resolution and Display Mode settings, which must be set correctly for each menu, and
the Background Layers area that is used when a Photoshop layered file (PSD) is assigned
as the background.
Miscellaneous menu
settings
PSD background layer
selections
Drop shadow settings
Miscellaneous Menu Settings
• Default Button: Choose the button to be selected when the menu appears during
playback of the title. This setting can be overridden by any element that jumps to this
menu, based on its jump setting and the Highlight Condition setting.
• Return Button: Choose the project element to jump to if you press the Return button
on the DVD player’s remote control.
• Highlight Condition: Provides an alternative method to the Default Button setting for
determining which button to highlight. When Highlight Condition is set to Default, the
Default Button setting supplies the button highlight setting. When Highlight Condition
is set to one of its stream settings (audio, subtitle, camera angle), the number of the
stream last played determines the button to highlight. This setting can be overridden
by any element that jumps to this menu, based on its jump setting.
• Language: Choose the language in which this menu should be displayed. See Using
Languages with Menus for more information.
Chapter 13 Creating Menus Using the Standard Method 259
• Resolution: Choose the menu’s resolution.
• For SD projects: The resolution is either 720 x 480i (NTSC) or 720 x 576i (PAL).
• For HD projects: You can choose from any of the supported resolutions. DVD Studio Pro
Preferences includes a setting for the default resolution. The resolution automatically
changes to match the menu’s background video resolution if it matches one of the
supported resolutions. Choosing a resolution different than that used by the menu’s
background video results in the menu being scaled and rendered to this setting
when you build the project.
• Display Mode: Set the aspect ratio for this menu (4:3 or 16:9), and with 16:9, choose
how it displays on a 4:3 monitor. The aspect ratio of the background and overlay must
match this setting. See Working with 16:9 Menus for more information.
• Number Pad: Defines which buttons are directly accessible by a DVD player’s numeric
keypad. Choose All, None, or a button number from the pop-up menu. When you
choose a button number, that button and all buttons less than that number are
accessible via the numeric keypad—buttons greater than this value are blocked from
direct access.
Important: This feature is based on the button order as shown along the top of each
button’s Button Inspector, and not the button names you see in the Menu Editor. See
About Button Numbers for information on verifying and changing the button numbers.
• Btn Offset: You can use this setting to offset button numbers so they make sense to a
viewer who wants to select a button by entering its number. For example, you may
have a set of scene selection menus with numbered scenes. One of the menus may
have scenes 23 to 34, with the button for scene 23 being the first button on the menu.
If you enter an offset value of 22 for this menu, when the viewer enters 23 on the
remote control, 22 is subtracted from it, with the result being 1—the button’s actual
number.
Background Layers Selections
• Background Layers: This table becomes active whenever you assign a PSD file with
layers as the menu’s background. A list of all layers in the file appears, with checkboxes
so that you can select which ones to use for the background.
See Choosing a Menu’s Background from a Layered Photoshop File for details on these
settings.
Drop Shadow Settings
• Menu Shadow: This area configures the drop shadow settings for this menu. See
Configuring the Menu’s Drop Shadow Settings for more information.
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Transition Tab in the Menu Inspector for Standard Menus
The Transition tab is used to configure a button transition for this menu. See Transition
Tab in the Menu and Button Inspectors for details on this tab.
Colors Tab in the Menu Inspector with Simple Selected
The following settings are available in the Colors tab in the Menu Inspector when you
select the simple overlay color mode.
Select Simple or Advanced,
depending on the overlay
you are using.
Select the color mapping
set to configure.
Set the highlight’s
opacity.
Choose a color for each
button state.
• Overlay Colors: Select the overlay color method to use.
• Simple: Select Simple if you are using a simple overlay.
• Advanced: Select Advanced if you are using an advanced overlay.
Chapter 13 Creating Menus Using the Standard Method 261
• Set: Select the color mapping set (1, 2, or 3) to configure. You cannot assign sets to
buttons from the Menu Inspector; you must select a button or group of buttons and
select their set in the Button Inspector. All new buttons use set 1.
Note: These sets apply only to the selected and activated states of the buttons. The
normal state color mapping setting applies to the entire overlay graphic unless a
button’s active area is selected or activated. See Color Mapping Sets for more
information.
• Color: Choose the color for each of the three button states from the current Color
Palette.
Note: This also sets the highlight colors for the black overlay color if an advanced
overlay is also used on this menu.
• Opacity: Set the opacity for each of the highlight colors. You can use the slider or enter
a value from 0 (completely transparent) to 15 (completely opaque).
Note: This also sets the opacity for the black overlay color if an advanced overlay is
also used on the menu.
• Save As Default: Saves this color mapping configuration as the default to be used on
all new menus you create.
Simple and advanced overlays use the same default mapping configuration.
• Restore Defaults: Replaces the existing settings with those of the default color mapping
configuration.
• Edit Palette: Displays the Color Palette window, which you can use to change colors
within the palette.
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Colors Tab in the Menu Inspector with Advanced Selected
The following settings are available in the Colors tab in the Menu Inspector when you
select the advanced overlay color mode.
Select the color mapping
set to configure.
Set the highlight’s
opacity.
Shows the overlay
graphic’s colors.
Select the mapping type
used for the overlay
graphic.
Choose the colors
to map to each overlay
graphic color.
Select the button state.
Select Simple or
Advanced, depending on
the overlay you are using.
• Overlay Colors: Select the overlay color method to use.
• Simple: Select Simple if you are using a simple overlay.
• Advanced: Select Advanced if you are using an advanced overlay.
• Mapping Type: Select the colors used to create the overlay graphic.
• Chroma: Chroma uses black, red, blue, and white as the overlay colors.
• Grayscale: Grayscale uses black, dark gray, light gray, and white as the overlay colors.
• Selection State: Select the button state you want to configure. This setting also
determines which state’s colors and transparencies to display.
• Normal: Selects the normal state for configuration and display.
• Selected: Selects the selected state for configuration and display.
• Advanced: Selects the advanced state for configuration and display.
• Set: Select the color mapping set (1, 2, or 3) to configure. You cannot assign sets to
buttons from the Menu Inspector—you must select a button or group of buttons and
select their set in the Button Inspector. All new buttons use set 1.
Chapter 13 Creating Menus Using the Standard Method 263
Note: These sets apply only to the selected and activated states. The normal state color
mapping setting applies to the entire overlay graphic unless a button’s active area is
selected or activated.
• Key: Shows the overlay file’s colors as selected with the Mapping Type.
• Color: Choose the color for each of the four overlay colors from this pop-up menu,
which displays the current Color Palette. You must do this for all three button states.
• Opacity: Set the opacity for each of the highlight colors. You can use the slider or enter
a value from 0 (completely transparent) to 15 (completely opaque).
• Save As Default: Saves this color mapping configuration as the default to be used on
all new menus you create.
Simple and advanced overlays use the same default mapping configuration.
• Restore Defaults: Replaces the existing settings with those of the default color mapping
configuration.
• Edit Palette: Displays the Color Palette window, which you can use to change colors
within the palette.
Advanced Tab in the Menu Inspector for Standard Menus
The Advanced tab in the Menu Inspector for standard menus contains settings that are
used only in specialized projects.
Disabled User Operations
settings
Playback Options settings
Disabled User Operations Settings
• Disabled User Operations: Select the functions that you want to be disabled while this
menu plays. See User Operations for more information.
264 Chapter 13 Creating Menus Using the Standard Method
Playback Options Settings
• Pre-Script: Choose a script to run before the menu appears. This script can decide
whether to show the menu or configure the DVD player before showing it. See
Pre-Scripts for information on pre-scripts.
• DVD@CCESS: Selecting this checkbox allows you to add DVD@CCESS links, which provide
additional functionality to your title when played on a computer. See DVD@CCESS for
more information.
• Display Condition: Selecting this checkbox enables the Display Condition settings that
control whether or not this menu should be displayed and to define what should be
displayed if not this menu. See Display Condition for more information.
Adding Buttons to Your Menu
Once you have set your background and overlay, you are ready to start adding buttons
to your menu.
You can add buttons either by creating active areas in the overlay or by dragging shapes
to the Menu Editor. You can then set each button’s properties, such as what the button
jumps to when activated and how to navigate from it when using the DVD player’s remote
control.
The number of buttons a menu can have depends on the DVD standard and its display
mode.
SD Projects
• Menus using a 4:3 display mode can have up to 36 buttons.
• Menus using a 16:9 Pan-Scan or 16:9 Letterbox display mode can have up to 18 buttons.
• Menus using a 16:9 Pan-Scan & Letterbox display mode can have up to 12 buttons.
HD Projects
• Menus using a 4:3 display mode can have up to 48 buttons.
• Menus using a 16:9 Pan-Scan or 16:9 Letterbox display mode can have up to 24 buttons.
• Menus using a 16:9 Pan-Scan & Letterbox display mode can have up to 16 buttons.
Adding Overlay-Based Buttons
To add an overlay-based button, you must identify each button’s “active area.” The active
area is where selected and activated state highlights will occur, whether the title is played
on a set-top DVD player or on a computer. Additionally, when the title is played on a
computer, the active areas also determine the area in which a mouse-click activates the
button.
To create the active area, you use the pointer to drag over the area containing the button’s
elements. See the next section for details.
Chapter 13 Creating Menus Using the Standard Method 265
Creating and Modifying Button Active Areas
While you can create a button’s active area without a background or overlay assigned,
most of the time you will need to assign them first so you know where to place the button
active areas. See Creating Menus Using the Standard Method and Creating Menus Using
the Layered Method for details on assigning these files.
To create and modify a button’s active area
1 Click the menu background where you want one of the button’s corners to be, then drag
to the opposite corner. You see a rectangle with dashed lines.
2 Do any of the following to modify the button’s active area:
• To move the button by dragging: Click inside the dashed lines and drag it to the new
position.
• To move the button by dragging in one direction only (horizontal or vertical): Press the
Shift key, then drag the button.
• To move the button by dragging with snapping and the dynamic guides temporarily
disabled: Press Command, then drag the button.
• To move the button using the arrow keys: Select the button and press the arrow keys to
move it one pixel at a time. Press Shift and the arrow keys to move it 10 pixels at a
time, or press Shift-Option and the arrow keys to move it 20 pixels at a time.
• To move an edge: Click the resize handle at the center of the edge and drag it to the
new position. This changes the button’s size.
• To move a corner (which moves two edges at once): Click the resize handle at the corner
and drag it to the new position. This also changes the button’s size.
• To change a button’s size while maintaining the button’s aspect ratio: Shift-drag an edge
or corner. See Working with Assets in Buttons and Drop Zones for more information.
• To change a button’s size while keeping it centered at its current location: Click an edge
or corner, start dragging, then press the Option key.
• To delete a button: Select it (resize handles appear on its dashed line), then press the
Delete key.
You can also use the Coordinates & Size area in the Advanced tab in the Button Inspector
to precisely set a button’s size and position.
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Viewing the Selected and Activated States
You can view the highlights for all three button states when you have a button selected.
This makes it easy to see how the color mapping settings interact with the overlay.
To view and set highlights for a button
1 In the Menu Editor, choose Display Composite from the Settings pop-up menu.
The Menu Editor displays both the background and the overlay based on the color
mapping settings.
2 Use the Menu Editor’s button state buttons to select the state (normal, selected, or
activated) to display.
Shows the activated state.
Shows the selected state.
Shows the normal state.
3 With the button state set to either selected or activated, select Highlight Set 1, 2, or 3 in
the Style tab in the Button Inspector to select the color mapping configuration to apply
to the current button.
Note: The Set 1, 2, and 3 buttons in the Button Inspector’s Colors tab are for configuring
the sets. They do not apply the sets to the current button.
Why Don’t Highlight Colors Appear Without an Overlay?
In earlier versions of DVD Studio Pro, you could see the selected and activated highlights
in the active area rectangle even without an overlay. This made it easy to create a menu
by just creating underlines (which were short and wide active areas) that showed the
selected and activated highlights.
The shapes feature of DVD Studio Pro 4 includes a SimpleButton shape that you can
use to create these same types of highlights. By applying the SimpleButton shape to
the first button active area you add to a menu, and then setting that button to be the
menu’s default, all subsequent buttons will automatically have the SimpleButton shape
and will show the selected and activated highlights.
See the following section, Adding Shapes to a Menu, for information on applying shapes,
and Setting Default Styles for information on defining a menu’s default button style.
Adding Shapes to a Menu
There are two ways to add a shape to a menu:
• Drag it from the Shapes tab in the Palette.
Chapter 13 Creating Menus Using the Standard Method 267
• Create a button active area, then select the shape from the Button Inspector.
When you drag a shape from the Palette, it appears at its actual size, as created in the
graphics program. When you add a shape by assigning it to an active area, it is scaled to
fit the area, which can make it appear squashed or stretched.
Dragging a Shape from the Palette
The Palette offers three groups of shapes and shows you thumbnails of all the shapes
you have to choose from.
To drag a shape from the Palette
1 Select the Shapes tab in the Palette.
Select the group
of shapes to display.
A soft gray border
appears around
the selected shape.
2 Select the group of shapes to display:
• To display the shapes included with DVD Studio Pro: Click Apple.
Note: Not all shapes supplied with DVD Studio Pro support highlights. Some are
intended to be used only with drop zones and do not include the highlight layer used
by buttons.
• To display the shapes that have been imported for use by all projects: Click Custom.
• To display shapes imported for use by this project only: Click Project.
3 Scroll through the available shapes, then select the one you want to use.
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4 To add the shape to any empty part of the menu, drag it to the Menu Editor. If you hover
over the area for a second, the Drop Palette appears, where you can choose to create a
button or drop zone. See Adding Drop Zones to Your Menu for additional information
about drop zones.
5 To apply the shape to an existing button, select the button in the Menu Editor, then do
one of the following:
• Click Apply in the Palette.
• Drag the shape to the button.
When dragged to an empty part of the menu, the shape becomes a button and appears
at its actual size. You can move it and change its size by either dragging it or entering
coordinate and size values in the Advanced tab in the Button Property Inspector.
When applying or dragging the shape to an existing button, the shape’s size changes to
match the existing button’s size.
Assigning a Shape in the Button Inspector
In the Button Inspector, you can select from the same shapes displayed in the Palette.
To assign a shape in the Button Inspector
1 In the Menu Editor, select the button you want to apply the shape to.
2 Click the Style tab in the Button Inspector.
3 Choose a shape group from the Shape pop-up menu, then choose the shape to use.
A thumbnail of the shape appears in the Button Inspector and the shape is applied to
the button.
The shape’s size changes to fit the button’s active area. You can move the button and
change its size by either dragging it or entering coordinate and size values in the Advanced
tab in the Button Inspector. See Managing Shapes for information on the different types
of shapes available and details on how to import your own shapes.
Copying a Button
You can make a copy of a button to use on the same menu.
Chapter 13 Creating Menus Using the Standard Method 269
To make a copy of a button
1 Select the button to be copied in the Menu Editor.
2 Hold down the Option key, then drag the button’s copy to its new location.
The copy is automatically given the same name as the original, with a number added to
distinguish it. The copy has all the same properties as the original, including its Target
and navigation settings.
Setting a Button’s Connection
The main purpose of a button is to provide a way for the viewer to jump to a new disc
location. For this to work, you must assign an element from your project as the button’s
connection.
There are several ways to set a button’s connection:
• Using the Target setting in the Button Inspector
• Using the shortcut menu that appears when you Control-click a button
• Using the Connections tab. See Establishing Connections for more information.
In some cases, when using the dragging methods to add assets to a menu and selecting
options from the Drop Palette, the connection is automatically set. See Dragging Assets
to the Menu Editor for more information.
You can see a button’s current connection by placing the pointer over it and reading the
tooltip that appears.
To set a button’s connection in the Button Inspector
1 Select the button whose connection you want to set.
2 Choose the element to connect to from the Target pop-up menu in the top section of
the Button Inspector.
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To set a button’s connection using the shortcut menu
μ Control-click the button whose connection you want to set, choose Target from the
shortcut menu, then choose the element to connect to from the submenus.
A checkmark appears next to the currently selected target.
Those elements that can have a pre-script assigned to them (menus, tracks, stories, and
slideshows) are listed in square brackets. Setting a button’s target to the element in
brackets allows the pre-script, if one is assigned to the element, to run before the element
appears. If you set the target to anything else in the list, the pre-script is not run. See
Pre-Scripts for more information.
About Resume
If you jump to a menu while watching a track, for example, by pressing the remote
control’s Menu button, the DVD player remembers what track you were playing and
how far you were into it.
A mostly unknown feature of DVD players is that you can press the Menu button while
in a menu to resume playing the track at the same place you jumped from.
Creating a button on the menu and setting its Target to Resume provides the viewer
with a more obvious way to resume playing the track.
About Button Properties
When you select or create a button, the Button Inspector appears.
Note: There is a different Button Inspector for buttons on layered menus. See About
Layered Menu Button Properties for more information.
Chapter 13 Creating Menus Using the Standard Method 271
There are four tabs in the Button Inspector: Style, Advanced, Colors, and Transition. See
the following sections for details:
• Settings at the Top of the Button Inspector
• Style Tab in the Button Inspector
• Advanced Tab in the Button Inspector
• Colors Tab in the Button Inspector
• Transition Tab in the Button Inspector
Settings at the Top of the Button Inspector
There are three settings at the top of the Button Inspector.
• Name: By default, buttons you manually add are named “Button _,” where “_” is the
button number on that menu. To reduce confusion when viewing a list of the menu’s
buttons, it is helpful to rename the buttons based on their functions.
Note: Buttons created as a result of a Drop Palette action that creates other project
elements are named after the new project elements. In the case of actions that create
a new track, the button and the track are named after the video asset.
• Button #: Next to the button’s name is its number. This number is based on the order
in which the buttons are added to the menu. See About Button Numbers for information
on changing this number and why it can be important.
• Target: You can use this pop-up menu to define a button’s action when activated. (You
can also use the Connections tab or Control-click the button.) Often you must set the
connection later because what you want to jump to has not yet been added to the
project. The pop-up menu contains all possible elements you can jump to.
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Style Tab in the Button Inspector
The Style tab of the Button Inspector contains the most commonly used settings.
• Asset: Use this pop-up menu to assign an asset to the thumbnail of the shape (if present)
or, when there is no shape, to the button’s active area. You can choose any existing
applicable assets.
• Start Frame: When the asset assigned to this button is a video clip, this area displays
the video. Use the slider or timecode entry to choose the start point for motion playback
(if motion is enabled) or to choose the frame to use in the button’s thumbnail if motion
is not enabled.
• Motion: Select this checkbox to enable motion in the button when the button’s asset
is a video clip. See Configuring Motion Menu Settings for looping details with motion
buttons.
• Shape: Use this pop-up menu to choose a shape to assign to the selected button. A
thumbnail image of the selected shape appears next to the pop-up menu. The pop-up
menu lists the existing shapes by their names, grouped as Apple Shapes (supplied with
DVD Studio Pro), Custom Shapes (added shapes available to all projects), Project Shapes
(added shapes available to this project only), and Patch Shapes. Use the Palette’s Shapes
tab to manage the shapes and as another way to select a shape.
• Shadow: Select this checkbox to apply the menu’s drop shadow setting to this shape.
• Selected Highlight: Choose the button’s selected state highlight color from the 16-color
palette.
Note: This does not affect the button’s normal or activated states. Use the settings in
the Colors tab for those highlights.
• Highlight Set: Select the color mapping set (1, 2, or 3) to use for this button.
Chapter 13 Creating Menus Using the Standard Method 273
• Opacity: Use this slider or enter a numeric value to set the selected highlight’s
transparency from 0 (completely transparent) to 15 (completely opaque).
Note: The Selected Highlight and Opacity settings affect the black color mapping
settings for the selected color mapping highlight set. These settings affect all buttons
on this menu, including overlay buttons, that use the same color mapping set.
• Text: You can type text directly on the button in the Menu Editor or type it in this text
area, then press Return to apply it to the button. To start a new line, press Option-Return.
See Adding Text to a Button for more information.
• Shadow: Select this checkbox to apply the menu’s drop shadow setting to this button
text.
• Text Position: Choose where you want to place the text when adding text to a button.
Choices include Bottom, Top, Right, Left, and Center. Use the Center setting when
creating a text-only button.
• Text Offset X and Y: Adjust the position of the text using these settings. For the horizontal
(X) offset, positive numbers move the text to the right and negative numbers move it
to the left. For the vertical (Y) offset, positive numbers move the text down and negative
numbers move the text up.
• Include Text in Highlight: Select this checkbox to make the button text highlight when
the button is selected or activated.
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Advanced Tab in the Button Inspector
The Advanced tab of the Button Inspector contains settings you can use to fine-tune a
button.
• Navigation: The pop-up menus in this area let you set the actions that take place when
the viewer uses the arrow buttons on the DVD player’s remote control to navigate
around the title. Because this is the typical way the title will be viewed, it is important
to spend some time configuring the navigation in a logical, predictable way. See
Configuring Button Navigation for information.
• Angle/Audio/Subtitle Streams: Use these three pop-up menus to connect a button to
specific audio, subtitle, and angle streams to play back. For the subtitle stream, you
can also choose whether subtitles should appear.
• Auto Action: If you enable Auto Action for a button, it will activate automatically as
soon as it is navigated to, without the viewer needing to press Enter. This is useful in
menus, such as scene selection menus, in which you use Next and Previous buttons;
you can assume that if viewers navigate to the Next or Previous button, they want to
activate it.
With overlay-based buttons, if you select this option, only the activated color mapping
appears when the button is navigated to, skipping the selected color mapping.
Important: When viewed with most software-based DVD players, such as the Apple
DVD Player, auto action buttons must be clicked if a mouse is used to select buttons.
If you use the computer’s arrow keys, however, auto action buttons activate
automatically as with set-top DVD players.
Chapter 13 Creating Menus Using the Standard Method 275
• Invisible: Applies to overlay-based buttons. This option allows you to have a button
that does not display highlights in the normal, selected, or activated state. This is useful
when you want to have a menu with text and no visible buttons. The text could tell
the viewer to press the Enter button to go to the next menu or start playback (or
whatever the button is set to jump to).
• Coordinates & Size: This area lets you set the location of each edge of the button’s active
area, plus the area’s height and width. The upper-left corner of the menu is at pixel 0,
line 0. You can enter values for each edge, allowing you to precisely position and size
the button’s active area. (You can also drag the active area and each of its edges with
the pointer.)
Colors Tab in the Button Inspector
The Colors tab works exactly as does the Colors tab in the Menu Inspector. See Colors
Tab in the Menu Inspector with Simple Selected and Colors Tab in the Menu Inspector
with Advanced Selected for information on this tab.
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Transition Tab in the Button Inspector
The Transition tab is used to configure a button transition for this button. See Transition
Tab in the Menu and Button Inspectors for details on this tab.
About Button Numbers
Each time you add a button to a menu, in addition to its name (which you can change),
it is assigned a number (which you cannot directly change) based on the order in which
you added it to the menu.
The button’s number
The button’s name
The first button you manually add to a menu is named and numbered “Button 1,” the
second is “Button 2,” and so on. How a button fits in the order is important for four reasons:
• Button number 1 is the default button selected when the menu plays if no other button
has been set as the menu’s default button.
• The button order determines the priority of the buttons if they overlap. Higher
numbered buttons have a higher priority and can cover up lower numbered buttons.
• The button order affects the creation of chapter index menus (see Applying Templates
or Layout Styles to a Menu with Buttons).
• The button order affects the number pad setting for viewers directly accessing a menu’s
buttons from the DVD player’s remote control.
While you cannot change this number in the Button Inspector, you can change it using
the shortcut menu that appears when you Control-click a button.
Chapter 13 Creating Menus Using the Standard Method 277
When you Control-click a button, a shortcut menu appears that allows you to rearrange
the button order (and also set other button properties).
There are also four buttons along the bottom of the Menu Editor (the Arrange controls)
that allow you to rearrange the button order.
Brings the item to the
front, making it the
highest priority.
Sends the item’s priority
one step back.
Sends the item to the
back, making it the lowest
priority.
Moves the item’s
priority one step up.
• Send To Back: Makes the selected button button 1, the lowest priority button. The
existing button 1 now becomes button 2, and so on. The button names don’t change,
however. You can also press Command-Shift-B to send it to the back.
• Send Backward: Swaps the selected button’s number with the button below it, making
it a lower priority than the button below it. If this is button 12, then it becomes button
11, and button 11 becomes button 12. You can also press Command–Left Bracket ([)
to send it backward.
• Send Forward: Swaps the selected button’s number with the button above it, making
it a higher priority than the button above it. If this is button 12, then it becomes button
13, and button 13 becomes button 12. You can also press Command–Right Bracket (])
to send it forward.
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• Bring to Front: Makes the selected button the highest priority button on the menu. All
buttons that were above it move down one number. You can also press
Command-Shift-F to bring it to the front.
The priority is generally not important unless you overlap your buttons or you intend to
use this layout as a style for creating chapter index menus. (Overlapping is discouraged;
see About Overlapping Buttons for more information.)
Note: Drop zones, text objects, and buttons are included in the same priority list; a drop
zone can have a higher priority, and thus cover up, a button.
Adding Text to a Button
You can add text to any button on a standard menu. You can even create text-only buttons
by creating a button active area and then adding the text to it.
The default text font and color are set in the Text pane in DVD Studio Pro Preferences.
To add text to a button
1 Make sure the Style tab in the Button Inspector is displayed.
2 To add the text, do one of the following:
• Select the button in the Menu Editor, then press Return. An insertion point appears at
the bottom of the button. Type your text here. Press Return to add an additional line,
or press Enter to exit the text entry mode.
• Select the button in the Menu Editor, then type the text in the Text entry area of the
Button Inspector. To add an additional line, press Return or Enter.
• Select the button in the Menu Editor, then click just below its active area. An insertion
point appears. Type your text. Press Return to add an additional line, or press Enter to
exit the text entry mode.
Note: The default settings in the Button Inspector’s Text Formatting section at the bottom
of the Style tab place the text at the bottom of the button. You can change these settings
before typing the text, in which case the text appears at the new position.
3 Select the Shadow checkbox (next to the text entry area) to apply the menu’s drop shadow
settings to the text.
4 Choose the text’s position (Bottom, Top, Left, Right, or Center) from the Position pop-up
menu. You can use the X Offset and Y Offset entries to fine-tune the position.
5 Select Include Text in Highlight if you want the text to highlight along with the button
when selected or activated.
You can edit the text by clicking within it or by dragging the pointer over the portion of
the text to be replaced, then typing the new text.
Chapter 13 Creating Menus Using the Standard Method 279
The button’s active area extends to include the text if you choose to include the text in
the highlight. Use care to ensure that the active area does not inadvertently overlap other
buttons on the menu.
Setting the Button Text’s Font and Color
A button’s text can use a mix of colors and fonts.
To change the text font and color
1 Select the text you want to change.
2 Do one of the following to open the Font panel:
• Choose Format > Font > Show Fonts (or press Command-T).
• Click Fonts in the toolbar.
3 Choose the font and size to use.
4 Do one of the following to open the Colors window:
• Choose Format > Font > Show Colors (or press Command-Shift-C).
• Click Colors in the toolbar.
5 Choose the color to use.
You can also add bold, italic, and underline attributes to the text.
Note: The bold and italic attributes are available only if the current font supports them.
To apply bold, italic, and underline attributes
1 Select the text you want to change.
2 Choose Format > Font > Bold (or press Command-B) to add the bold attribute.
3 Choose Format > Font > Italic (or press Command-I) to add the italic attribute.
4 Choose Format > Font > Underline (or press Command-U) to add the underline attribute.
By selecting different parts of the button’s text, you can mix different fonts, colors, and
attributes on the same button.
Creating Text-Only Buttons
You can create text-only buttons that only have the text as their graphic. This is useful if
you want a simple button that says something like “Play Movie.” By centering the text in
the button and configuring the button so that the selected and activated highlights apply
to the text, you can create a button that works well in a DVD title.
To create a text-only button
1 Create a button active area by dragging in the Menu Editor.
2 Add text to the button, either in the Button Inspector or by typing directly in the Menu
Editor.
3 Set the text’s font and color.
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4 In the Style tab in the Button Inspector, choose Center for the Position, and select Include
Text in Highlight.
5 Adjust the size of the button’s active area so that it fits the text.
You can now set the button’s selected and activated highlights as you would any simple
overlay graphic.
Note: If you open a DVD Studio Pro project that uses a font that is not on the computer
you are opening it on (either because the font was deleted or the project was created
on a different computer), any items using the missing font have a different font substituted
with no warning.
About Overlapping Buttons
In general, it’s a good idea to avoid overlapping buttons. Some DVD players may behave
erratically when they try to process menus with overlapping buttons. This problem is
worse if you are playing the title on a computer and using a pointer to select a button.
Sometimes, however, while the button graphics do not actually overlap, their active areas
do.
Active area overlap
Play Movie
Scene Select
Slideshow
In this case, if viewers watch the title on a computer, they may get unexpected results if
they click in an overlap area.
Another problem occurs when using overlay-based buttons. Because the active areas
control the overlay area that is highlighted when you select or activate a button, you may
end up with portions of neighboring buttons highlighting at inappropriate times. It is
possible to get around this problem by using different color mapping sets on neighboring
buttons. See Color Mapping Sets for more information.
Configuring Button Navigation
Because most viewers will use the arrow buttons on a DVD player’s remote control to
navigate through the buttons on a menu, it’s important that the navigation is easy and
logical.
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DVD Studio Pro includes three methods for setting button navigation:
• Dragging: In the Menu Editor, you can Command-Option-drag the resize handle on
each button’s edge to the button it should navigate to.
• Manually: You can manually set each button’s navigation using the Navigation section
in the Button Inspector’s Advanced tab.
• Auto Assign: You can use the Auto Assign feature in the Menu Editor. This sets the
navigation for all buttons on the menu at the same time.
• Continuous Auto Assign: You can use the Continuous Auto Assign feature in the Menu
Editor. This sets the navigation for all buttons each time you add a new button or
reposition an existing button. This feature is activated when you first open
DVD Studio Pro. See Setting Button Navigation with Continuous Auto Assign for more
information.
In general, if you are manually setting button navigation or modifying automatic button
navigation, you should wait until all buttons have been added to the menu, ensuring
that all possibilities are taken into account. It is also helpful to name each button before
setting the navigation so that you can easily distinguish them from each other.
Setting Button Navigation Manually by Dragging in the Menu Editor
You can set button navigation in the Menu Editor by dragging a button’s edge to the
button that it should navigate to. Each edge of a button corresponds to an arrow button
on a remote control. For example, dragging the right edge of a button determines what
will happen when you press the Right Arrow button.
To set button navigation by dragging button edges
1 Select the button whose navigation you want to set.
The active area rectangle appears around it.
2 Hold down the Option and Command keys and click the resize handle on the edge you
want to set. For example, click the right edge to set the right-arrow jump for the button.
3 Drag from the resize handle to the button you want to link to. A line appears to indicate
which edge you started at.
4 As you drag, the line’s color changes from white to green once you reach a button’s active
area. When the line is green, release the mouse button to make the connection.
Once the connection is made, the line disappears.
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The biggest drawback to setting navigation this way is that, unless you verify the
connections carefully, you can easily miss setting all four edges of all buttons, resulting
in some peculiar navigation.
Setting Button Navigation Manually with the Button Inspector
You can manually set each button’s navigation using the Button Inspector. You can also
change a button’s navigation that has been set with the Auto Assign feature.
To manually set button navigation
1 Select a button.
2 Click the Advanced tab in the Button Inspector.
3 In the Navigation area, open the pop-up menu for each direction (left, right, up, and
down) and choose the button that should be jumped to for each. Leave the setting at
“not set” if you do not want an action to occur when a viewer presses a particular arrow
button.
Each button’s settings are completely independent. The settings you make for one button
have no effect on the other buttons in the menu.
Setting Button Navigation with the Auto Assign Feature
The Auto Assign feature makes it easy to configure the button navigation for a menu.
You can also use it as a starting point for configuring your navigation, and then freely
adjust the settings it creates.
To use Auto Assign to set button navigation
1 Set up your menu as you want it, with its buttons in their final locations.
2 Choose Auto Assign Buttons Now from the Menu Editor’s Settings pop-up menu (or press
Command-Shift-D).
It’s important to understand that Auto Assign works with the buttons as they currently
exist on the menu. If you move, delete, or add buttons to the menu, you need to use
Auto Assign again to update the navigation.
Note: Using Auto Assign overrides any existing navigation settings. If you intend to
manually modify the settings Auto Assign creates, be sure you have all buttons in place
before using it. This reduces the risk of having to use Auto Assign again, and undoing
any modifications you may have made.
How Auto Assign Works
Auto Assign strives to configure the navigation in a logical manner. For example, pressing
a Right Arrow button on the remote control selects the button to the right (if there is
one). If a menu has a peculiar button layout, however, Auto Assign can produce surprising
results.
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Auto Assign uses the following rules when configuring the navigation:
• It assigns every button a navigation setting. This is an advantage, because you may
accidentally skip a button when manually assigning navigation, resulting in orphaned
buttons.
• The navigation loops through all buttons. When you reach the edge of a menu and
press the same arrow button on the remote again, you jump to the menu buttons in
the next row at the opposite edge. This means that if you keep pressing any of the
arrows, you will eventually get to all menu buttons.
1 2 3
4 5 6
7 8 9
Setting Button Navigation with Continuous Auto Assign
The Menu Editor includes a Continuous Auto Assign feature that updates the navigation
of all buttons on the menu each time you add a new button or move an existing one.
You are unable to manually assign button navigation while the Continuous Auto Assign
feature is active.
To enable Continuous Auto Assign
μ Choose Auto Assign Buttons Continuously from the Menu Editor’s Settings pop-up menu.
The Continuous Auto Assign feature remains enabled until you choose it again to disable
it.
Unlike using the Auto Assign feature, you can enable the Continuous Auto Assign feature
before the buttons are in their final positions—you can even enable it before you have
added any buttons to the menu.
Right-to-Left Reading Mode
Auto Assign and Continuous Auto Assign have a Right-to-Left Reading option, designed
for use with titles whose viewers are used to reading right-to-left (such as Farsi and
Hebrew). To use the Right-to-Left option, choose the appropriate setting in the Menus
pane in DVD Studio Pro Preferences.
3 2 1
6 5 4
9 8 7
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The illustration above shows the path for a menu intended for viewers familiar with
right-to-left reading. Note that the difference is in what happens when you reach a menu
edge; when you are not on an edge, the arrow buttons work the same in both reading
modes.
Adding Drop Zones to Your Menu
Drop zones are similar to buttons; you can assign an asset to them, move them around,
and change their size. Unlike buttons, however, they do not have jump targets and they
are not counted as buttons in the menu’s button count.
Drop zones allow you to add graphics to a menu that you would otherwise have had to
add to the background using an external video editing application.
To create a drop zone by dragging an asset
1 Drag a still image, video clip, or shape to an empty part of the Menu Editor. You can drag
this from the Assets tab, the Palette, or a Finder window.
2 Choose Create Drop Zone from the Drop Palette.
A 120-pixel high by 180-pixel wide rectangle appears, with the still image, video clip, or
shape filling it. You can position and resize the drop zone the same as you would a
button’s active area. See Working with Assets in Buttons and Drop Zones for more
information.
To create a drop zone by drawing a rectangle
μ Hold down the Option key while dragging to create a rectangle in the Menu Editor, similar
to the way you create a button’s active area.
You can use the Drop Zone Inspector or drag to assign a shape and asset to the drop
zone.
To convert a button to a drop zone
Do one of the following:
μ Choose Project > Convert Button to Drop Zone.
μ Control-click the button, then choose Convert Button to Drop Zone from the shortcut
menu.
The name of the drop zone is “DropZone _,” with “_” being the next available number.
To convert a drop zone to a button
Do one of the following:
μ Choose Project > Convert Drop Zone to Button.
μ Control-click the button, then choose Convert Drop Zone to Button from the shortcut
menu.
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The name of the button is “Button _,” with “_” being the next available number.
Once you have created a drop zone, you can drag an asset to the drop zone, or select an
asset in the Drop Zone Inspector. See Working with Assets in Buttons and Drop Zones
for more information.
Setting Drop Zone Properties
The Drop Zone Inspector appears once you create a drop zone. It contains basic settings
for configuring the drop zone.
• Name: Enter a name for the drop zone.
• Asset: Use this pop-up menu to assign an asset to the drop zone. You can choose any
applicable assets.
• Start Frame: When the asset assigned to the drop zone is a video clip, this area displays
the video. Use the slider or the timecode entry to choose the start point for motion
playback (if motion is enabled) or to choose the frame to use in the drop zone if motion
is not enabled.
• Motion: Select this checkbox to enable motion in the drop zone when the drop zone’s
asset is a video clip. See Configuring Motion Menu Settings for details on looping video
within drop zones.
• Shape: Use this pop-up menu to choose a shape to assign to the selected drop zone.
A thumbnail image of the selected shape appears next to the pop-up menu. The pop-up
menu lists the existing shapes by their names, grouped as Apple Shapes (supplied with
DVD Studio Pro), Custom Shapes (added shapes available to all projects), Project Shapes
(added shapes available to this project only), and Patch Shapes. Use the Palette’s Shapes
tab to manage the shapes and as another way to select a shape.
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• Shadow: Select this checkbox to apply the menu’s drop shadow setting to this drop
zone.
• Coordinates & Size: This area lets you set the location of each edge of the drop zone,
plus the drop zone’s height and width. The upper-left corner of the menu is at pixel 0,
line 0. You can enter values for each edge, allowing you to precisely position and size
the drop zone. (You can also drag the drop zone and each of its edges with the pointer.)
• Rotation: Rotate the knob or enter a value to rotate the drop zone. The values can go
from 0.0 to 359.9, with a value of 0.0 as normal.
About Using Drop Zones
Any drop zones you add to your menu will become part of the menu’s background when
the project is built.
Overlapping Drop Zones
While you should avoid overlapping buttons, you can feel free to overlap drop zones,
because they are not involved in navigation. Because drop zones can be overlapped, you
should use care when adding them to the menu—those added later have a higher priority
and will cover up those added earlier.
To change a drop zone’s priority
μ Control-click it, then choose an option from the shortcut menu. See About Button Numbers
for more information.
Note: Drop zones, text objects, and buttons are included in the same priority list; a drop
zone can have a higher priority, and thus cover up a button.
Shapes in Drop Zones
While shapes are primarily intended to be applied to buttons, they can be useful when
applied to drop zones, too.
Without a shape, a drop zone usually has a rectangular outline, because that is the shape
of the still images and video clips you can add to the drop zones. Shapes, however, can
have an irregular outline, and when applied to a drop zone, the irregular outline is
maintained. This makes it possible to have heart- or star-shaped drop zones—or any
shape you want to create and import. Using a shape in a drop zone, you could add your
corporate logo to your menus without having to composite it externally.
Shapes with patches can also be used with drop zones. See Adding Shapes to a Menu
for more information.
Note: A drop zone can also have an irregular edge if the asset assigned to it has an alpha
channel. See Creating Graphics for Drop Zones and Buttons for more information.
Chapter 13 Creating Menus Using the Standard Method 287
Working with Assets in Buttons and Drop Zones
A button’s or drop zone’s active area aspect ratio may not match the aspect ratio of the
asset assigned to it. In these situations, part of the asset ends up being cropped off. You
have two options for working with the asset:
• You can leave the active area’s aspect ratio as it is, and move the asset to control which
part of it is cropped off.
• You can force the active area’s aspect ratio to match the asset’s aspect ratio.
Positioning Images in a Button or Drop Zone
If you want to keep the button’s or drop zone’s active area at its current aspect ratio, you
can position the asset within the active area, choosing which parts of the asset are cropped
off.
To position an asset in an active area
μ Shift-Option-click the asset within the active area, then drag it.
The active area remains where it is, and the asset moves within it (similar to moving a
picture behind a window).
Matching the Active Area Aspect Ratio to the Asset
If you want the asset to appear without being cropped, you need to adjust the active
area’s aspect ratio to match the asset’s aspect ratio.
To match the active area’s aspect ratio to the asset’s aspect ratio
μ Shift-drag a corner of the active area.
The active area snaps to match the asset’s aspect ratio, ensuring none of it is being
cropped off. As long as you hold down the Shift key while changing the active area’s size,
this aspect ratio is maintained.
Adding Text Objects to a Menu
You can type text directly onto a menu’s background, creating a text object. When you
build the project, this text object merges with the background—it cannot be selected
by the viewer or have jump actions assigned to it.
A text object can contain characters with different colors, fonts, and sizes. The Text pane
in DVD Studio Pro Preferences contains settings that define the text font and color used
when you create new text objects. You can change the text font and color after you have
typed it.
Text objects can also be rotated and have the menu’s drop shadow applied.
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To add a text object to a menu
1 Double-click the menu where you want to add a text object. You will be able to move
the object later, so the actual position is not critical.
2 Start typing the text. As you type, the text appears on the menu, with a handle on each
end. To create a new line, press the Return key, or press Enter to exit the text entry mode.
The Text Object Inspector appears.
Note: You can also type the text in the Text entry area in the Text Object Inspector, and
use either Return or Enter to create a new line.
3 Click the Shadow checkbox to add the menu’s drop shadow to the text.
4 To change the text’s justification, do one of the following:
• Click the appropriate button in the Text Object Inspector.
• Press Command–Shift–Left Bracket ([) to left align the text.
• Press Command–Shift–Right Bracket (]) to right align the text.
• Press Command-Shift-Backslash (\) to center the text.
5 Rotate the Rotation knob or enter a value to rotate the text object.
You can reposition the text object by dragging the text to a new position. (If you are in
the text edit mode with the blinking insertion point showing in the Menu Editor, you
need to click an empty area of the Menu Editor to exit the text edit mode before you can
drag the text object to a new position.)
To change the text object’s font and color
1 Select the text you want to change.
2 Do one of the following to open the Font panel:
• Choose Format > Font > Show Fonts (or press Command-T).
• Click Fonts in the toolbar.
3 Choose the font and size to use.
Note: If you open a DVD Studio Pro project that uses a font that is not on the computer
you are opening it on (either because the font was deleted or the project was created
on a different computer), any items using the missing font have a different font substituted
with no warning.
4 Do one of the following to open the Colors window:
• Choose Format > Font > Show Colors (or press Command-Shift-C).
• Click Colors in the toolbar.
Chapter 13 Creating Menus Using the Standard Method 289
5 Choose the color to use.
You can also add bold, italic, and underline attributes to the text.
Note: The bold and italic attributes are available only if the current font supports them.
To apply bold, italic, and underline attributes
1 Select the text you want to change.
2 Choose Format > Font > Bold (or press Command-B) to add the bold attribute.
3 Choose Format > Font > Italic (or press Command-I) to add the italic attribute.
4 Choose Format > Font > Underline (or press Command-U) to add the underline attribute.
By selecting different parts of the text, you can mix different fonts, colors, and attributes
in the same text object.
Setting Text Object Properties
The Text Object Inspector appears once you type text on a menu or select an existing
text object. It contains basic settings for configuring the text.
• Text: This area contains the text displayed in the text object. You can also enter or edit
the text here. To add additional lines, press Return.
• Shadow: Select this checkbox to apply the menu’s drop shadow setting to this text
object.
• Position: Select the justification to apply to the text object (left, center, or right).
• Rotation: Rotate the knob or enter a value to rotate the text object. The values can go
from 0.0 to 359.9, with a value of 0.0 as normal.
About Text Objects
Any text objects you add to your menu will become part of the menu’s background when
the project is built.
While you should avoid overlapping buttons, you can feel free to overlap text objects
because they are not involved in navigation. Because text objects can be overlapped, use
care when adding them to the menu—those added later have a higher priority and will
cover up those added earlier.
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To change a text object’s priority
μ Control-click it, then choose an option from the shortcut menu. See About Button Numbers
for more information.
Note: Text objects, drop zones, and buttons are included in the same priority list; a text
object can have a higher priority, and thus cover up, a button or drop zone.
Adding Audio to a Menu
All menus created with the standard method, including menus with still backgrounds,
can have one or more associated audio files. Adding audio to a menu can be an easy way
to make it more engaging. The audio can come from files created specifically for this
purpose, portions of the soundtrack, or from an audio library. The Apple audio applications
Soundtrack and GarageBand are both great for creating high-quality background audio.
If you assign a video asset to the menu’s background by dragging it to the Menu Editor,
DVD Studio Pro can automatically assign its companion audio file (with the same base
name and in the same folder) to the menu. The “Find matching audio when dragging”
setting in the Track pane of DVD Studio Pro Preferences controls whether or not the audio
is assigned. See Track Preferences for more information.
You can also manually assign an audio file to a menu.
To assign an audio file to a menu
Do one of the following:
μ Drag an audio file to the Menu Editor, then choose Set Audio or Add to Existing Audio
from the Drop Palette.
μ Click the General tab in the Menu Inspector, then do one of the following:
• Drag an audio file to the Audio Filename area.
• Click the Add (+) button and select the audio file from the file selection dialog.
In addition to adding audio files to your menu, you can use the General tab in the Menu
Inspector to set the order of the audio files and to remove them from the menu.
Chapter 13 Creating Menus Using the Standard Method 291
To manage the audio files assigned to a menu
Do one of the following:
μ To set the order of the audio files, drag them in the file list.
μ To remove audio files, select them and click the Delete (-) button.
To hear the audio
μ Click the Motion button in the Menu Editor. If there is a still image as the menu’s
background, you can use the motion settings in the Menu Inspector’s General tab to set
the start and end points of the audio.
See Configuring Motion Menu Settings for information on how the audio interacts with
any video clips assigned to the menu, including when looping is enabled.
Configuring the Menu’s Drop Shadow Settings
Each standard menu can have a drop shadow that can be shared by button text, shapes,
drop zones, and text objects. You configure the drop shadow in the Advanced tab in the
Menu Inspector and then enable it in the Inspector for each button text, shape, drop
zone, and text object you want it applied to.
Enabling Drop Shadows
Enabling the drop shadows on a menu is a two-step process: Enable drop shadows for
each menu item you want to apply them to, and then configure the menu’s drop shadow
settings. This allows you to see the effect of the menu settings on all of the items at once.
To enable the drop shadow
1 Select a menu item that supports drop shadows (button text, button shapes, drop zone
shapes, or text objects).
2 In that item’s Inspector, click the Shadow checkbox to enable it.
3 Click an empty part of the menu in the Menu Editor so the Menu Inspector appears.
4 Click the Menu Inspector’s Menu tab. The drop shadow settings appear along the bottom
part of the tab.
5 Configure the drop shadow settings. (Keep in mind that the drop shadows only appear
on items that have been enabled.) See Setting the Drop Shadow Properties for more
information.
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Setting the Drop Shadow Properties
Once you have enabled drop shadows on one or more menu items, you can start adjusting
the drop shadow settings.
Note: You will not see the drop shadow if any of the settings are at 0.0.
• Angle: A rotary control that sets the direction of the drop shadow. The control’s indicator
points in the drop shadow’s direction. Rotate the indicator to the desired direction.
You can also enter an angle value. A value of 0 places the shadow directly above the
item; 90 places it to the right.
• Alpha: Sets the drop shadow’s transparency. A value of 0.0 makes the drop shadow
completely transparent while a value of 1.0 makes it completely opaque.
• Diffusion: Sets the drop shadow’s softness. Smaller numbers provide harder edges
while larger numbers (up to a maximum of 15.0) provide softer edges.
• Distance: Sets the distance of the drop shadow from the item. Smaller numbers position
the drop shadow closer while larger numbers (up to a maximum of 15.0) position it
farther away.
• Colored rectangle: Sets the color of the drop shadow. Click it to open the Colors window
where you can choose the color to use.
Configuring Motion Menu Settings
There are several parts of a standard menu that can include an asset with motion or a
time setting:
• The menu’s background
• The menu’s audio
• Buttons
• Drop zones
A motion menu can have anywhere from one to all four of these motion items. The items
it contains determine how they will interact.
About Motion Menu Playback
The Menu Editor contains a motion menu start/stop button.
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Clicking the button starts motion menu playback. Clicking it a second time stops playback.
You can also press Command-J to turn the playback on and off.
Unlike a similar button in iDVD, this button does not determine whether or not this menu
is a motion menu. It only controls whether the motion menu plays while you are working
on it. Once you add motion assets to a menu, it is a motion menu.
Note: Depending on your system and the number of motion items in the menu, motion
menu playback may not be perfectly smooth in the Menu Editor. Once you build your
project, playback will be perfect.
About the Motion Settings
The Menu Inspector’s General tab contains a section for configuring a menu’s start, end,
loop, and duration times.
You can drag the slider located under the thumbnail images of the background, click the
arrow controls, or enter a timecode value for each of the entries. The way the Start, Loop
Point, End, and Duration settings function depends on the type of assets assigned to the
menu.
Start Setting
You can use the Start setting to set the video’s starting frame. By default, the start is set
to the background video’s first frame. If there is audio assigned to the menu, its start time
is also moved by the same number of frames as the video.
Note: If there are other motion assets assigned to buttons or drop zones, they are not
affected by the change in start time.
When the menu’s background is a still image, the Start setting only affects the menu’s
audio.
Loop Point
You can use the Loop Point setting to set a frame different from the starting frame to use
when you choose Loop as the At End setting. By default, the Loop setting is the same as
the Start setting. When you adjust the Loop setting, you are choosing the frame that is
jumped to once the end frame is reached. This allows you to have a looping background
with a beginning section—for example, a fade up from black or a transition from another
menu—that only plays the first time through. If there is audio assigned to the menu, it
automatically follows the video as it loops.
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This setting also defines when the button highlights appear—the viewer cannot navigate
the menu’s buttons until the loop point is reached. Additionally, the Loop Point setting
controls the video used for the menu’s tile in the Graphical tab.
If you are creating your menu background video in an application such as Motion or
Final Cut Pro, you can set a chapter marker named “MenuLoopPoint” to define the loop
point. When you assign a menu’s background by dragging the video to the Menu Editor
and choosing Set Background from the Drop Palette, or dragging the video to the Outline
or Graphical tab, DVD Studio Pro checks to see if a chapter marker named “MenuLoopPoint”
is present. If it is, the Loop Point setting is set to its time. If it is not present, the Loop
Point setting is set to match the Start setting.
Note: When you assign the menu’s background using the Menu Inspector’s Background
pop-up menu, you must manually set the Loop Point setting, even if the video contains
a “MenuLoopPoint” chapter marker.
See Defining the Menu Loop Point for more information on setting the chapter markers.
About Jumping Directly to a Menu’s Loop Point
When you configure a motion menu with a loop point, you may find that, in some cases,
you would prefer to jump directly to the loop point rather than to the start point. This
is especially true if the menu has a long period between the start and loop points.
You can write a simple script that will allow you to jump to the loop point. When you
select Jump as the command in the Script Inspector and choose a menu to jump to, a
Start At Loop Point option becomes available. When selected, this option sets the jump
to skip the start point and jump directly to the loop point. See Start At Loop Point
Checkbox for more information, and Jumping to a Menu’s Loop Point for an example
script.
End Setting
You can use the End setting to set the menu’s ending frame. By default, this is set to the
value entered in the Menu pane in DVD Studio Pro Preferences if the menu has any motion
assets. You can adjust it to be shorter or longer. This is most useful when you do not want
to use the entire video background asset—when used along with the Start setting, you
can choose the specific part of the video to use.
• When using the slider: Its maximum setting matches the length of the menu’s
background video. If the background is a still image, the slider maximum setting matches
the longest of the other menu assets (audio or assets assigned to buttons and drop
zones).
• When using the numeric timecode entry: You are able to choose any length.
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When the end is reached during playback, either all assets stop and display their last
frame as a still image (At End set to Still), or the playback jumps to the Loop, if available,
or Start setting.
If any assets assigned to the menu reach their end before the menu reaches the End
setting, they are looped back to their start to keep playing.
Duration Setting
You can use the Duration setting to set the menu’s duration. It is equal to the End setting
minus the Start setting. If you enter a value, the End setting automatically updates.
Options in the Drop Palette for Standard Menus
Following are descriptions of the various Drop Palette options that can appear when you
drag an asset or element to the Menu Editor. See Viewing the Drop Palette for information
on using the Drop Palette options.
The following descriptions are grouped by the type of item you are dragging (asset,
project element such as a track or slideshow, and a template, style, or shape from the
Palette). Details for standard menus are listed first, followed by the details for the layered
menus.
For those Drop Palette options that appear when you drag a motion video asset, a
matching audio asset is also added (if applicable), as long as:
• The “Find matching audio when dragging” setting in the Track pane of DVD Studio Pro
Preferences is selected.
• An audio file with the same base name as the video file is located in the same folder
as the video asset.
The following details assume the “Find matching audio when dragging” preference is
selected and a suitable audio file is found.
Drop Palette for Standard Menus—Dragging Assets
The following sections list the choices in the Drop Palette that appear when you drag
assets to an empty area, button, or drop zone on a standard menu.
Dragging a Motion Video Asset to an Empty Area
The following options appear in the Drop Palette:
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Drop Palette options Actions
• Uses the video as this menu’s background.
• Assigns matching audio as the menu’s audio.
Set Background (default option)
• Creates a button at this menu location.
• Assigns this video to the button’s thumbnail.
• Creates a new track with this video.
• Assigns matching audio as the track’s audio.
• Names the track the same as the video asset.
• Adds a link from the new button to the first marker of the new
track.
• Sets the new track’s End Jump setting to this menu.
Create Button and Track
This option does not create a track or link the button to anything.
• Creates a button at this menu location.
• Assigns this video to the button’s thumbnail, creating a motion
button.
Create Button
• Creates a drop zone at this menu location.
• Assigns this video to the drop zone.
Create Drop Zone
Use this option with video that has had chapter markers added with
Compressor, Final Cut Express, or Final Cut Pro.
If the menu contains no buttons, drop zones, or text objects, this
option changes to Create Chapter Index. Instead of creating a
separate menu as the first chapter index menu, this menu is used.
Additional chapter index menus are created if necessary.
• Creates a track and adds the chapter markers to it.
• Assigns matching audio as the track’s audio.
• Names the track the same as the video asset.
• Sets the new track’s End Jump setting to this menu.
• Creates a button on this menu to link to the first of the new
chapter index menus.
• Creates one or more new chapter index menus, depending on
the number of markers and the button layout used.
• Opens the Choose Template or Layout Style dialog so you can
choose the template or layout style to use for the chapter index
menus.
• Links each chapter marker from the new track to buttons in the
chapter index menus.
• Assigns the video from each marker to its button’s thumbnail.
Create Button and Chapter Index
Dragging a Motion Video Asset to a Button
The following options appear in the Drop Palette:
Drop Palette options Actions
This option does not create a track or link the button to anything.
• Sets this video to be the button’s thumbnail image.
Set Asset (default option)
Chapter 13 Creating Menus Using the Standard Method 297
Drop Palette options Actions
• Assigns this video to the button’s thumbnail.
• Creates a new track with this video.
• Assigns matching audio as the track’s audio.
• Names the track the same as the video asset.
• Adds a link from the button to the first marker of the new track.
• Sets the new track’s End Jump setting to this menu.
Set Asset and Create Track
The button’s thumbnail image does not change.
• Creates a new track with this video.
• Assigns matching audio as the track’s audio.
• Names the track the same as the video asset.
• Adds a link from the button to the first marker of the new track.
Create Track
Use this option with video that has had chapter markers added with
Compressor, Final Cut Express, or Final Cut Pro.
• Creates a track and adds the chapter markers to it.
• Assigns matching audio as the track’s audio.
• Names the track the same as the video asset.
• Sets the new track’s End Jump setting to this menu.
• Links the button to the first of the new chapter index menus.
• Sets this video to be the button’s thumbnail image.
• Creates one or more new chapter index menus, depending on
the number of markers and the button layout used.
• Opens the Choose Template or Layout Style dialog so you can
choose the template or layout style to use for the chapter index
menus.
• Links each chapter marker from the new track to buttons in the
chapter index menus.
• Assigns the video from each marker to its button’s thumbnail.
Set Asset and Create Chapter
Index
Use this option with video that has had chapter markers added with
Compressor, Final Cut Express, or Final Cut Pro.
• Creates a track and adds the chapter markers to it.
• Assigns matching audio as the track’s audio.
• Names the track the same as the video asset.
• Sets the new track’s End Jump setting to this menu.
• Links the button to the first of the new chapter index menus.
• Creates one or more new chapter index menus, depending on
the number of markers and the button layout used.
• Opens the Choose Template or Layout Style dialog so you can
choose the template or layout style to use for the chapter index
menus.
• Links each chapter marker from the new track to buttons in the
chapter index menus.
• Assigns the video from each marker to its button’s thumbnail.
Create Chapter Index
Dragging a Motion Video Asset to a Drop Zone
The following options appear in the Drop Palette:
298 Chapter 13 Creating Menus Using the Standard Method
Drop Palette options Actions
Set Asset (default option) • Sets this video to be the drop zone’s asset.
The drop zone is unaffected.
• Creates a button on top of the drop zone.
• Assigns this video to the button’s thumbnail.
• Creates a new track with this video.
• Assigns matching audio as the track’s audio.
• Names the track the same as the video asset.
• Adds a link from the new button to the first marker of the new
track.
• Sets the new track’s End Jump setting to this menu.
Create Button and Track
Dragging Multiple Motion Video Assets to an Empty Area
The following options appear in the Drop Palette:
Drop Palette options Actions
For each video asset:
• Creates a button.
• Assigns each video as its button’s asset.
• Creates new tracks.
• Assigns matching audio as each track’s audio.
• Names each track the same as their video asset.
• Sets each new track’s End Jump setting to this menu.
• Adds links from the new buttons to the first marker of the new
tracks.
Create Buttons and Tracks
(default option)
This option does not create any tracks or link the buttons to
anything.
• Creates a button for each video asset.
• Assigns each video as its button’s asset.
Create Buttons
Dragging One or More Audio Assets to an Empty Area
The following options appear in the Drop Palette:
Drop Palette options Actions
Set Audio (default option) • Assigns this audio as the menu’s audio.
Add to Existing Audio • Adds this audio to the existing audio assets assigned to thismenu.
Dragging a Video/Audio Pair to an Empty Area
The following options appear in the Drop Palette:
Chapter 13 Creating Menus Using the Standard Method 299
Drop Palette options Actions
• Sets this video to be the menu’s background.
• Sets this audio to be the menu’s audio.
Set Background and Audio
(default option)
• Creates a button at this menu location.
• Assigns this video to the button’s thumbnail.
• Creates a new track with this video and audio.
• Names the track the same as the video asset.
• Adds a link from the new button to the first marker of the new
track.
• Sets the new track’s End Jump setting to this menu.
Create Button and Track
Use this option with video that has had chapter markers added with
Compressor, Final Cut Express, or Final Cut Pro.
If the menu contains no buttons, drop zones, or text objects, this
option changes to Create Chapter Index. Instead of creating a
separate menu as the first chapter index menu, this menu is used.
Additional chapter index menus are created if necessary.
• Creates a track and adds the chapter markers and audio to it.
• Names the track the same as the video asset.
• Sets the new track’s End Jump setting to this menu.
• Creates a button on this menu to link to the first of the new
chapter index menus.
• Creates one or more new chapter index menus, depending on
the number of markers and the button layout used.
• Opens the Choose Template or Layout Style dialog so you can
choose the template or layout style to use for the chapter index
menus.
• Links each chapter marker from the new track to buttons in the
chapter index menus.
• Assigns the video from each marker to its button’s thumbnail.
Create Button and Chapter Index
Dragging a Video/Audio Pair to a Button
The following options appear in the Drop Palette:
Drop Palette options Actions
• Sets this video to be the button’s thumbnail image.
• Creates a new track with this video and audio.
• Names the track the same as the video asset.
• Adds a link from the button to the first marker of the new track.
• Sets the new track’s End Jump setting to this menu.
Set Asset and Create Track
(default option)
The button’s thumbnail does not change.
• Creates a new track with this video.
• Names the track the same as the video asset.
• Adds a link from the button to the first marker of the new track.
Create Track
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Drop Palette options Actions
Use this option with video that has had chapter markers added with
Compressor, Final Cut Express, or Final Cut Pro.
• Creates a track and adds the chapter markers and audio to it.
• Names the track the same as the video asset.
• Sets the new track’s End Jump setting to this menu.
• Links the button to the first of the new chapter index menus.
• Sets this video to be the button’s thumbnail image.
• Creates one or more new chapter index menus, depending on
the number of markers and the button layout used.
• Opens the Choose Template or Layout Style dialog so you can
choose the template or layout style to use for the chapter index
menus.
• Links each chapter marker from the new track to buttons in the
chapter index menus.
• Assigns the video from each marker to its button’s thumbnail.
Set Asset and Create Chapter
Index
Use this option with video that has had chapter markers added with
Compressor, Final Cut Express, or Final Cut Pro.
• Creates a track and adds the chapter markers and audio to it.
• Names the track the same as the video asset.
• Sets the new track’s End Jump setting to this menu.
• Links the button to the first of the new chapter index menus.
• Creates one or more new chapter index menus, depending on
the number of markers and the button layout used.
• Opens the Choose Template or Layout Style dialog so you can
choose the template or layout style to use for the chapter index
menus.
• Links each chapter marker from the new track to buttons in the
chapter index menus.
• Assigns the video from each marker to its button’s thumbnail.
Create Chapter Index
Dragging a Still Picture to an Empty Area
The following options appear in the Drop Palette:
Drop Palette options Actions
Set Background (default option) • Uses the picture as this menu’s background.
Set Overlay • Uses the picture as this menu’s overlay.
This option does not create a new menu or link the button to
anything.
• Creates a button at this menu location and assigns this picture
to its thumbnail.
Create Button
Chapter 13 Creating Menus Using the Standard Method 301
Drop Palette options Actions
• Creates a drop zone at this menu location and assigns this picture
to it.
Create Drop Zone
• Creates a button at this menu location.
• Assigns this picture to the button’s thumbnail.
• Creates a new menu with this picture as the background.
• Adds a link from the new button to the new menu.
Create Submenu
Dragging a Still Picture to a Button
The following options appear in the Drop Palette:
Drop Palette options Actions
This option does not create a menu or link the button to anything.
• Sets this picture to be the button’s thumbnail image.
Set Asset (default option)
• Sets this picture to be the button’s thumbnail image.
• Creates a new menu with this picture as the background.
• Adds a link from the button to the new menu.
Set Asset and Create Submenu
The button’s thumbnail does not change.
• Creates a new menu with this picture as the background.
• Adds a link from the new button to the new menu.
Create Submenu
Dragging a Still Picture to a Drop Zone
The following options appear in the Drop Palette:
Drop Palette options Actions
Set Asset (default option) • Sets this picture to be the drop zone’s asset.
This option does not create a new menu or link the button to
anything. The drop zone is unaffected.
• Creates a button on top of the drop zone and assigns this picture
to its thumbnail.
Create Button
Dragging Multiple Still Pictures (or a Folder) to an Empty Area
The following options appear in the Drop Palette:
Drop Palette options Actions
This is the only action available if you drag a folder to an empty
area (uses only the still pictures of the folder’s first level).
• Creates a button with the first picture assigned as its thumbnail
image.
• Creates a new slideshow.
• Adds a link from the new button to the new slideshow.
• Sets the slideshow’s End Jump setting to this menu.
Create Button and Slideshow
(default option)
302 Chapter 13 Creating Menus Using the Standard Method
Drop Palette options Actions
This option does not create any menus or link the buttons to
anything.
• Creates a button for each picture, and assigns each picture as its
thumbnail.
Create Buttons
• Creates a button for each picture.
• Assigns each picture as its button’s asset.
• Creates new menus with each picture as their backgrounds.
• Adds a link from the new buttons to the new menus.
Create Submenus
Dragging Multiple Still Pictures (or a Folder) to a Button
The following options appear in the Drop Palette:
Drop Palette options Actions
• Sets the button’s thumbnail to the first picture.
• Creates a new slideshow.
• Adds a link from the button to the new slideshow.
• Sets the slideshow’s End Jump setting to this menu.
Set Asset and Create Slideshow
(default option)
The button’s thumbnail image does not change.
• Creates a new slideshow.
• Adds a link from the button to the new slideshow.
• Sets the slideshow’s End Jump setting to this menu.
Create Slideshow
Dragging a Multiple-Layer Still Picture to an Empty Area
The following options appear in the Drop Palette:
Drop Palette options Actions
Once set, you can disable layers in the Menu Inspector.
• Uses the picture as this menu’s background, with all layers visible.
Set Background—All Layers
Visible (default option)
Once set, you can enable layers in the Menu Inspector.
• Uses the picture as this menu’s background, with no layers visible.
Set Background—No Layers
Visible
Once set, you can select the layer to use as the overlay in the Menu
Inspector.
• Uses the picture as this menu’s overlay, with no layers assigned
to the overlay.
Set Overlay
This option does not create a new menu or link the button to
anything. You cannot select the layers to show—because they are
composited together.
• Creates a button at this menu location and assigns this picture
to its thumbnail, using the layers left visible by the graphics
application.
Create Button
Chapter 13 Creating Menus Using the Standard Method 303
Drop Palette options Actions
Once set, you can disable layers for the new menu in the Menu
Inspector.
• Creates a button at this menu location.
• Assigns this picture to the button’s thumbnail, using the layers
left visible by the graphics application.
• Creates a new standard menu with this picture as the background,
with all layers visible.
• Adds a link from the new button to the new menu.
Create Standard Submenu
Once set, you can disable layers for the new menu in the Menu
Inspector.
• Creates a button at this menu location.
• Assigns this picture to the button’s thumbnail, using the layers
left visible by the graphics application.
• Creates a new layered menu with this picture as the background,
with all layers visible.
• Adds a link from the new button to the new menu.
Create Layered Submenu
Drop Palette for Standard Menus—Dragging Project Elements
The following sections list the choices in the Drop Palette that appear when you drag
project elements from the Outline or Graphical tab to an empty area or a button on a
standard menu.
Dragging an Existing Track to an Empty Area
The following options appear in the Drop Palette:
304 Chapter 13 Creating Menus Using the Standard Method
Drop Palette options Actions
• Creates a button at this menu location.
• Assigns the video from the first video clip of stream 1 to the new
button’s thumbnail.
• Adds a link from the new button to the first marker of the track.
• Sets the track’s End Jump setting to this menu (if it has not
already been set).
Create Button (default option)
If the menu contains no buttons, drop zones, or text objects, this
option changes to Create Chapter Index. Instead of creating a
separate menu as the first chapter index menu, this menu is used.
Additional chapter index menus are created if necessary.
• Creates a button on this menu to link to the first of the new
chapter index menus.
• Creates one or more new chapter index menus, depending on
the number of markers and the button layout used.
• Opens the Choose Template or Layout Style dialog so you can
choose the template or layout style to use for the chapter index
menus.
• Links each chapter marker from the track to buttons on the
chapter index menus.
• Assigns the video from each marker to its button’s thumbnail.
• Sets the track’s End Jump setting to this menu (if it has not
already been set).
Create Button and Chapter Index
Dragging an Existing Track to a Button
The following options appear in the Drop Palette:
Drop Palette options Actions
• Sets the video from the first video clip of stream 1 to be the
button’s thumbnail image.
• Adds a link from the button to the first marker of the track.
• Sets the track’s End Jump setting to this menu (if it has not
already been set).
Set Asset (default option)
The button’s thumbnail does not change.
• Adds a link from the button to the first marker of the track.
• Sets the track’s End Jump setting to this menu (if it has not
already been set).
Connect to Track
Chapter 13 Creating Menus Using the Standard Method 305
Drop Palette options Actions
• Links the button to the first of the new chapter index menus.
• Sets this track to be the button’s thumbnail image.
• Creates one or more new chapter index menus, depending on
the number of markers and the button layout used.
• Opens the Choose Template or Layout Style dialog so you can
choose the template or layout style to use for the chapter index
menus.
• Links each chapter marker from the track to buttons on the
chapter index menus.
• Assigns the video from each marker to its button’s thumbnail.
• Sets the track’s End Jump setting to this menu (if it has not
already been set).
Set Asset and Create Chapter
Index
• Links the button to the first of the new chapter index menus.
• Creates one or more new chapter index menus, depending on
the number of markers and the button layout used.
• Opens the Choose Template or Layout Style dialog so you can
choose the template or layout style to use for the chapter index
menus.
• Links each chapter marker from the track to buttons on the
chapter index menus.
• Assigns the video from each marker to its button’s thumbnail.
• Sets the track’s End Jump setting to this menu (if it has not
already been set).
Create Chapter Index
Dragging Multiple Existing Tracks to an Empty Area
The following options appear in the Drop Palette:
Drop Palette options Actions
• For each track, creates a button.
• Assigns each track as its button’s asset.
• Adds a link from the new buttons to the first marker of the tracks.
• Sets each track’s End Jump setting to this menu (if it has not
already been set).
Create Buttons (default option)
Dragging an Existing Story to an Empty Area
The following option appears in the Drop Palette:
Drop Palette options Actions
• Creates a button at this menu location.
• Assigns the video from the story’s first video clip to the new
button’s thumbnail.
• Adds a link from the new button to the story’s first video clip.
• Sets the story’s End Jump setting to this menu (if it has not
already been set).
Create Button (default option)
Dragging an Existing Story to a Button
The following options appear in the Drop Palette:
306 Chapter 13 Creating Menus Using the Standard Method
Drop Palette options Actions
• Sets the video from the story’s first video clip to be the button’s
thumbnail image.
• Adds a link from the button to the story’s first video clip.
• Sets the story’s End Jump setting to this menu (if it has not
already been set).
Set Asset (default option)
The button’s thumbnail does not change.
• Adds a link from the button to the story’s first video clip.
• Sets the story’s End Jump setting to this menu (if it has not
already been set).
Connect to Story
Dragging Multiple Existing Stories to an Empty Area
The following option appears in the Drop Palette:
Drop Palette options Actions
• For each story, creates a button.
• Assigns each story as its button’s asset.
• Adds a link from the new buttons to each story’s first video clip.
• Sets each story’s End Jump setting to this menu (if it has not
already been set).
Create Buttons (default option)
Dragging a Slideshow to an Empty Area
The following options appear in the Drop Palette:
Drop Palette options Actions
• Creates a button at this menu location.
• Assigns the first slide to its thumbnail.
• Adds a link from the new button to the slideshow.
• Sets the slideshow’s End Jump setting to this menu (if it has not
already been set).
Create Button (default option)
If the menu contains no buttons, drop zones, or text objects, this
option changes to Create Chapter Index. Instead of creating a
separate menu as the first chapter index menu, this menu is used.
Additional chapter index menus are created if necessary.
• Creates a button on this menu to link to the first of the new
chapter index menus.
• Creates one or more new chapter index menus, depending on
the number of slides and the button layout used.
• Opens the Choose Template or Layout Style dialog so you can
choose the template or layout style to use for the chapter index
menus.
• Links each slide from the slideshow to buttons in the chapter
index menus.
• Assigns the picture from each slide to its button’s thumbnail.
• Sets the slideshow’s End Jump setting to this menu (if it has not
already been set).
Create Button and Chapter Index
Chapter 13 Creating Menus Using the Standard Method 307
Dragging a Slideshow to a Button
The following options appear in the Drop Palette:
Drop Palette options Actions
• Sets the first slide’s image to be the button’s thumbnail.
• Adds a link from the button to the slideshow.
• Sets the slideshow’s End Jump setting to this menu (if it has not
already been set).
Set Asset (default option)
The button’s thumbnail does not change.
• Adds a link from the button to the slideshow.
• Sets the slideshow’s End Jump setting to this menu (if it has not
already been set).
Connect to Slideshow
• Links the button to the first of the new chapter index menus.
• Creates one or more new chapter index menus, depending on
the number of slides and the button layout used.
• Opens the Choose Template or Layout Style dialog so you can
choose the template or layout style to use for the chapter index
menus.
• Links each slide from the slideshow to buttons in the chapter
index menus.
• Assigns the picture from each slide to its button’s thumbnail.
• Sets the slideshow’s End Jump setting to this menu (if it has not
already been set).
Create Chapter Index
Dragging Multiple Slideshows to an Empty Area
The following option appears in the Drop Palette:
Drop Palette options Actions
• Creates a button for each slideshow.
• Assigns each slideshow as its button’s asset.
• Adds a link from the new buttons to the slideshows.
• Sets each slideshow’s End Jump setting to this menu (if they have
not already been set).
Create Buttons (default option)
Dragging a Menu to an Empty Area
The following option appears in the Drop Palette:
Drop Palette options Actions
• Creates a button at this menu location.
• Assigns the menu’s background as the button’s thumbnail.
• Adds a link from the new button to the menu.
Create Button (default option)
Dragging a Menu to a Button
The following options appear in the Drop Palette:
308 Chapter 13 Creating Menus Using the Standard Method
Drop Palette options Actions
• Sets the menu’s background to be the button’s thumbnail.
• Adds a link from the button to the menu.
Set Asset (default option)
• Adds a link from the button to the menu.
The button’s thumbnail does not change.
Connect to Menu
Dragging a Script to an Empty Area
The following option appears in the Drop Palette:
Drop Palette options Actions
• Creates a button at this menu location.
• Adds a link from the new button to the script.
Create Button (default option)
Dragging a Script to a Button
The following option appears in the Drop Palette:
Drop Palette options Actions
Connect to Script (default • Adds a link from the button to the script.
option)
Drop Palette for Standard Menus—Dragging Templates and
Styles
The following sections list the choices in the Drop Palette that appear when you drag
shapes, templates, and styles from the Palette to an empty area or a button on a standard
menu.
Dragging a Shape to an Empty Area
The following options appear in the Drop Palette:
Drop Palette options Actions
• Creates a button at this menu location.
• Assigns this shape to the button.
Create Button (default option)
• Creates a drop zone at this menu location.
• Assigns this shape to the drop zone.
Create Drop Zone
Dragging a Shape to a Button or Drop Zone
The following options appear in the Drop Palette:
Chapter 13 Creating Menus Using the Standard Method 309
Drop Palette options Actions
Set Shape (default option) • Assigns this shape to the button or drop zone.
Only available when dragging to a drop zone.
The drop zone is unaffected.
• Creates a button on top of the drop zone.
• Assigns this shape to the button.
Create Button
Dragging a Template to an Empty Area
The following options appear in the Drop Palette:
Drop Palette options Actions
• Template buttons are only applied to existing buttons (no new
buttons are created). An exception is if the menu has no buttons,
in which case all buttons from the template will be added.
Apply to Menu (default option)
• Template buttons are all applied, replacing existing buttons and
adding new ones (if necessary).
Apply to Menu—Add All Buttons
• Creates a button at this menu location.
• Assigns this template’s background to the button’s thumbnail.
• Creates a new standard menu with this template.
• Adds a link from the new button to the new menu.
Create Submenu
Dragging a Template to a Button
The following option appears in the Drop Palette:
Drop Palette options Actions
• Creates a new standard menu with this template.
• Adds a link from the button to the new menu.
Create Submenu and Apply
Template (default option)
Dragging a Button Style to an Empty Area
The following options appear in the Drop Palette:
Drop Palette options Actions
• Creates a button at this menu location.
• Assigns this style to the button.
Create Button (default option)
• Creates a button at this menu location.
• Assigns this style to the button.
• Assigns this style as the default button style for this menu.
Create Button—Set Default
Button Style
No button is created.
• Assigns this style as the default button style for this menu.
Set Default Button Style
Dragging a Button Style to a Button
The following option appears in the Drop Palette:
310 Chapter 13 Creating Menus Using the Standard Method
Drop Palette options Actions
Apply to Button (default option) • Applies this button style to the button.
Dragging a Text Style to an Empty Area
The following options appear in the Drop Palette:
Drop Palette options Actions
• Creates a text object at this menu location.
• Assigns this style to the text object.
Create Text Object (default
option)
• Creates a text object at this menu location.
• Assigns this style to the text object.
• Assigns this style as the default text style for this menu.
Create Text Object—Set Default
Text Style
No text object is created.
• Assigns this style as the default text style for this menu.
Set Default Text Style
Dragging a Text Style to a Text Object
The following option appears in the Drop Palette:
Drop Palette options Actions
Apply to Text Object (default • Assigns this style to the text object.
option)
Dragging a Drop Zone Style to an Empty Area
The following option appears in the Drop Palette:
Drop Palette options Actions
• Creates a drop zone at this menu location.
• Assigns this style to the drop zone.
Create Drop Zone (default
option)
Dragging a Drop Zone Style to a Drop Zone
The following option appears in the Drop Palette:
Drop Palette options Actions
Apply to Drop Zone (default • Assigns this style to the drop zone.
option)
Dragging a Layout Style to the Menu Editor
The following options appear in the Drop Palette:
Chapter 13 Creating Menus Using the Standard Method 311
Drop Palette options Actions
• Layout style buttons are only applied to existing buttons (no new
buttons are created).
An exception is if the menu has no buttons, in which case all
buttons from the layout style will be added.
Apply to Menu (default option)
• Layout style buttons are all applied, replacing existing buttons
and adding new ones (if necessary).
Apply to Menu—Add All Buttons
312 Chapter 13 Creating Menus Using the Standard Method
DVD Studio Pro includes templates and styles that can make it easier to create menus.
You can use the supplied templates and styles to quickly produce your menus, or you
can make your own templates and styles.
This chapter covers the following:
• Introduction to Templates, Styles, and Shapes (p. 313)
• What Are Templates and Styles? (p. 314)
• Templates and Styles in the Palette (p. 316)
• Applying a Template or Style (p. 321)
• Setting Default Styles (p. 323)
• Creating a Template or Style (p. 324)
• Importing Templates and Styles (p. 326)
• Deleting Templates and Styles (p. 327)
• Managing Shapes (p. 329)
Introduction to Templates, Styles, and Shapes
DVD Studio Pro includes templates and styles that are designed to make the menu creation
process quicker and easier. By applying a template or style to all menus in a project, you
can create a cohesive, consistent look for your project.
• You can use the supplied templates and styles to create your menus. Use a template
to supply everything needed for a menu, or choose certain styles to use in combination
with menus you create.
• You can create your own templates and styles. This makes it easy to create a consistent
look to apply to all of your menus that meets your specific needs.
DVD Studio Pro also includes a shapes feature that allows you to add buttons to your
menu that include the art and highlight areas. The shapes can also be used to create
drop zones with irregular edges. See Managing Shapes for more information.
313
Using Templates, Styles, and
Shapes to Create Your Menus 14
What Are Templates and Styles?
Templates and styles both contain properties, such as background assets, button
highlights, and text colors, that you use to create a menu. While templates cover all
aspects of a menu, styles are targeted to specific areas. Applying a template to a menu
can result in a mostly finished menu—you may only need to link the buttons. With styles,
you generally work with an existing menu, and then use the styles to change specific
areas such as a button’s shape or a text object’s font.
In addition to the supplied templates and styles, you can create your own. You can import
and use these templates and styles in many different projects.
Each template and style can be self-contained, including the actual assets used in the
template or style, such as backgrounds, audio files, and shapes. Or, they can reference
assets located in a folder on your hard disk.
Note: Templates and styles are in either PAL or NTSC format. You cannot use a template
or style created using NTSC assets in a PAL project. The Palette only shows templates and
styles that are compatible with the current project’s video standard. Additionally, templates
using HD-specific resolutions (such as 1280 x 720p) or HD-specific video formats (HDV or
H.264) cannot be imported into SD projects.
About the Apple Templates
Using the templates and styles provided with DVD Studio Pro is the quickest way to create
professional looking menus. They can also help you to understand the different aspects
of a template and give you ideas on how to create your own. Also, keep in mind that the
Apple templates can be modified and saved as user templates.
The Apple templates are installed when you install Final Cut Studio. If you chose not to
install them, you can install them later by starting the Final Cut Studio install process and
deselecting everything except the DVD Studio Pro content. See the Installing Your Software
document included with Final Cut Studio for more information.
In general, each template theme includes three templates designed for use in different
situations:
• Cover: Use these as the main menu. These include a text item for the menu title, one
or more drop zones for you to customize their look, and several buttons that you can
link to other menus and project elements.
• Detail: Use these when you need to have a menu with several lines of explanation-type
text. These include a text item for the menu title, one or more drop zones for you to
customize their look, and several buttons.
• Index: Use these for chapter index menus. These include a text item for the menu title,
multiple buttons for linking to a track’s chapters, and three buttons, Back, Main, and
Next, that the viewer uses to navigate to the next element.
314 Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus
The best way to learn what a template contains is to apply it to a menu and look for
button, drop zone, and text items. Any menu item that you can assign an image to has
a transparent arrowhead assigned by default.
These arrows indicate
menu items you can
assign images to.
Most of the templates contain motion backgrounds—be sure to have the menu play in
the Menu Editor to see how it is intended to look.
About the Template Intro Movies
The Final Cut Studio installation disc includes several video assets that are intended to
be used as menu intro files for specific supplied templates. These assets can be used to
provide a smooth transition when a menu is selected that uses the associated template.
See the “About Template Intro Movies” file, located in the Template Intro Movies folder
on the installation disc for more information. Also see Using Menu Intro Clips.
Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus 315
Templates and Styles in the Palette
Templates and styles are contained in the Palette’s first two tabs.
Click to select the
group of templates
or styles to display.
See Managing Shapes for information on the Shapes tab, and Media Tabs for information
on the Audio, Stills, and Video tabs.
You can choose either small or large as the size for the thumbnails that appear in the
Palette in the General pane of DVD Studio Pro Preferences. See General Preferences for
more information on the preferences.
Template and Style Groups
To see the available templates and styles, you click the buttons at the top of the tabs.
There are three choices for templates and four for styles:
• Apple: The templates and styles provided by DVD Studio Pro. These are available to all
projects.
• Custom: The templates and styles you create and do not designate as “Project.” These
are available to all projects.
• Project: The templates and styles you create for use only in a specific project. These do
not appear when you are working on other projects.
Note: You must have saved your project before you can create a template or style
belonging to the project group.
• Current: For styles only, these are the styles that have been linked to the template
assigned to the current menu. See Linking Styles to Templates for more information.
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Style Types
In addition to the style group you select, when you click the Styles tab in the Palette, you
also need to select the type of style.
Click to select the style
type to display.
There are four style types you can choose from:
• Buttons: Contains almost all settings (except navigation and jump settings) from the
Button Inspector.
• Text: Contains the font, size, color, rotation, and default text.
• Drop Zones: Contains details about drop zones.
• Layouts: Contains locations, sizes, shapes, and other attributes of one or more buttons
on a menu.
Linking Styles to Templates
You can link, or associate, styles to templates. That way, if you apply a template to a menu
and then want to use a different button style on one of the buttons, you can choose to
see only those button styles that have been linked to that template. This makes it easier
to create menus based on families of templates and styles, helping you maintain a
consistent look while creating a project.
Once you have applied a template to a menu, you can see which styles are linked to that
template by selecting the Current view in the Styles tab in the Palette. When you select
a style type (buttons, text, layouts, or drop zones), only the styles linked to that menu
appear.
Note: You can only link the styles you create to templates. The supplied Apple styles are
already linked to the Apple templates.
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To link a style to a template
1 Control-click a style, then choose Link to Templates from the shortcut menu.
A selection dialog that lists all templates appears.
2 Select the checkbox next to all templates that you want to link this style to.
Because menus keep track of the last template applied to them, you can open a menu
at any time and, by selecting the Current view in the Styles tab, see those styles linked
to the menu’s template.
Note: If no template is applied to the menu, or no styles have been linked to the template,
no styles appear when the Current view is selected.
About Template and Style Properties
Properties define the look and content of templates and styles. For example, properties
define what kind of menu background a template has, how many buttons a layout style
has, and where the buttons are located on the menu. Not all templates and styles need
to use all of the properties available to them. For example, you can create a set of
templates that have no menu background—when they are applied to an existing menu,
the menu’s current background is maintained while other template properties, such as
groups of buttons and text objects, are added to the menu.
A template contains the properties of each of the four styles plus some additional
properties. See the following sections for details:
• Button Style Properties
• Text Style Properties
• Drop Zone Style Properties
• Layout Style Properties
• Other Template Properties
Button Style Properties
Button styles and all buttons in a template contain the following properties. Templates
also contain the following properties as the default button style, used when a Drop Palette
action requires new buttons to be created on the menu. See Setting Default Styles for
information on setting a default button style.
• Size: The width and height of the button’s active area
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• Asset: The asset file assigned to the button and the timecode setting below the
thumbnail. When a button style is applied to an existing button, this asset only appears
if the existing button does not already have an asset assigned.
• Motion: Whether or not motion has been enabled for the asset
• Shape: The shape file assigned to the button
• Shadow: Whether or not the menu’s drop shadow has been enabled for the shape
• Color Set: Which of the three highlight sets the button uses
• Auto Action: Whether or not Auto Action has been enabled for the button
• Invisible: Whether or not the button has been set to be invisible
• Default Text: The actual text that the button uses. When a button style is applied to an
existing button, this text only appears if the existing button does not already have text.
• Font: The font’s name and size used for the button text
• Text Color: The text’s color
• Text Position: The text’s position on the button (top, left, right, center, or bottom)
• Text Offset: The offset values for the text’s position
• Text Shadow: Whether or not the menu’s drop shadow has been enabled for the text
• Text in Highlight: Whether or not the text is included in the button’s highlight
Text Style Properties
Text styles and all text objects in a template contain the following properties. Templates
also contain the following properties as the default text style, used when you double-click
the menu background to create a text object. See Setting Default Styles for information
on setting a default text style.
• Default Text: The actual text that the text object uses. This text does not appear when
a text style is applied to an existing text object.
• Font: The font’s name and size used for the text object
• Text Color: The text’s color
• Rotation: The rotation setting used for the text object
Drop Zone Style Properties
Drop zone styles contain the following properties. Templates contain the following
properties for each of their drop zones.
• Size: The width and height of the drop zone’s active area
• Asset: The asset file assigned to the drop zone and the timecode setting below the
thumbnail. When a drop zone style is applied to an existing drop zone, this asset only
appears if the existing drop zone does not already have an asset assigned.
• Shape: The shape file assigned to the drop zone
Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus 319
• Shadow: Whether or not the menu’s drop shadow has been enabled for the drop zone
• Rotation: The rotation setting used for the drop zone
• Motion: Whether or not motion has been enabled for the asset
Layout Style Properties
Layout styles and templates contain the following properties.
• Position/Size: The position and size of all buttons in the layout
• Button Assets: The assets assigned to the buttons. This asset does not appear when a
layout style is applied to a menu with buttons already containing assets. This asset only
appears if the existing buttons do not already have an asset assigned.
• Button Shapes: The shapes assigned to the buttons
• Button Text: The text assigned to the buttons. This text does not appear when a layout
style is applied to a menu with buttons already containing text. This text only appears
if the existing buttons do not already have text assigned.
• Default Button: The button number of the button assigned as the default button. This
is the button selected when the menu appears, unless the connection to the menu
specified a different button.
• Guides: The guide configuration, including the number of guides and their positions
Other Template Properties
In addition to the button, text, drop zone, and layout style properties, templates contain
the following properties:
• Default Button Style: The default button style is used when a Drop Palette action requires
new buttons to be created on the menu. See Setting Default Styles for information on
setting a default button style.
• Default Text Style: The default text style is used when you double-click the menu
background to create a text object. See Setting Default Styles for information on setting
a default text style.
• Background Asset: The name of the asset assigned to the menu as the background
• Overlay: The name of the asset assigned to the menu as the subpicture overlay
• Audio Asset: The name of the audio asset assigned to the menu
• Drop Zones: All drop zones added to the menu. Each drop zone includes its own settings.
• Text Objects: All text objects added to the menu. Each text object includes its own
settings.
• Color: The color mapping settings for the menu. These include the color and opacity
assigned to each button state for each of the three color sets, as well as the Color
Palette’s 16 colors.
• Mapping Type: Whether the menu uses the chroma or grayscale mapping type
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• Motion: The timecode values for the start, loop point, end, and duration settings, as
well as the action for the menu’s end
• Shadow: The drop shadow settings that the buttons, text objects, and drop zones can
use
• Display Mode: Whether the menu uses a 4:3,16:9 Pan-Scan, 16:9 Letterbox, or 16:9
Pan-Scan & Letterbox display mode
• Resolution: The video resolution of the video background
• Transitions: All transitions assigned to the menu and its buttons
Applying a Template or Style
When you select a template or style in the Palette, it does not affect the menu until you
click the Apply button. Before you click Apply, it is important to make sure that the Menu
Editor is displaying the correct menu, and in the case of some of the styles, that the correct
items in that menu are selected.
Note: The Menu Editor always has a menu assigned to it, and it is that menu that templates
and styles are applied to. Templates and styles can be applied to a menu even if you are
working on a different element, such as a track. The Menu Editor does not even have to
be visible.
You do not need to select anything in the menu before applying templates or layout
styles. These items can be applied to an existing menu or a new empty one.
Important: Applying a template to a menu changes the menu’s resolution and display
mode to match the template (if they are different). Applying layout styles (or any of the
other styles) does not change the menu’s resolution or display mode. In the case of layout
styles, the layout is scaled to match the menu’s current resolution.
For the button, text, and drop zone styles, you can either select one or more items in an
existing menu before applying the style, or you can drag the style to an item. Styles are
applied only to selected items in an existing menu, so you can actually use multiple
versions of these styles on a single menu. For example, if you want the buttons on a menu
to use different shapes, you can set up several different styles to provide those shapes.
Note: Applying a template or style to a menu is a one-time action—the menu does not
become locked to the template or style. You can make changes to the menu just as if
you had manually configured it.
Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus 321
Using the Palette’s Apply Button
The Palette includes an Apply button that you can use to apply the selected template or
style to a menu. When applying button, text, or drop zone styles using the Apply button,
the style is applied to all selected items at once. When dragging, you can only apply the
style to one item.
To apply a template or style using the Apply button
1 Make sure the Menu Editor is displaying the correct menu.
2 In the case of the button, text, and drop zone styles, select the item on the menu to apply
the style to.
3 Select the template or style to apply to the menu.
4 Click Apply.
The Apply button is unavailable if more than one template or style is selected. You can
also apply a template or style by double-clicking it.
Dragging Templates and Styles to a Menu
In addition to the Palette’s Apply button, you can apply templates and styles by dragging
them to the menu. The Menu Editor’s Drop Palette appears when you drag templates
and styles to it. The Drop Palette provides options not available when using the Apply
button. For example, you can drag a button style to an empty area of the Menu Editor
and create a new button with it. With the Apply button, you need to select an existing
button before the style can be applied.
The area to which you drag the template or style determines the options available to
you. For example, if you drag a template to an empty part of the menu, you have the
options of applying it to the menu, applying it to the menu and adding all buttons, and
creating a submenu. If you drag a template to an existing button, your only option is to
create a submenu and apply this template to it. See Drop Palette for Standard
Menus—Dragging Templates and Styles for a complete list of options.
To apply a template or style by dragging
1 Make sure the Menu Editor is displaying the correct menu.
2 Select the template or style to apply to the menu and drag it to the Menu Editor. Be sure
to drag it to an empty area or to an existing item, depending on how you want to apply
the template or style.
If you select more than one item before dragging, only the item you actually drag gets
applied to the menu—the others are ignored.
322 Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus
Applying Templates or Layout Styles to a Menu with Buttons
When you apply a template or layout style to a menu that already has buttons, you are
given the option of adding only enough buttons to replace the existing ones, or of adding
all template or layout style buttons. If the menu has more buttons than the template or
layout style, all buttons are added with the extra ones on the menu remaining unchanged.
When replacing existing buttons, DVD Studio Pro first looks at their names to see if they
match the names of any buttons in the template or layout. If an existing button and a
new button have the same name, the link and asset of the original button are copied to
the new button. By carefully naming your buttons, you can apply one template after
another to a menu and still maintain the original button settings.
To be able to switch templates easily while using the templates and layout styles supplied
with DVD Studio Pro, you need to name the buttons on your menus according to the
button-naming convention used by DVD Studio Pro.
In the Apple templates and layout styles provided with DVD Studio Pro, button names
fall into two categories: general-purpose buttons and special-purpose buttons.
General-Purpose Buttons
General-purpose buttons use the DVD Studio Pro default naming structure for buttons,
starting with “Button 1.”
Additionally, the Apple templates and layout styles can have assets and text assigned to
each of the general-purpose buttons. When you create a chapter index menu,
DVD Studio Pro checks each button to see if it has an asset assigned—if it does, the asset
is changed to match the marker’s video. Similarly, if the button has text assigned, it is
replaced with each marker’s name.
Special-Purpose Buttons
Any buttons not intended to link to chapter markers have underscores before and after
their names—this causes DVD Studio Pro to ignore them when assigning chapter markers
to buttons. The Apple templates and layout styles include three of these: _NEXT_ (to link
to the next chapter index menu), _PREV_ (to link to the previous chapter index menu),
and _UP_ to link to the original menu (if applicable). These three buttons automatically
link to the appropriate menus when used to create a chapter index menu.
See About Chapter Index Menus for more information on chapter index menus.
Setting Default Styles
You can set a default button and text style for each menu. Additionally, you can choose
a default text style for the entire project in DVD Studio Pro Preferences.
Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus 323
DVD Studio Pro uses the default button style any time you create a button, whether by
dragging the pointer in the Menu Editor or dragging an asset to the Menu Editor and
choosing an option from the Drop Palette that creates buttons.
The default text style is used whenever you add a text object to any menu in a project.
You can also set a default text style for each menu. The text style includes the font, its
size, and its color. It can also include default text.
You can set the default button and text styles by dragging the style to the Menu Editor
or using shortcut menus.
Important: Setting the default button or text style for a menu only affects that
menu—each menu has its own default button and text style settings.
To set a button or text style as the menu default by dragging
1 Select a button or text style in the Palette and drag it to the Menu Editor.
2 When the Drop Palette appears, choose Set Default Button (or Text) Style.
To set a button or text object as the menu default in the Palette
μ In the Palette, Control-click the button or text object you want to use as the default, then
choose Set as Default from the shortcut menu.
To set a button or text object as the menu default in the Menu Editor
μ In the Menu Editor, Control-click the button or text object you want to use as the default,
then choose Set as Default from the shortcut menu.
Additionally, you can set the default button and text styles for a menu when you apply
a template.
See Setting DVD Studio Pro Preferences for information on setting a default text style in
DVD Studio Pro Preferences.
Creating a Template or Style
While creating a template or style is not difficult, it is worth spending some planning time
so that you can make the templates and styles as useful as possible.
To create a template or style
1 Configure a standard menu to match what you want the template or style to be. If you’re
creating a template or a layout style, use care to name the buttons and create them in
the correct order. See About Button Numbers and Applying Templates or Layout Styles
to a Menu with Buttons for details.
2 If you’re creating a button, text, or drop zone style, select the specific item on the menu
whose settings you want to include in the style. For templates and layout styles, you do
not need to select anything on the menu.
324 Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus
3 Do one of the following:
• Choose Project > Create in Menu > Template or Project > Create in Menu > Style.
• Click Create in the Palette.
The Create Template or Create Style dialog opens.
Select Self-Contained
to copy the assets in this
template or style to its file.
Leave unselected to have the
template or style reference
the assets.
The thumbnail of the
template or style
Select Project to have this
template or style available
to only this project.
Enter the name of the
template or style.
4 Enter a name for the template or style.
5 Select the Project checkbox if you want the template or style to be available only to this
project. Leaving this unselected makes this template or style available to all projects on
this system.
6 Select the Self-Contained checkbox to copy the assets used by this template or style into
its file. This makes it easier to copy the file to another system where it can be imported
by another project.
7 Click Save.
The template or style is now saved and appears in the Palette.
About Self-Contained Templates and Styles
A template or style can use a surprising number of assets. Motion backgrounds and assets
assigned to the button thumbnails can be very large files. In many cases, templates and
styles you create that use motion assets will be specific to a particular project. In these
cases, there is no reason to save them as self-contained.
If you are creating a template or style and want to be sure it will always have the assets
it requires, you can save it as self-contained. In this case, the assets are added to the
template or style’s file. This makes it possible to copy the file to a different system and
still have a working version of it. The drawback is that the file may be very large.
Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus 325
Locations of Template and Style Files
Template and style files are placed in different locations based on whether or not they
are project-exclusive. When you import template and style files, they are also copied to
these locations.
Custom Template and Style Files
When you save a template that is not specific to a project, it is placed at the root of your
disk, in this location: /Library/Application Support/DVD Studio Pro/Templates. All template
files have a “.dsptemplate” extension.
Style files are placed at the same location, in a Styles folder: /Library/Application
Support/DVD Studio Pro/Styles. All style files have a “.dspstyle” extension, regardless of
the type of style they are. To avoid confusion, be sure to indicate the style type when
naming your style.
Project Template and Style Files
When you save a project template or style, it is added to the project bundle file (the file
created when you save your project). Project templates and styles cannot be shared with
other projects or systems. If you want to share them, you can add a menu to your project,
apply the template or style to it, and then create a new template or style from the menu,
setting it so that it is not specific to the project. This creates a new template or style file
in the folders mentioned above.
Apple Template and Style Files
The Apple template and style files provided with DVD Studio Pro are at /Library/Application
Support/Final Cut Studio/DVD Studio Pro/. Because these are the same for all
DVD Studio Pro systems, there is no reason to copy these to another system.
Naming Buttons in Your Templates and Styles
If you create a template or layout style, you should follow a consistent button-naming
convention. This will allow you to apply different templates or styles, one after the other,
without having to reconfigure your buttons. For information on the button-naming
conventions used in DVD Studio Pro templates and layout styles, see Applying Templates
or Layout Styles to a Menu with Buttons.
Importing Templates and Styles
You can import templates and styles from other systems. When you import a template
or style, it is copied to the same locations used when you create a custom or project
template or style. See Locations of Template and Style Files for more information.
To import a template or style using the File menu
1 Choose either File > Import > Style or File > Import > Template.
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2 Use the import dialog to navigate to the templates or styles you want to import. You can
select a single file or multiple files.
3 Select the Project checkbox if you want the template or style to be available to this project
only. Deselecting Project makes this template or style available to all projects on this
system.
4 Click Import to import the files.
To import a template or style using the Palette
1 Click the Templates or Styles tab in the Palette.
Note: When importing a style, it is not necessary to select the proper style type (button,
layout, and so on). All style types can be imported.
2 Control-click in the Palette’s thumbnail area, then choose Import from the shortcut menu.
3 Use the import dialog to navigate to the templates or styles you want to import. You can
select a single file or multiple files.
4 Select the Project checkbox if you want the template or style to be available to this project
only. Deselecting Project makes this template or style available to all projects on this
system.
5 Click Import to import the files.
The imported templates and styles appear in the Palette and are ready for use.
There are several factors that determine how well an imported template or style will work
on your system.
• Templates and styles only work with the video standard (NTSC or PAL) of the system
on which they were created. You cannot import templates and styles from one standard
into the other.
• Self-contained templates and styles work on all systems using the same video standard,
regardless of what assets they contain or how they are arranged.
• Referencing templates and styles requires the assets to be in the same location on the
new system as they were on the original system. Any assets that cannot be found when
a template or style is applied are skipped, leaving those areas of the menu empty.
Deleting Templates and Styles
You can delete templates and styles once you no longer need them.
To delete a template or style
1 Select the template or style to delete. You can select multiple items to delete.
Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus 327
2 Do one of the following:
• Control-click the item to be deleted, then choose Delete Selected Template or Delete
Selected Style from the shortcut menu.
• Click Delete at the bottom of the Palette.
3 A dialog appears, warning that deleting this item may affect this and other projects. Click
OK.
Note: You cannot delete a template or style that contains assets currently in use on a
menu.
The template or style is deleted.
Deleting Really Deletes
When you delete a template or style, the file is actually deleted from the disk. You cannot
undo a deletion. This can be a serious issue if the template or style is self-contained
because the assets used in the template or style are also deleted. Any projects that used
the deleted template or style will no longer be able to access those assets, and you will
need to relink their assets.
Deleting Apple Templates and Styles
You cannot delete the Apple templates supplied with DVD Studio Pro; however, you can
delete the Apple styles. If you later decide you want to use the deleted styles, you must
reinstall DVD Studio Pro to get them back.
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Managing Shapes
The Palette contains a Shapes tab. You can use this tab to view thumbnails of the shapes,
drag the shapes to the Menu Editor to use them as buttons or drop zones, and import
shapes that you have created.
You can choose either small or large as the size for the thumbnails in the Palette in the
General pane in DVD Studio Pro Preferences. See General Preferences for more information
on the preferences.
Two Types of Shapes
There are two types of shapes that are available: normal and patches. You can create your
own normal shapes; however, patches only come with DVD Studio Pro, and you cannot
create your own.
What’s a Patch?
Patches are shapes that are able to modify the assigned asset. For example, a shape may
add a tint or a blur filter to the assigned asset. Some patches have a motion element
although most are static. Patches can be positioned and sized just like normal shapes,
and have still or video assets assigned to them.
Unlike normal shapes, you are not able to create custom patches.
Patches appear in the Apple group of the Shapes tab along with the normal shapes. You
can tell which shapes are patches by choosing Patch Shapes in the Button Inspector’s
Style tab.
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Applying a Shape
You can apply a shape to an existing button or drop zone (or group of buttons or drop
zones) on a menu, or you can create a new button when you apply the shape. The method
you use to apply the shape (use the Apply button or drag the shapes) determines what
you are able to do.
Shapes are sorted into three groups:
• Apple: The shapes provided by DVD Studio Pro. These are available to all projects.
Note: Not all shapes supplied with DVD Studio Pro support highlights. Some are
intended to be used only with drop zones and do not include the highlight layer used
by buttons.
• Custom: The shapes you import and designate as available to all projects created on
this system
• Project: The shapes you import for use only in this project. These will not appear when
you are working on other projects.
The Shapes tab in the Palette includes buttons so that you can choose which of these
groups of shapes to view.
To apply a shape using the Apply button
1 In the Palette, select the shape’s group (Apple, Custom, or Project), then select the shape
you want to apply.
2 In the Menu Editor, do one of the following:
• To apply the shape to an existing button or drop zone: Select the button or drop zone.
• To apply the shape to a group of buttons or drop zones: Select the buttons or drop zones
by holding down the Shift key while clicking them.
3 Click Apply.
The shape is applied to the selected items.
Note: The Apply button is disabled if you select more than one shape in the Palette. You
cannot create a new button or drop zone using the Apply button.
To apply a shape by dragging
1 In the Palette, select the shape’s group (Apple, Custom, or Project) so that the shape’s
thumbnail appears.
2 Drag the shape from the Palette to the Menu Editor, then do one of the following:
• To apply the shape to an existing button or drop zone: Drag the shape to it.
• To create a new button or drop zone: Drag the shape to an empty area of the menu and
when the Drop Palette appears, choose either Create Button or Create Drop Zone.
330 Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus
Note: You cannot apply the shape to multiple existing buttons or drop zones by dragging.
To assign a shape in the Button Inspector
1 In the Menu Editor, select the button to which you want to apply the shape.
2 Click the Style tab in the Button Inspector.
3 Choose a shape group from the Shape pop-up menu, then choose the shape to use from
the submenu.
A thumbnail of the shape appears in the Button Inspector and the shape is applied to
the button.
When you create a new button by dragging a shape to the Menu Editor, the shape is
added to the menu at its actual size. This can be important if you intend your shapes to
be a specific size when used on a menu. (When shapes are applied to an existing button,
they are squeezed to fit it, which can distort it significantly.)
Importing a Shape
You can import shapes that you create. See Creating Shapes for information on creating
shapes.
When you import shapes, you choose whether they are specific to a project or shared.
To import a shape
1 Click Import in the Shape tab in the Palette.
Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus 331
2 In the selection dialog that appears, locate and select the shape (or shapes) to import.
Select if you want
the imported shapes
to be used only with
this project.
3 Select the Project checkbox if you want the shapes to be used only with this project.
Deselect the checkbox to make them available to all projects on this system.
4 Click Import.
The imported shapes now appear in their group (Project or Custom).
For custom shapes, the shape file is copied to the [root]/Library/Application
Support/DVD Studio Pro/Shapes folder. For project shapes, the shape is copied to the
project bundle. (Apple shapes are contained in the DVD Studio Pro application bundle.)
Updating a Shape
When you create a custom shape, you will often find, once you’ve applied it to a button
or drop zone on a menu, that you need to make an adjustment to it. For example, you
might need to make the highlight area larger.
To reimport a shape
1 Click Import in the Shape tab in the Palette.
2 In the selection dialog that appears, locate and select the shape (or shapes) to reimport.
3 Select the Project checkbox if the shapes are used only with this project. Deselect the
checkbox if they are available to all projects on this system.
4 Click Import.
A dialog appears, stating that the shape already exists.
5 Click Replace to import the new versions of the shapes, replacing the existing ones.
332 Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus
To see the new versions of the shapes, either in places they are already in use or in new
places you want to use them, you must save your project, close it, and then open it again.
Any older versions of the shapes are updated to the new versions.
Deleting a Shape
You can delete one or more shapes.
To delete a shape
1 In the Palette, select the shape’s group (Apple, Custom, or Project) that contains the shape
or shapes to be deleted.
Note: If you delete an Apple shape, you must reinstall DVD Studio Pro to get the shape
back.
2 Select the shape or shapes to delete. Use the Shift key to select multiple shapes.
3 Click the Shape tab’s Delete button.
The shape’s file is deleted from its location (as determined by its group).
Note: You cannot delete a shape that is currently in use on a menu.
Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus 333
The layered method allows you to create independent versions of each button for each
of the three states. This gives you great flexibility in changing a button’s appearance
when it is selected and activated.
This chapter covers the following:
• About Layered Menus (p. 335)
• Choosing the Menu’s Background (p. 336)
• Choosing the Menu’s Overlay (p. 338)
• About the Menu Inspector for Layered Menus (p. 338)
• Adding Buttons to Your Layered Menu (p. 343)
• About Layered Menu Button Properties (p. 344)
• Options in the Drop Palette for Layered Menus (p. 348)
• Drop Palette for Layered Menus—Dragging Assets (p. 349)
• Drop Palette for Layered Menus—Dragging Project Elements (p. 353)
About Layered Menus
When you create menus using the layered method, you specify independent 24-bit layers
in an Adobe Photoshop file (PSD) for each state (normal, selected, and activated) of each
button (as opposed to using an overlay or shapes, as you do with the standard method).
See Layered Menu Creation Method for a discussion of the advantages and disadvantages
of this method.
Menus created with the layered method can also use overlays. See Choosing the Menu’s
Overlay for details on using overlays. See Starting and Working with a Menu for information
on creating a layered menu, naming it, and adding assets to it.
Note: You cannot change an existing menu from one kind of menu (standard or layered)
to the other.
335
Creating Menus Using the Layered
Method 15
Choosing the Menu’s Background
Layered menus must use the same PSD file for both the menu’s background and the
layered buttons. Because of this requirement, only PSD files with multiple layers can be
used as backgrounds for layered menus.
For best quality, be sure your graphic:
• Matches the menu’s resolution and aspect ratio (4:3 or 16:9): If you are creating 16:9 menus
in SD projects, or with the 720 x 480p, 720 x 576p, or 1440 x 1080i HD resolutions in
HD projects, be sure the graphic is anamorphic. See Creating Graphics to Use in Menus
and Choosing an Aspect Ratio for details.
• Conforms to the broadcast video color space: Graphics that look stunning in your graphics
program can look very different when viewed on DVD. Most graphics applications let
you scale colors to NTSC or PAL color space.
DVD Studio Pro automatically scales the size of the background graphic to fit the frame
size if necessary, which can result in the menu’s background color appearing along some
edges.
There are several ways to assign a background to a menu. Use the method that you feel
most comfortable with. In all cases, these methods also replace an existing background.
Assigning a Menu Background Using the Inspector
You can assign a menu background using the Inspector. With this method, you can only
choose from assets already imported into DVD Studio Pro.
To assign a menu background using the Inspector
1 Select the menu and make sure the Menu Inspector displays the menu properties.
2 Click the General tab in the Inspector (if it’s not already visible).
3 Choose a background from the Background pop-up menu.
The selected file appears as the menu background, with all layers hidden. You can choose
which layers to show in the Menu Inspector.
Assigning a Menu Background by Dragging
You can assign a background to a menu by dragging the asset from the Assets tab, the
Palette, or a Finder window.
To assign a menu background by dragging it to the Menu Editor
1 Select the menu in the Outline tab, the Graphical tab, or choose it from the Menu Editor’s
View pop-up menu to display it in the Menu Editor.
2 Locate the background file you want to use in the Assets tab, Palette, or Finder window.
3 Drag the asset to an empty part of the Menu Editor and pause until the Drop Palette
appears.
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4 Choose one of the following:
• Set Background—All Layers Visible: To show all layers in the file.
• Set Background—No Layers Visible: To hide all layers in the file.
The background appears in the Menu Editor. You can choose which layers to show in the
Menu Inspector.
To assign a menu background by dragging it to the Outline or Graphical tab
1 Click the Outline or Graphical tab and select the menu you want to assign the background
to.
2 Locate the background file you want to use in the Assets tab, Palette, or Finder window.
3 Assign the background file to the menu by dragging the file to the menu’s name or tile.
A box appears around the name or tile to let you know the menu will receive the
background file.
The background appears in the Menu Editor, with all layers hidden, when you select the
menu. You can then choose which layers to show in the Menu Inspector.
Choosing a Menu’s Background from a Layered Photoshop File
You can choose a layer (or several) from an Adobe Photoshop format (PSD) file to use as
the menu background. One PSD file can supply backgrounds and overlays for several
menus.
To choose a menu background from a PSD file
1 Either create a new menu or select an existing one.
2 Click the General tab in the Menu Inspector.
3 Assign the PSD as the menu’s background by doing one of the following:
• Choose it from the Background Asset pop-up menu in the Menu Inspector.
• Drag it to the Menu Editor and choose Set Background from the Drop Palette.
The PSD file’s layer names appear in the Background area of the General tab.
4 Select the checkboxes next to the layers that make up the background.
Choose the background
from this pop-up menu.
Select these checkboxes
to make the layers part
of the background.
Chapter 15 Creating Menus Using the Layered Method 337
Choosing the Menu’s Overlay
You can use overlays with layered menus as well as with standard menus. Every aspect
of using them, from selecting the file and configuring its color mapping, is identical to
how you use overlays in a standard menu. See Choosing the Menu’s Overlay for
information on adding an overlay to your layered menu. See Understanding Color Mapping
for information on configuring color mapping for simple and advanced overlays.
About the Menu Inspector for Layered Menus
The tabs within the Layered Menu Inspector provide a variety of menu configuration
settings. These settings control everything from background and overlay configuration,
to transition and timeout settings.
The Layered Menu Inspector has five tabs: General, Menu, Transition, Colors, and Advanced.
Settings at the Top of the Layered Menu Inspector
The top of the Layered Menu Inspector contains two settings.
• Name: Enter the name for this menu.
• Est. Size: Displays the estimated amount of disc space the menu requires based on the
assigned assets.
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General Tab in the Layered Menu Inspector
The General tab in the Layered Menu Inspector is divided into three sections: The upper
section contains the menu timeout settings, the middle section contains the background
configuration settings, and the lower section contains the overlay configuration settings.
Menu timeout settings
Background settings
Overlay settings
Menu Timeout Settings
• At End: Choose whether the menu displays indefinitely (Still) or performs a jump action
if there is no activity for a period of time (Timeout).
• Sec: Active only when At End is set to Timeout. Enter the number of seconds the menu
appears before jumping to the Action setting.
• Action: Choose the element to jump to once the timeout ends.
Background Settings
• Background: Choose the layered PSD file to use as the menu’s background.
• Show: Select the checkboxes next to each layer that you want to appear as part of the
background.
Overlay Settings
• Overlay: Choose the file to use as the menu’s overlay file. Set this only if you want to
use both overlay-based buttons and layered buttons on this menu.
• Show: Select the checkbox next to the layer you want to use as the overlay for the
menu. Unlike backgrounds where you can select multiple layers, you can only select a
single layer for use as an overlay.
Chapter 15 Creating Menus Using the Layered Method 339
Menu Tab in the Layered Menu Inspector
Most settings in the Menu tab in the Layered Menu Inspector are optional. An exception
is the Aspect Ratio setting, which must be set correctly for each menu.
• Default Button: Choose the button to be selected when the menu appears during
playback of the title. This setting can be overridden by any element that jumps to this
menu, based on its jump setting, and the Highlight Condition setting.
• Return Button: Choose the project element to jump to if you press the Return button
on the DVD player’s remote control.
• Highlight Condition: Provides an alternative method to the Default Button setting for
determining which button to highlight. When Highlight Condition is set to Default, the
Default Button setting supplies the button highlight setting. When Highlight Condition
is set to one of its stream settings (audio, subtitle, camera angle), the number of the
stream last played determines the button to highlight. This setting can be overridden
by any element that jumps to this menu, based on its jump setting.
• Language: Choose the language in which this menu should be displayed. See Using
Languages with Menus for more information.
• Resolution: Choose the menu’s resolution.
• For SD projects: The resolution is either 720 x 480i (NTSC) or 720 x 576i (PAL).
• For HD projects: You can choose from any of the supported resolutions. DVD Studio Pro
Preferences includes a setting for the default resolution. The resolution automatically
changes to match the menu’s background video resolution if it matches one of the
supported resolutions. Choosing a resolution different than that used by the menu’s
background video results in the menu being scaled and rendered to this setting
when you build the project.
340 Chapter 15 Creating Menus Using the Layered Method
• Display Mode: Set the aspect ratio for this menu (4:3 or 16:9). With 16:9, you also choose
how it will display on a 4:3 monitor. The aspect ratio of the background and overlay
must match this setting. See Working with 16:9 Menus for more information.
• Number Pad: Defines which buttons are directly accessible by a DVD player’s numeric
keypad. Choose All, None, or a button number from the pop-up menu. When you
choose a button number, that button and all buttons less than that number are
accessible via the numeric keypad—buttons greater than this value are blocked from
direct access.
• Btn Offset: You can use this setting to offset button numbers so they make sense to a
viewer who wants to select a button by entering its number. For example, you may
have a set of scene selection menus with numbered scenes. One of the menus may
have scenes 23 to 34, with the button for scene 23 being the first button on the menu.
If you enter an offset value of 22 for this menu, when the viewer enters 23 on the
remote control, 22 is subtracted from it, with the result being 1—the button’s actual
number.
Transition Tab in the Layered Menu Inspector
The Transition tab is used to configure a button transition for this menu. See Transition
Tab in the Menu and Button Inspectors for details on this tab.
Chapter 15 Creating Menus Using the Layered Method 341
Colors Tab in the Layered Menu Inspector
The Colors tab is identical to the Menu Inspector for standard menus. See Colors Tab in
the Menu Inspector with Simple Selected and Colors Tab in the Menu Inspector with
Advanced Selected for information on the Colors tab.
Advanced Tab in the Layered Menu Inspector
The Advanced tab in the Layered Menu Inspector contains settings that are used only in
specialized projects.
Disabled User Operations Settings
• Disabled User Operations: Select the functions that you want to be disabled while this
menu plays. See User Operations for more information.
342 Chapter 15 Creating Menus Using the Layered Method
Playback Options Settings
• Pre-Script: Choose a script to run before the menu appears. This script can decide
whether to show the menu or configure the DVD player before showing it. See
Pre-Scripts for information on pre-scripts.
• DVD@CCESS: Selecting this checkbox allows you to add DVD@CCESS links, which provide
additional functionality to your title when played on a computer. See DVD@CCESS for
more information.
• Display Condition: Selecting this enables the Display Condition settings which control
whether this menu should be displayed or not, and to define what should be displayed
if not this menu. See Display Condition for more information.
Adding Buttons to Your Layered Menu
There are two button types you can add to a layered menu: layered buttons and overlay
buttons. In both cases, the first step is to create a button active area. See Creating Menus
Using the Standard Method.
Once you create the active areas, you can configure the buttons. For overlay buttons, see
Using Simple Overlay Color Mapping and Using Advanced Overlay Color Mapping for
details. For layered buttons, see Configuring a Layered Button.
Mixing Overlay Buttons with Layered Buttons
So that you can combine overlay and layered buttons on the same menu, the color
mapping settings are active at all times—even when you aren’t adding an overlay to the
menu. If you see an unexpected color appear in the active areas in any of the button
states (normal, selected, or activated), you need to configure the color mapping settings.
If no overlay file is assigned to a layered menu, a plain white image is used in place of
the overlay file. If the color mapping settings apply a color to white, that color will appear
in the active areas.
When working with a layered menu without an assigned overlay file, you must either:
• Select Simple as the Overlay Colors setting. This automatically sets white to be fully
transparent.
• Select Advanced as the Overlay Colors setting, then set the opacity for white to 0 for
each selection state.
Configuring a Layered Button
Configuring a layered button is a matter of selecting layers in the menu’s PSD file to
display in the three button states (normal, selected, and activated).
To configure a layered button
1 Click in the button’s active area.
Chapter 15 Creating Menus Using the Layered Method 343
The Button Inspector appears.
2 Set the button’s connection by choosing an element from the target pop-up menu in
the top section of the Button Inspector.
3 Click the Layers tab.
A list of all layers in the PSD file appears.
The normal button
state column
The selected button
state column
The activated button
state column
4 Select the checkbox in the Normal column next to the layer to display when this button
is not selected or activated. You can select more than one layer.
If the normal state for the button is already part of the background, you do not need to
select layers in the Normal column.
5 Select the checkbox in the Selected column next to the layer to display when this button
is selected. You can select more than one layer.
6 Select the checkbox in the Activated column next to the layer to display when this button
is activated. You can select more than one layer.
7 To verify the layer settings, use the Menu Editor’s button state icons to select the state
(normal, selected, or activated) to display.
Shows the selected state.
Shows the
activated state.
Shows the normal state.
You need to repeat this process for each layered button in your menu.
About Layered Menu Button Properties
The Layered Button Inspector has four tabs: Button, Layers, Colors, and Transition.
344 Chapter 15 Creating Menus Using the Layered Method
Settings at the Top of the Layered Button Inspector
The top of the Layered Button Inspector has three settings.
• Name: By default, buttons manually added to a menu are named “Button _,” where
“_” is the button number on that menu. To reduce confusion when viewing a list of
the menu’s buttons, it is helpful to rename the buttons based on their functions.
Next to the button’s name is its number. This number is based on the order in which
the buttons are added to the menu. See About Button Numbers for information on
changing this number and why it can be important.
• Target: You can use this pop-up menu to define a button’s action when activated. (You
can also use the Connections tab or Control-click the button.) Often you must set the
connection later because what you want to jump to has not yet been added to the
project. The pop-up menu contains all possible project elements you can jump to.
Button Tab in the Layered Button Inspector
The Button tab in the Layered Button Inspector contains settings that allow you to
customize the selected button.
• Navigation: This area lets you set the actions that take place when the viewer uses the
arrow buttons on the DVD player’s remote control to navigate around the title. Because
this is the typical way the title will be viewed, it is important to spend some time
configuring the navigation in a logical, predictable way. See Configuring Button
Navigation for information.
Chapter 15 Creating Menus Using the Layered Method 345
• Angle/Audio/Subtitle Streams: Use these three pop-up menus to connect a button to
specific audio, subtitle, and angle streams to play back. For the subtitle stream, you
can also choose whether subtitles should appear.
• Auto Action: If you enable Auto Action for a button, it activates automatically as soon
as it is navigated to, without the viewer needing to press Enter. This is useful in menus,
such as scene selection menus, in which you use Next and Previous buttons; you can
assume that if viewers navigate to the Next or Previous button, they want to activate
it.
Note: With overlay-based buttons, if you select this option, only the activated color
mapping appears when the button is navigated to, skipping the selected color mapping.
• Invisible: Applies to overlay-based buttons. Allows you to have a button that does not
display highlights in the normal, selected, or activated state. This is useful when you
want to have a menu with text and no visible buttons. The text could tell the viewer
to press the Enter button to go to the next menu or start playback (or whatever the
button is set to jump to).
• Highlight: Applies to overlay-based buttons. Allows you to choose the color mapping
set to assign to this button.
• Coordinates & Size: This area lets you set the location of each edge of the button’s active
area, plus the area’s height and width. The upper-left corner of the menu is at pixel 0,
line 0. You can enter values for each edge, allowing you to precisely position and size
the button’s active area. (You can also drag the active area and each of its edges with
the pointer.)
346 Chapter 15 Creating Menus Using the Layered Method
Layers Tab in the Layered Button Inspector
The Layers tab in the Layered Button Inspector lists the layers in the PSD file assigned as
the menu’s background. There are three columns of checkboxes—normal (on the left),
selected (in the center), and activated (on the right)—next to each layer. For the current
button, you select at least one layer to appear when the button is selected, and a second
layer to appear when the button is activated. You do not need to select a layer for the
button’s normal state if it is part of the menu’s background.
Colors Tab in the Layered Button Inspector
The Colors tab is identical to the one used in the Button and Menu Inspectors for standard
menus. See Colors Tab in the Menu Inspector with Simple Selected and Colors Tab in the
Menu Inspector with Advanced Selected for details on using this tab.
Chapter 15 Creating Menus Using the Layered Method 347
Transition Tab in the Layered Button Inspector
The Transition tab is used to configure a button transition for this button. See Transition
Tab in the Menu and Button Inspectors for details on this tab.
Options in the Drop Palette for Layered Menus
Following are descriptions of the various Drop Palette options that can appear when you
drag an asset or element to the Menu Editor. See Viewing the Drop Palette for information
on using the Drop Palette options.
The following descriptions are grouped by the type of item you are dragging (asset,
project element such as a track or slideshow, and a template, style, or shape from the
Palette). Details for standard menus are listed first, followed by the details for the layered
menus.
For those Drop Palette options that appear when you drag a motion video asset, a
matching audio asset is also added (if applicable), as long as:
• The “Find matching audio when dragging” setting in the Track pane of DVD Studio Pro
Preferences is selected.
• An audio file with the same base name as the video file is located in the same folder
as the video asset.
The following details assume the “Find matching audio when dragging” preference is
selected and a suitable audio file is found.
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Drop Palette for Layered Menus—Dragging Assets
The following sections list the choices in the Drop Palette that appear when you drag
assets to an empty area or button in a layered menu.
Dragging a Motion Video Asset to an Empty Area
The following options appear in the Drop Palette:
Drop Palette options Actions
• Creates a button at this menu location.
• Creates a new track with this video.
• Assigns matching audio as the track’s audio.
• Names the track the same as the video asset.
• Adds a link from the new button to the first marker of the new
track.
• Sets the new track’s End Jump setting to this menu.
Create Button and Track (default
option)
Use this option with video that has had chapter markers added with
Compressor, Final Cut Express, or Final Cut Pro.
• Creates a track and adds the chapter markers to it.
• Assigns matching audio as the track’s audio.
• Names the track the same as the video asset.
• Sets the new track’s End Jump setting to this menu.
• Creates a button on this menu to link to the first of the new
chapter index menus.
• Creates one or more new chapter index menus (using the
standard method), depending on the number of markers and
the button layout used.
• Opens the Choose Template or Layout Style dialog so you can
choose the template or layout style to use for the chapter index
menus.
• Links each chapter marker from the new track to buttons on the
chapter index menus.
• Assigns the video from each marker to its button’s thumbnail.
Create Button and Chapter Index
Dragging a Motion Video Asset to a Button
The following options appear in the Drop Palette:
Chapter 15 Creating Menus Using the Layered Method 349
Drop Palette options Actions
• Creates a new track with this video.
• Assigns matching audio as the track’s audio.
• Names the track the same as the video asset.
• Adds a link from the button to the first marker of the new track.
• Sets the new track’s End Jump setting to this menu.
Create Track (default option)
Use this option with video that has had chapter markers added with
Compressor, Final Cut Express, or Final Cut Pro.
• Creates a track and adds the chapter markers to it.
• Assigns matching audio as the track’s audio.
• Names the track the same as the video asset.
• Sets the new track’s End Jump setting to this menu.
• Links the button to the first of the new chapter index menus.
• Creates one or more new chapter index menus (using the
standard method), depending on the number of markers and
the button layout used.
• Opens the Choose Template or Layout Style dialog so you can
choose the template or layout style to use for the chapter index
menus.
• Links each chapter marker from the new track to buttons on the
chapter index menus.
• Assigns the video from each marker to its button’s thumbnail.
Create Chapter Index
Dragging a Video/Audio Pair to an Empty Area
The following options appear in the Drop Palette:
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Drop Palette options Actions
• Creates a button at this menu location.
• Creates a new track with this video and audio.
• Names the track the same as the video asset.
• Adds a link from the new button to the first marker of the new
track.
• Sets the new track’s End Jump setting to this menu.
Create Button and Track (default
option)
Use this option with video that has had chapter markers added with
Compressor, Final Cut Express, or Final Cut Pro.
• Creates a track and adds the chapter markers to it.
• Names the track the same as the video asset.
• Sets the new track’s End Jump setting to this menu.
• Creates a button on this menu to link to the first of the new
chapter index menus.
• Creates one or more new chapter index menus (using the
standard method), depending on the number of markers and
the button layout used.
• Opens the Choose Template or Layout Style dialog so you can
choose the template or layout style to use for the chapter index
menus.
• Links each chapter marker from the new track to buttons on the
chapter index menus.
• Assigns the video from each marker to its button’s thumbnail.
Create Button and Chapter Index
Dragging a Video/Audio Pair to a Button
The following options appear in the Drop Palette:
Drop Palette options Actions
• Creates a new track with this video and audio.
• Names the track the same as the video asset.
• Adds a link from the button to the first marker of the new track.
• Sets the new track’s End Jump setting to this menu.
Create Track (default option)
Use this option with video that has had chapter markers added with
Compressor, Final Cut Express, or Final Cut Pro.
• Creates a track and adds the chapter markers to it.
• Names the track the same as the video asset.
• Sets the new track’s End Jump setting to this menu.
• Links the button to the first of the new chapter index menus.
• Creates one or more new chapter index menus (using the
standard method), depending on the number of markers and
the button layout used.
• Opens the Choose Template or Layout Style dialog so you can
choose the template or layout style to use for the chapter index
menus.
• Links each chapter marker from the new track to buttons on the
chapter index menus.
• Assigns the video from each marker to its button’s thumbnail.
Create Chapter Index
Chapter 15 Creating Menus Using the Layered Method 351
Dragging a Single-Layer Still Picture to an Empty Area
The following options appear in the Drop Palette:
Drop Palette options Actions
Set Overlay (default option) • Uses the picture as this menu’s overlay.
• Creates a button at this menu location.
• Creates a new standard menu with this picture as the background.
• Adds a link from the new button to the new menu.
Create Standard Submenu
Dragging a Single-Layer Still Picture to a Button
The following option appears in the Drop Palette:
Drop Palette options Actions
• Creates a new standard menu with this picture as the background.
• Adds a link from the button to the new menu.
Create Standard Submenu
(default option)
Dragging a Multiple-Layer Still Picture to an Empty Area
The following options appear in the Drop Palette:
Drop Palette options Actions
Once set, you can disable layers in the Menu Inspector.
• Uses the picture as this menu’s background, with all layers visible.
Set Background—All Layers
Visible (default option)
Once set, you can enable layers in the Menu Inspector.
• Uses the picture as this menu’s background, with no layers visible.
Set Background—No Layers
Visible
Once set, you can select the layer to use as the overlay in the Menu
Inspector.
• Uses the picture as this menu’s overlay, with no layers assigned
to the overlay.
Set Overlay
Once set, you can enable layers for the new menu in the Menu
Inspector.
• Creates a button at this menu location.
• Creates a new standard menu with this picture as the background,
with no layers visible.
• Adds a link from the new button to the new menu.
Create Standard Submenu
Once set, you can enable layers for the new menu in the Menu
Inspector.
• Creates a button at this menu location.
• Creates a new layered menu with this picture as the background,
with no layers visible.
• Adds a link from the new button to the new menu.
Create Layered Submenu
Dragging a Multiple-Layer Still Picture to a Button
The following options appear in the Drop Palette:
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Drop Palette options Actions
Once set, you can enable layers for the new menu in the Menu
Inspector.
• Creates a new standard menu with this picture as the background,
with no layers visible.
• Adds a link from the button to the new menu.
Create Standard Submenu
(default option)
Once set, you can enable layers for the new menu in the Menu
Inspector.
• Creates a new layered menu with this picture as the background,
with no layers visible.
• Adds a link from the button to the new menu.
Create Layered Submenu
Dragging Multiple Still Pictures (or a Folder) to an Empty Area
The following option appears in the Drop Palette:
Drop Palette options Actions
• Creates a button at this menu location.
• Creates a new slideshow.
• Adds a link from the new button to the new slideshow.
• Sets the slideshow’s End Jump setting to this menu.
Create Button and Slideshow
(default option)
Dragging Multiple Still Pictures (or a Folder) to a Button
The following option appears in the Drop Palette:
Drop Palette options Actions
• Creates a new slideshow.
• Adds a link from the button to the new slideshow.
• Sets the slideshow’s End Jump setting to this menu.
Create Slideshow (default
option)
Drop Palette for Layered Menus—Dragging Project Elements
The following section lists the choices in the Drop Palette that appear when you drag
project elements from the Outline or Graphical tab to an empty area or a button in a
layered menu.
Dragging an Existing Track to an Empty Area
The following options appear in the Drop Palette:
Chapter 15 Creating Menus Using the Layered Method 353
Drop Palette options Actions
• Creates a button at this menu location.
• Adds a link from the new button to the first marker of the track.
• Sets the track’s End Jump setting to this menu (if it has not
already been set).
Create Button (default option)
• Creates a button on this menu to link to the first of the new
chapter index menus.
• Creates one or more new chapter index menus (using the
standard method), depending on the number of markers and
the button layout used.
• Opens the Choose Template or Layout Style dialog so you can
choose the template or layout style to use for the chapter index
menus.
• Links each chapter marker from the track to buttons in the
chapter index menus.
• Assigns the video from each marker to its button’s thumbnail.
• Sets the track’s End Jump setting to this menu (if it has not
already been set).
Create Button and Chapter Index
Dragging an Existing Track to a Button
The following options appear in the Drop Palette:
Drop Palette options Actions
• Adds a link from the button to the first marker of the track.
• Sets the track’s End Jump setting to this menu (if it has not
already been set).
Connect to Track (default option)
• Links the button to the first of the new chapter index menus.
• Creates one or more new chapter index menus (using the
standard method), depending on the number of markers and
the button layout used.
• Opens the Choose Template or Layout Style dialog so you can
choose the template or layout style to use for the chapter index
menus.
• Links each chapter marker from the track to buttons in the
chapter index menus.
• Assigns the video from each marker to its button’s thumbnail.
• Sets the track’s End Jump setting to this menu (if it has not
already been set).
Create Chapter Index
Dragging a Story to an Empty Area
The following option appears in the Drop Palette:
354 Chapter 15 Creating Menus Using the Layered Method
Drop Palette options Actions
• Creates a button at this menu location.
• Adds a link from the new button to the story.
Create Button (default option)
Dragging a Story to a Button
The following option appears in the Drop Palette:
Drop Palette options Actions
Connect to Story (default option) • Adds a link from the button to the story.
Dragging a Slideshow to an Empty Area
The following options appear in the Drop Palette:
Drop Palette options Actions
• Creates a button at this menu location.
• Adds a link from the new button to the slideshow.
• Sets the slideshow’s End Jump setting to this menu (if it has not
already been set).
Create Button (default option)
• Creates a button on this menu to link to the first of the new
chapter index menus.
• Creates one or more new chapter index menus (using the
standard method), depending on the number of slides and the
button layout used.
• Opens the Choose Template or Layout Style dialog so you can
choose the template or layout style to use for the chapter index
menus.
• Links each slide from the slideshow to buttons in the chapter
index menus.
• Assigns the picture from each slide to its button’s thumbnail.
• Sets the slideshow’s End Jump setting to this menu (if it has not
already been set).
Create Button and Chapter Index
Dragging a Slideshow to a Button
The following options appear in the Drop Palette:
Chapter 15 Creating Menus Using the Layered Method 355
Drop Palette options Actions
• Adds a link from the button to the slideshow.
• Sets the slideshow’s End Jump setting to this menu (if it has not
already been set).
Connect to Slideshow (default
option)
• Links the button to the first of the new chapter index menus.
• Creates one or more new chapter index menus (using the
standard method), depending on the number of slides and the
button layout used.
• Opens the Choose Template or Layout Style dialog so you can
choose the template or layout style to use for the chapter index
menus.
• Links each slide from the slideshow to buttons in the chapter
index menus.
• Assigns the picture from each slide to its button’s thumbnail.
• Sets the slideshow’s End Jump setting to this menu (if it has not
already been set).
Create Chapter Index
Dragging a Menu to an Empty Area
The following option appears in the Drop Palette:
Drop Palette options Actions
• Creates a button at this menu location.
• Adds a link from the new button to the menu.
Create Button (default option)
Dragging a Menu to a Button
The following option appears in the Drop Palette:
Drop Palette options Actions
Connect to Menu (default • Adds a link from the button to the menu.
option)
Dragging a Script to an Empty Area
The following option appears in the Drop Palette:
Drop Palette options Actions
• Creates a button at this menu location.
• Adds a link from the new button to the script.
Create Button (default option)
Dragging a Script to a Button
The following option appears in the Drop Palette:
Drop Palette options Actions
Connect to Script (default • Adds a link from the button to the script.
option)
356 Chapter 15 Creating Menus Using the Layered Method
Adding menu transitions and creating menus for multiple languages are advanced features
that can add value to your DVD project.
Menu transitions are short video clips that play at the beginning of a menu (intro clips)
and when buttons are pressed (transition clips). There are several approaches you can
take to add these clips to your project.
You can also configure a menu to support up to 16 different languages. By assigning
different backgrounds, overlays, audio, and text to each menu’s language, you can create
a DVD that supports a wider audience.
This chapter covers the following:
• Adding Intro and Transition Clips to Menus (p. 357)
• Using Languages with Menus (p. 364)
Adding Intro and Transition Clips to Menus
You can make the DVD viewing experience more polished by adding short video clips
that play at the beginning of a menu (intro clips) and when buttons are pressed (transition
clips).
Using Menu Intro Clips
Menu intro clips are most effective when they build up to the menu’s background video.
For example, if the menu’s background is a shot of a building with buttons in its windows,
you could have an intro clip that fades up from black to the shot of the building, and
then has the button elements fly in from off the screen and take their place in the windows.
357
Using Advanced Menu Features 16
There are three approaches you can take to create a menu intro effect:
• Combine the intro clip with the menu’s background video: This method guarantees a
seamless transition between the intro clip and the original menu’s background. The
Menu Editor includes a Loop Point setting that you can use to control where the menu
jumps to when its playback is looped. This allows you to configure the intro clip to play
only the first time a menu’s background plays. The loop point also controls when the
button highlights appear. Because button highlights cannot move, you would not want
them visible during the intro while the button elements are moving. See About the
Motion Settings for more information.
A disadvantage of this mode is that, unless you use a simple script, the menu’s intro
must play each time the menu is accessed because you cannot jump directly to the
menu’s loop point. (See Jumping to a Menu’s Loop Point for an example of the script.)
• Configure the intro clip as its own menu: To do this, you need to create a menu and
assign the intro clip as its background. You also need to set the menu’s At End setting
to Timeout, enter 0 as the Sec, and set the Action to be the menu this intro clip is for.
Whenever you want to jump to the original menu, you can jump to this intro menu
instead—the intro menu will automatically jump to the original menu once its intro
clip plays.
The advantage of this method is that, because you are jumping from one menu to
another menu, the disruption during that jump time should be minimal. (By default,
all menus are stored in the same general area on a DVD disc, making it easier for the
DVD player to jump between them. Additionally, you can use the VTS Editor to ensure
the two menus are next to each other.) Another advantage is that you can choose
whether to jump to the intro menu or to jump directly to the original menu, avoiding
forcing the viewer to watch the intro menu multiple times.
• Configure the intro clip as its own track: To do this, you need to create a track and add
the intro clip to its V1 video stream. The only configuration you need to do is to set
the track’s End Jump setting to the original menu.
Whenever you want to jump to the original menu, you can jump to this intro track
instead—the intro track will automatically jump to the original menu once its intro clip
plays.
About Button Transition Clips
Button transition clips provide the opposite effect of the menu intro clip—they provide
a transition from the menu background’s buttons to the element (a track or another
menu) that the menu’s button is connected to. Using the same example used for the
intro clips (a shot of a building with buttons placed in its windows), the transition clip
could have the button elements fly off the screen and then fade the shot of the building
to black.
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You can use the menu transition feature to automatically create the transition clips or
you can manually create button transition clips.
Using the Menu Transition Feature
The menu transition feature makes it easy to automatically create transition clips for all
buttons on a menu. You define a transition in the Menu Inspector that is then applied to
all buttons and the timeout action (if set). By default, each button is set to use the menu’s
transition settings; however, you can modify or disable the settings for each button.
Transition settings include:
• Transition (crossfade, wipe, and so on)
• Specific parameters based on the transition type (duration, direction, and so on)
• Alternative start and end video
The menu transition feature can be used with standard and layered menus.
Important: Be aware of the aspect ratio and resolution of the button’s target when
configuring transitions. All transitions from a menu are based on the menu’s aspect ratio
and resolution. Depending on the type of monitor a viewer is using, if the button’s target
uses a different aspect ratio or transition, there may be a noticeable glitch when the
monitor switches from the menu’s settings to the button target’s settings.
Chapter 16 Using Advanced Menu Features 359
About the Transition Types
DVD Studio Pro includes a variety of Standard and Alpha Transitions you can use with
your menus. These same transitions are available in slideshows and tracks with still images.
Menus also allow you to specify a video clip to use in place of the Standard Transitions.
Disables default
transitions for this menu.
Standard Transitions
Video Transition
Alpha Transitions
Alpha Transitions
DVD Studio Pro includes several Alpha Transitions. These transitions use short video clips
to produce a transition from the current picture to the new picture. These transitions,
indicated with the Greek letter alpha in front of their name, have no settings other than
a duration.
Additionally, you can even create and import your own Alpha Transitions. See Preparing
Alpha Transitions for details on the process.
Standard Transitions
When you choose a Standard Transition from the Transition pop-up menu in the Transition
tab in the Menu or Button Inspector, DVD Studio Pro creates a short video clip to be used
as the transition.
360 Chapter 16 Using Advanced Menu Features
The transition clips use a start and end video frame, with the transition controlling how
the video changes from one to the other.
• The start frame: This is the menu with all buttons in the normal state. If the menu has
a video asset as its background, the loop point frame (or first frame, if the loop point
is not set) of the video is used as the start frame. The start frame also includes the
menu’s drop zones and text objects.
• The end frame: This is the first frame of the target the button is jumping to. If the button
jumps to a script, the end frame is black. If you change the button’s target, the end
frame automatically updates.
You are able to assign specific assets or colors as the start and end video frames in the
Menu and Button Inspectors. See Transition Tab in the Menu and Button Inspectors for
more information.
The transition clips that are created with the menu transition feature are rendered as part
of the build process. They are placed in the same video title set (VTS) file as the menus.
When authoring a project that will fill the DVD disc, you must take into account that a
transition video clip is rendered for each menu button that has transitions enabled—a
menu with 18 buttons can require 18 transition video clips. This can have a significant
impact on the amount of disc space the menus require. See Transitions for more
information.
Video Transitions
When you choose Video Transition from the Transition pop-up menu in the Transition
tab in the Menu or Button Inspector, you can assign a short video clip to be used as the
transition clip.
Adding Button Transitions to a Menu
You can set a default transition for the menu. This transition is applied to all buttons.
To set a transition for a menu
1 Select the menu in the Outline tab, the Graphical tab, or from the Menu Editor’s View
pop-up menu.
2 Click the Transition tab in the Menu Inspector.
3 Choose either a Standard Transition or the Video Transition from the Transition pop-up
menu.
You can choose “not set” to disable default transitions for this menu. (You can still
configure individual buttons to use transitions.)
4 Configure the transition using its specific parameters.
Once you have configured the menu’s transition, you can modify or disable it at each
button.
Chapter 16 Using Advanced Menu Features 361
To modify a button’s transition
1 Select the button to be modified.
2 Click the Transition tab in the Button Inspector.
The Transition setting shows “Same as Menu” by default.
3 Choose the transition to use from the Transition pop-up menu.
You can choose “not set” to disable transitions for that button.
4 Configure the transition using its specific parameters.
Transition Tab in the Menu and Button Inspectors
The Transition tabs in the Menu and Button Inspectors are identical—the only difference
is that the Transition pop-up menu in the Button Inspector has a “Same as Menu” choice
that the Menu Inspector does not have.
• Start thumbnail: Shows the video frame that a still transition will start from.
• Transition thumbnail: Provides a preview of a still transition when you click the Preview
button, or a preview of a video transition when you click the Play button.
• End thumbnail: Shows the video frame that a still transition will end with. This thumbnail
is empty in the Menu Inspector unless you have used the End pop-up menu to specify
an ending frame.
• Transition: Choose the transition to use. In the Menu Inspector, this sets the default
transition for this menu, which you can override at each button.
• not set: Disables transitions for this menu or button.
• Standard Transition: Creates a transition clip based on the Standard Transitions
supplied with DVD Studio Pro.
362 Chapter 16 Using Advanced Menu Features
• Video Transition: Uses a video clip you assign to create a transition. See About the
Transition Types for more information.
• Same as Menu: Only available in the Button Inspector. Sets the current button to use
the transition settings in the Menu Inspector.
• Preview: Click this to preview the current transition in the Transition thumbnail area.
• Parameters area: Contains the parameters, including the duration, for the current
transition. Each transition has its own set of parameters.
• Start: Choose the start frame for the transition to use.
• With Default: The start frame is the menu’s background.
• With Solid Color: You are able to choose a color to use as the start frame.
• With Stills and Videos: You are able to choose a specific asset to use as the start frame.
In the case of videos, an Offset setting appears that allows you to choose the video
frame to use.
• End: Choose the end frame for the transition to use.
• With Default: The end frame is the menu’s background.
• With Solid Color: You are able to choose a color to use as the end frame.
• With Stills and Videos: You are able to choose a specific asset to use as the end frame.
In the case of videos, an Offset setting appears that allows you to choose the video
frame to use.
Transition Parameters
Each transition has its own parameters. In many cases, the settings are self-explanatory;
however, in some cases, the settings are not obvious. See Transition Parameters for details
on the parameters for each transition.
Manually Creating Button Transition Clips
Transition clips are inserted between the button and the button’s connection. While a
menu’s intro clip plays when you jump to the menu, button transitions play when you
activate a specific button. If you have eight buttons on a menu and want the transition
clip to play when each button is activated, you have to create a separate transition clip
for each button because the end of the transition clip needs to jump to the button’s
actual connection.
Chapter 16 Using Advanced Menu Features 363
There are two approaches you can take to create the button transition effect:
• Configure the transition clip as its own menu: To do this, you need to create a menu and
assign the transition clip as its background. You also need to set the menu’s At End
setting to Timeout, enter 0 as the Sec, and set the Action to be the element that the
button originally connected to. Then you need to change the original menu’s button
connection to this transition menu.
The advantage of this method is that, because you are jumping from one menu to
another menu, the disruption during that jump time should be minimal. (All menus
are stored in the same general area on a DVD disc, making it easier for the DVD player
to jump between them.)
• Configure the transition clip as its own track: To do this, you need to create a track and
add the transition clip to its V1 video stream. The only configuration you need to do is
to set the track’s End Jump setting to the element that the button originally connected
to, and to change the original menu’s button connection to this transition track.
Using Languages with Menus
You can configure a menu to support up to 16 different languages. When the DVD first
starts playing, it checks the menu language setting of the DVD player and automatically
displays the corresponding menu (if a menu for that language is available) or the menu
for the first language available (if there is no language match).
The Outline tab lists the languages you have added to the project in the Languages
section. The languages you see there are used to determine only which menus to display
and have no effect on the stream settings within the tracks. By default, one language,
based on the Default Language setting in the Project pane of DVD Studio Pro Preferences,
appears in the Outline tab.
You do not actually create different menus for each language—you simply assign separate
background, overlay, and audio (if applicable) files to each language. You can also change
the text in any text objects and buttons. These three files and the text changes are the
only differences between the languages. Button active areas, links, and all other menu
settings are exactly the same for each language.
Note: Because the start frames of transitions are based on the menu’s background video,
separate transition clips are rendered for each language that uses a different background
video.
364 Chapter 16 Using Advanced Menu Features
Creating and Configuring Menu Languages
There are two approaches you can take to configure menus for multiple languages:
• Create the primary language’s menu first, and then create the alternate languages in the
Outline tab: When you create the menu languages after you have created the primary
menu, all of the primary menu attributes are applied to all language versions of the
menu, including those that can be different between the languages. This makes it easier
to configure the menus for the other languages, especially if you are not changing
much between the different languages.
• Create the languages first, and then create the menus: When you create the languages
first, the menus all start out empty. Anything you apply to one of the menus that is not
language-specific gets applied to all versions of the menu. If you apply an item that is
language-specific—for example, you create a text object—a text object is created on
all versions of the menu, but only the menu you created it on will have the text and
text attributes (font or color). This can require more effort because you have to set not
only the text, but its attributes for each version of the menu. (If you had created the
primary menu first, all of the other versions would have the text object with its font
and color—all you would need to do would be type the new text.)
Most often you will find yourself using a mixture of these methods. For example, you
might create the languages and menus, and then find you need to add an additional
language. The menu configurations for the new language will match the primary menu
settings.
Adding Menu Languages
You can use the Outline tab’s shortcut menu to create menu languages.
To create menu languages
Do one of the following:
μ Choose Project > Add to Project > Language, or press Command-Slash (/).
μ Control-click in the Outline tab, choose Add from the shortcut menu, then choose
Language from the submenu.
The new language appears in the Outline tab under the Languages heading. By default
it is named “English _,” with “_” being the number of the language. The General pane in
DVD Studio Pro Preferences contains a project default language setting that you can use
to define the default language. See General Preferences for more information.
Important: For every language you add, DVD Studio Pro creates a new menu for each
menu in your project. This is true whether or not you assign different backgrounds to
each language. For projects with a lot of motion menus, these additional menus can take
up a significant amount of space on the DVD.
Chapter 16 Using Advanced Menu Features 365
Configuring Menu Languages in the Outline Tab
You can use the Outline tab to configure the menu languages.
To configure menu languages using the Outline tab
1 Click the triangle next to Languages to display the available languages. There should be
at least one entry.
2 Select the language entry to open the Language Inspector.
3 Choose a language from the Language Code pop-up menu. This is the language that this
language element should map to on the DVD player when the title plays.
4 If desired, enter a new name in the Language Name area. This is the name that you will
see when configuring your menus. By default, it changes to match the name of the
language selected in the Language Code pop-up menu. This name is not seen by the
viewer; it is strictly for your use while configuring menus.
5 To remove a language, select it in the Outline tab and press the Delete key.
Setting Up Menus for the Languages
Once you have created and configured your languages, you can configure their menus.
To do this, you need to have created and imported all assets (backgrounds, overlays, and
audio streams) that will be used for the different languages.
To configure a menu for a language
1 Select a menu. It does not have to be fully configured yet. Keep in mind that all settings
(with the exception of the background, overlay, audio file, and text) are shared among
all languages.
2 Do one of the following to choose a language to configure:
• Choose the language from the Language pop-up menu in the Menu tab in the Menu
Inspector.
• Choose the language from the Menu Editor’s language pop-up menu, next to the View
pop-up menu.
3 Select the background file, overlay file, and audio file to use for this language. You can
use the same file for multiple languages.
Note: These files must be compatible (the same format, resolution, and, in the case of
audio, the same bit rate, sample size, and sample rate) between all language versions of
the menu.
366 Chapter 16 Using Advanced Menu Features
4 If desired, change the text in any text objects and buttons to what you want to appear
for that language. You can also change the font and color for each language.
5 Select any additional languages and set their asset files and text as you like.
When you choose a language that you have already configured with alternate assets, the
menu’s assets and text change to match those settings.
Chapter 16 Using Advanced Menu Features 367
The main content of a DVD project is contained in tracks, which hold pieces of video,
audio, and subtitles that play as a unit.
This chapter covers the following:
• About Track Limits in a DVD (p. 370)
• Working with a Track’s Assets (p. 370)
• How Many Tracks Should You Have? (p. 371)
• About Subtitle Streams (p. 371)
• DVD Studio Pro Tools for Working with Tracks (p. 371)
• Creating Tracks (p. 372)
• Opening Tracks (p. 373)
• Setting Track Properties (p. 373)
• About the Track Editor (p. 377)
• Configuring the Track Editor (p. 377)
• Understanding Time Information in the Track Editor (p. 380)
• Supported Asset Types (p. 384)
• Adding Video and Audio Assets (p. 386)
• Editing Video and Audio Clips (p. 390)
• Setting Stream Properties (p. 392)
• Exporting an MPEG Clip (p. 393)
• Working with Markers (p. 393)
• About Marker Placement (p. 394)
• Creating and Editing Markers (p. 395)
• Adding Markers to a Track Without a Video Clip Assigned (p. 397)
• Importing Markers from an Editor (p. 397)
• Importing Markers from a Text List (p. 399)
369
Creating and Editing Tracks 17
• About the Marker Types (p. 399)
• Setting Marker Properties (p. 401)
• Introduction to Stories (p. 403)
• Creating a Story for a Track (p. 404)
• Using the Story Editor (p. 404)
• Setting Story Properties (p. 405)
• Setting Story Entry Properties (p. 407)
• Simulating a Story (p. 407)
• Adding Alternate Video Streams (p. 408)
• Using Still Clip Transitions (p. 410)
• Viewing a Track (p. 413)
About Track Limits in a DVD
A DVD can have a combination of up to 99 tracks, stories, and slideshows. Each track can
contain up to:
• 9 video streams, used as angles or alternate video
• 8 audio streams for different soundtracks
• 32 subtitle streams for alternate text, alternate languages, or buttons over video
• 99 chapter markers used primarily to define points in the track that can be jumped to
• 255 cell markers used for a variety of purposes, such as button highlights and
DVD@CCESS (this includes chapter markers, which are also cell markers)
• 98 stories (assuming there are no other tracks or slideshows), each defining an alternate
track playback by treating each chapter marker as a clip that can be moved or skipped
as needed
Working with a Track’s Assets
You can add multiple video or audio assets to each stream in a track. You can even trim
each asset’s start and end points to choose the parts of it you want to use. While this
allows for a lot of flexibility when creating your tracks, it is not a substitute for using a
video editing application, such as Final Cut Pro, to edit the clips into an asset to add to
your project.
370 Chapter 17 Creating and Editing Tracks
You need to use a video editing application to add effects such as dissolves, wipes, and
keys to the video. With this kind of editor, you can precisely choose each clip’s start and
end points—the trimming capability of DVD Studio Pro is restricted to Group of Pictures
(GOP) boundaries only, making it much harder to trim a clip exactly where you would
like. Also, DVD Studio Pro can’t mix multiple audio assets together as you can with an
editor.
How Many Tracks Should You Have?
Depending on your intended result, your project may have one long track, or you may
choose to divide your material into multiple tracks that can be played separately or linked
together.
For example, if you are working on a long project that you expect the viewer to watch
from beginning to end, using one long track is the best option. This eliminates any pauses
that the viewer may encounter while the DVD player jumps from one track to another.
Even if your project contains several independent segments that the viewer would not
watch one after the other, you can still use a single track and set actions on the markers
to break the track into the smaller segments. Or, you can create separate tracks for each
segment—whichever method is easiest for you to manage.
In some cases, such as a track with a mixture of still images and motion clips, you may
need to use multiple tracks to work around the 99 chapter marker-per-track limit.
If you think you may need to replace some segments in your project later on—for example,
to customize for various countries or to update outdated sections—you may find it easier
to replace these segments if they are separate tracks.
About Subtitle Streams
Subtitles can be created in the Track Editor, or they can be imported from other
applications. They can be used to overlay dialogue text over the video stream, or to
overlay simple graphics. Subtitles can also be used to place buttons over the video; the
viewer can select these buttons just as they would on a menu.
See Creating Subtitles for information on working with subtitles.
DVD Studio Pro Tools for Working with Tracks
DVD Studio Pro provides two primary tools for configuring your tracks: the Track Inspector
and the Track Editor.
• The Track Inspector contains general track settings, such as its aspect ratio, what happens
when the track finishes, the remote control settings, and DVD@CCESS settings.
Chapter 17 Creating and Editing Tracks 371
• The Track Editor is where you add and manage your video and audio assets, as well as
your subtitles. You can also add markers for use as chapter points and other functions.
There is also a Marker Inspector you use when working with markers and a Clip Inspector
you use when working with individual clips within a track.
Note: An asset used within a track is considered a clip. This distinguishes what is used in
the track (which may be just a part of the asset) from the original asset.
Together, these powerful tools allow you to make the tracks into exactly what you need.
Creating Tracks
There are several methods you can use to create a track. Once it has been created, you
can open it in the Track Editor, using the controls there and in the Track Inspector to
configure it.
By default, a new project contains one menu and one track. Depending on your project,
you will probably want to add additional tracks. There are several ways to add a track to
your project.
To create a track
Do one of the following:
μ Drag a video asset or a video/audio asset pair to the Menu Editor and choose an option
that creates a new track from the Drop Palette. You can drag the assets from the Assets
tab, the Palette, or a Finder window. See Options in the Drop Palette for Standard Menus
and Options in the Drop Palette for Layered Menus for details on the options in the Menu
Editor’s Drop Palette.
In all cases, a track is created with the video placed in the V1 stream and the audio (if
used) placed in the A1 stream. The track has the same name as the video asset.
μ Drag a video asset or a video/audio asset pair to an empty area of the Outline or Graphical
tab. You can also drag the assets to the disc name or the Tracks heading.
In all cases, a track is created with the video placed in the V1 stream and the audio (if
used) placed in the A1 stream. The track has the same name as the video asset.
Dragging a video or video/audio asset pair to an existing track in the Outline or Graphical
tab appends the assets to the track’s existing assets.
μ Convert a slideshow to a track. The still images and audio are added to the track’s V1 and
A1 streams. See Converting a Slideshow to a Track for slideshow details.
μ Click Add Track in the toolbar. Each track created this way is empty.
μ Press Command-Control-T. This also creates an empty track.
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Opening Tracks
To configure a track, you need to open it in the Track Editor. You can select the track you
want to work with in the Outline tab, the Graphical tab, or the Track Editor.
To open a track in the Track Editor
Do one of the following:
μ Double-click the track you want to configure in the Outline or Graphical tab.
μ Choose the track from the Track Editor’s Track pop-up menu. The track appears in the
Track Editor and the Track Inspector changes to display its properties.
Setting Track Properties
The Track Inspector contains a top section and four tabs: General, Other, User Operations,
and Transition.
Settings at the Top of the Track Inspector
There are three settings at the top of the Track Inspector.
• Name: Enter the name for the track. If a track is created because a video asset was
dragged to the Menu Editor, the Outline tab, or the Graphical tab, it is automatically
named the same as the video asset. In other cases, the track is named “Track _” where
“_” is the next available number.
• Est. Size: Shows the approximate amount of disc space the track will require. This takes
into account all of the assets assigned to the video, audio, and subtitle streams.
• End Jump: Choose the element to jump to once the track finishes playing. If you don’t
make this selection, the DVD player will be unable to continue playing the title when
it reaches this point. If the track was created by dragging an asset to the Menu Editor,
the End Jump is automatically set to jump back to that menu.
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General Tab in the Track Inspector
The General tab in the Track Inspector contains the following settings.
• Resolution: Choose the track’s resolution.
• For SD projects: The resolution is either 720 x 480i (NTSC) or 720 x 576i (PAL).
• For HD projects: You can choose from any of the supported resolutions, as long as
no video assets have been assigned to the track. You cannot change the resolution
once a video asset has been assigned to the track. (You can change the resolution
if the track only contains still assets.) The resolution automatically changes to match
the track’s V1 stream video resolution if it matches one of the supported resolutions.
DVD Studio Pro Preferences includes a setting for the default resolution (which also
applies to menus and slideshows).
• Display Mode: Set the aspect ratio for this track (4:3 or 16:9), and with 16:9, choose how
it displays on a 4:3 monitor. The aspect ratio of the video assets must match this setting.
• Pre-Script: The script you choose in this pop-up menu will run as soon as the track is
selected. The script determines whether to play the track or configure the DVD player
before playing it. See Creating Scripts for information on scripts.
• Wait: You can set how long the DVD player shows the last frame of the track’s video
before exercising the End Jump setting.
• None: Immediately jumps to the End Jump setting.
• Seconds: Shows the track’s last frame for the number of seconds you enter.
• Infinite: Shows the track’s last frame indefinitely.
• Remote Control: Use these pop-up menus to set what happens when the viewer uses
the remote control buttons on the remote control. See Remote Control Settings for
more information.
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• Display Condition: Select this checkbox to set display conditions to control whether
this track should appear or not, and to define what should appear if not this track. See
Display Condition for more information. Select the Apply to Stories checkbox to also
have these display conditions apply to stories based on this track.
Other Tab in the Track Inspector
The Timestamps settings in the Other tab in the Track Inspector applies to both SD and
HD projects. The other settings in the tab apply only to SD projects.
• Timestamps: Shows the start timecode of the first video asset in the V1 stream. You
can also enter a track offset that is used in place of the first video asset’s timecode
when you choose Asset-Based Timecode in the Track Editor. See Timecode in the
Timeline for more information.
• Reset: Click to change the track offset back to 00:00:00:00, allowing the first asset start
time to be used for the timeline (if you are using asset-based timecode in the Track
Editor).
• Closed Caption: SD projects only. Use these settings to assign a closed caption file to
this track. See Line 21 Settings for Closed Captions for more information.
• Macrovision: SD projects only. This setting allows you to override the disc’s Macrovision
copy-protection settings for this track. If you have not enabled the Macrovision settings
for the disc in the Disc Inspector, setting this to one of the three types automatically
enables Macrovision for the disc. See About the Macrovision Settings for more
information.
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User Operations Tab in the Track Inspector
The User Operations tab is the same as those in other DVD Studio Pro Inspectors, and is
discussed in User Operations.
Transition Tab in the Track Inspector
The Transition tab is the same used in the Clip Inspector when a still clip is selected. See
Transition Tab in the Track and Clip Inspectors for details on the Transition tab.
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About the Track Editor
The streams are the heart of the Track Editor. In these parallel areas, you define the video,
audio, and subtitle assets to be used in your tracks, and their relationship to one another.
Drag the separator bars
to set how many video,
audio, and subtitle
streams appear.
Displays the track’s time
and marker information.
Scroll through the timeline
to view different parts.
The left side of the Track Editor contains the controls to configure the streams.
Choose the track to view
in the Track Editor.
Use these controls
to configure the streams.
Select the height
of the streams.
Set the timeline
zoom amount.
Within the Track Editor, timescales provide different ways to obtain timing information
about the tracks. See Understanding Time Information in the Track Editor for more details.
Configuring the Track Editor
You can configure the Track Editor to suit your needs. You can set the size of the streams,
how many of each stream type appear, and the timeline zoom amount.
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Viewing the Streams
A track can contain up to 49 streams total, but viewing this many streams at once requires
some effort. It’s unlikely that you’ll need to view more than ten streams at once; depending
on the types of projects you create, you may use only two or three streams. There are
three ways to control how many streams appear.
• You can change the size of the Track Editor’s quadrant. You can even drag the Track
tab into its own window. See Working with the Quadrants for more information.
• You can use the Track Editor’s separator bars to control how many of each stream type
appear. For example, if you do not plan to add subtitles, you can hide the subtitle
stream area by dragging the separator bar above the subtitle area to the bottom of
the window.
• You can select a different stream height. This changes the height of the streams as they
appear in the Track Editor. This can be useful if you want to see larger or smaller
thumbnails of the video at the markers.
Using the Stream Configuration Buttons
The Track tab includes a set of controls that you can use to quickly change which streams
appear. The size of the Track tab determines how many streams appear.
To choose which streams appear
Do one of the following:
μ Click the video icon to show only video streams.
μ Click the audio icon to show only the V1 stream and the audio streams.
μ Click the subtitle icon to show only the V1 stream and the subtitle streams.
Click to show
the video streams
in the Track Editor.
Click to show the
V1 and audio streams
in the Track Editor.
Click to show the
V1 and subtitle streams
in the Track Editor.
If you select more than one of these views at the same time, the separator bars move to
show as many of the selected streams as possible. Once you select one of these views,
you can drag the separator bars to customize the stream types that are displayed.
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Setting the Timeline Zoom
The Track tab contains a zoom control you can use to expand or contract the timeline.
When working with large projects, you often need to be able to expand the timeline in
order to set a marker or insert a subtitle. Using the zoom control in conjunction with the
scroller at the bottom of the timeline allows you to configure the timeline so that it
provides enough detail to work with.
Drag the ends of the
scroller to zoom in
or out.
Drag the timeline scroller
to select the part to view.
Drag to the right to zoom
out or to the left
to zoom in.
To use the zoom control
Do one of the following:
μ Drag it to the right to zoom out, showing more of the timeline. If the playhead is not
visible, the timeline scroller automatically jumps to a position that does show it.
μ Drag it to the left to zoom in, showing less of the timeline but more detail in the part that
shows. If the playhead is not visible, the timeline scroller automatically jumps to a position
that does show it.
Hold down the Shift key while dragging the zoom control to prevent the scroller from
automatically changing its position to show the playhead.
You can also set the timeline zoom using keyboard shortcuts.
To zoom using keyboard shortcuts
Do one of the following:
μ Press Command-Hyphen (-) to zoom out on the timeline. If the playhead is not visible,
the timeline scroller automatically jumps to a position that does show it.
μ Press Command-Shift-Hyphen (-) to zoom out without moving the scroller to show the
playhead.
μ Press Command–Equal Sign (=) to zoom in on the timeline. If the playhead is not visible,
the timeline scroller automatically jumps to a position that does show it.
μ Press Command–Shift–Equal Sign (=) to zoom in without moving the scroller to show
the playhead.
μ Press Shift-Z to zoom the timeline out to its maximum.
μ Press Shift-Option-Z to fit the currently selected clip into the Track tab.
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Understanding Time Information in the Track Editor
There are a variety of time-related elements that appear in the Track Editor. Some only
display time information while others allow you to change the information. The time
values help you identify the position of markers, clips, the playhead, and the pointer
within the video, audio, and subtitle streams.
Displays the pointer
position within the
stream or marker area.
Shows the playhead’s
position, and can be
used to move it.
Drag the playhead along
the timeline to view a
different part of a stream
in the Viewer tab.
The timeline’s timecode
Sets the start and end
time of the selected
clip with respect to
the timeline.
Timecode in the Timeline
The timeline’s timecode is continuous throughout the track. You can choose from two
sources for the timecode: zero-based and asset-based.
• Zero-based timecode: This timecode starts the timeline at 00:00:00:00. You cannot
change the zero-based timecode, and the assets assigned to the V1 stream do not
affect it.
• Asset-based timecode: This timecode can be based either on the timecode of the first
clip on the V1 stream or on a value you enter in the Track Inspector.
To choose the timeline’s timecode source
Do one of the following:
μ Choose View > Timescale > Zero-Based Timecode or View > Timescale > Asset-Based
Timecode.
μ Control-click in the timeline, then choose either Zero-Based Timecode or Asset-Based
Timecode from the shortcut menu.
Control-click in the
timeline to choose the
timecode source.
The pointer position, playhead, and start and end timecode values change to match the
timecode source you choose.
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If you choose the asset-based timecode source, you can also choose whether to use the
clip’s timecode or a value you enter.
To configure the asset-based timecode source
1 Choose Asset-Based Timecode as the timecode source for the Track Editor’s timeline.
2 Click the Other tab in the Track Inspector. If the Inspector is not showing the track
properties, select the track’s name in the Outline tab, its tile in the Graphical tab, or click
an empty area in any of the Track Editor streams.
3 Do one of the following:
• To use the timecode from the first clip in the V1 stream: Click the Reset button. This sets
the Track Offset value to 00:00:00:00, which forces the timeline to use the clip’s timecode.
• To set the timecode to start at a specific value: Enter a new timecode value in the Track
Offset field. The timeline’s first frame is set to this number.
Being able to force the timeline’s timecode to start at a specific value can be useful
whenever you are importing a marker list or subtitle file that is based on timecode different
from the zero-based or asset-based values.
Note: For NTSC projects, the type of timecode in the first asset—drop frame or non-drop
frame—determines the type of timecode for the timeline.
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Clip Start and End Timecode
Timecode start and end values appear when you select a clip (video, audio, or subtitle)
in one of the streams. These values indicate the position of the clip with respect to the
timeline’s selected timecode source. Depending on the stream, you can enter new start
values to reposition the clip or new end values to trim the clip’s size.
The currently selected
clip is darker than
the others.
Shows the clip’s timeline
timecode for its last
frame. You can trim
the clip by entering
a new End timecode.
Shows the clip’s timeline
timecode for its first
frame. You can move the
clip (on streams other
than video) by entering a
new Start timecode.
See Editing Video and Audio Clips for more information.
Playhead
The playhead provides a visual indication of what part of the track is currently playing in
the Viewer tab. When you play the track, the playhead moves along the track’s timeline.
It also provides a way to scroll across the timeline and see the video in the Viewer tab.
The playhead is in the timeline’s timecode area. With new tracks, the playhead is located
at the track’s start.
The playhead
at the track start
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A playhead icon appears in the timeline scroller area to let you know where it is relative
to the part of the timeline being shown, which is useful if you cannot see the playhead
in the Track Editor. For example, if the playhead icon appears to the left of the scroller,
that means the playhead is at a point in time before the clips currently visible in the
timeline.
The playhead appears
in the timeline’s scroller.
Positioning the Playhead by Dragging
You can drag the playhead along the timeline to see the video (and subtitle, if applicable).
This is useful when placing markers because it allows you to see the actual video frame.
As you drag the playhead along the timeline, the timecode of its current position appears
in the playhead timecode entry. A line extends across all of the streams, indicating the
playhead position.
The playhead’s current
timecode appears here
when you drag the
playhead.
You can also click anywhere in the timeline to move the playhead to that position and
have the video at that position appear in the Viewer tab. Playback starts at this point if
you click the Play button in the Viewer tab.
Positioning the Playhead by Using Keyboard Shortcuts
There are a number of keyboard shortcuts that you can use to position the playhead.
• Left Arrow and Right Arrow keys: Move the playhead one frame at a time.
• Shift–Left Arrow and Shift–Right Arrow keys: Move the playhead one second at a time.
• Option–Left Arrow and Option–Right Arrow keys: Move the playhead one GOP at a time.
• Control–Left Arrow and Control–Right Arrow keys: Move the playhead to the next marker.
• Command–Left Arrow and Command–Right Arrow keys: Move the playhead to the start
or end of the selected clip.
Chapter 17 Creating and Editing Tracks 383
• Up Arrow and Down Arrow keys: Move the playhead to the next clip edge (includes all
clips in all streams) or marker.
• Home and End keys: Move the playhead to the start or end of the timeline.
See Keyboard Shortcuts for a complete list of keyboard shortcuts.
Positioning the Playhead by Entering a Timecode Value
You can also set the playhead’s position by entering a timecode value in the playhead
position entry. The playhead jumps to its new position.
Enter a timecode to
move the playhead to.
See About the Viewer Tab for more information on using the Viewer tab.
Supported Asset Types
The Track Editor’s streams contain the video, audio, and subtitle assets. You can add one
or more assets to each stream. Each stream has several properties you can set, such as
its language and whether or not it is enabled.
See Creating Subtitles for information on working with the subtitle streams.
In addition to assets that are already DVD-compliant, you can add assets supported by
the DVD Studio Pro integrated MPEG encoder. These assets are encoded once they are
added to your project.
See Encoding Video Materials for DVD for information on supported video assets, Preparing
Audio Assets for information on supported audio assets, and Using the Integrated MPEG
Encoder for information on the assets the integrated MPEG encoder supports.
Video Assets for SD-Based DVD Video Streams
All video assets on an SD-based DVD stream must use the same aspect ratio (4:3 or 16:9),
the same video standard (PAL or NTSC), and the same MPEG type (SIF MPEG-1 or full D1
MPEG-2, for example).
Note: All QuickTime video assets you import into an SD project are encoded as full D1
MPEG-2 assets and can be mixed with still images in a video stream.
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About Segmented MPEG Files
The segmented MPEG files created by some third-party encoders do not import correctly
into DVD Studio Pro. Some encoders segment their large encoded files into 1 GB files.
When imported into DVD Studio Pro, only the first 1 GB segment is imported. You need
to combine the files into a single file before importing the asset into DVD Studio Pro.
There are several third-party applications that can be used to combine a segmented
MPEG file into a single file.
Video Assets for HD-Based DVD Video Streams
All assets on an HD-based DVD stream must use the same aspect ratio (4:3 or 16:9), the
same resolution, the same video standard (PAL or NTSC), and the same MPEG type
(MPEG-2/HDV or H.264).
All non-HDV and non-H.264 QuickTime video assets you import into an HD projects are
encoded as MPEG-2.
Note: Because HDV is actually HD MPEG-2, you can combine HDV assets with other HD
MPEG-2 assets, including those encoded from the integrated MPEG encoder, as long as
they are the same resolution.
Still Assets for Video Streams
You can add still images to a video stream to either manually create a slideshow or create
a stream with mixed motion and still video. Stills can be added to all SD and HD tracks
except those using SIF, 1/2 D1, cropped D1 MPEG-2, or H.264 format assets.
Still asset clips in a stream must each be at least 15 frames long for NTSC projects, or
12 frames long for PAL projects.
Note: To have still assets with shorter durations, you can edit them into a video asset
using an external video editor.
Still clips can have a transition added to their end. The transition controls what happens
at the end of the still clip—for example, you can configure it to dissolve or wipe to the
next clip, whether the next clip is a video or still clip. See Using Still Clip Transitions for
more information.
Assets for Audio Streams
All audio assets within a stream must be the same type (AC-3, AIFF, MPEG-1 layer 2, and
so on) with the same number of bits (16, 20, or 24), the same sample rate (48 kHz or
96 kHz), the same bit rate (when using compressed audio), and the same channel
configuration; for example, stereo or 5.1 surround. (The streams within a track do not
have to match each other—only the assets within a stream must match. For example,
the A1 stream can use AC-3 audio and the A2 stream can use AIFF audio.)
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Using AAC Audio Files from the iTunes Store
DVD Studio Pro is able to import and use AAC format audio files purchased from the
iTunes Store as long as the computer you are using them on is authorized to use them.
If you import iTunes Store files that the computer is not authorized to use, DVD Studio Pro
plays silence when it encounters those files. Additionally, if you select and try to play
an iTunes Store file that the computer is not authorized to play in the Audio tab in the
Palette, DVD Studio Pro plays silence.
Adding Video and Audio Assets
If you created your track by dragging either a video asset or a video/audio asset pair to
the Menu Editor, the Outline tab, or the Graphical tab, it already contains video and audio
clips. If you created your track using the Add Track icon in the toolbar, it will be empty.
In either case, you can add additional assets to the streams and even trim each clip’s start
and end points.
To add an asset to a stream
μ Drag the video or audio asset from the Assets tab, the Palette, or a Finder window to the
stream where you want to place it.
With the V1 stream, DVD Studio Pro automatically ensures there is always a clip at its
beginning (if one has been assigned), and there are no gaps between the clips. With the
other video streams, the clips can only be positioned at markers. Audio and subtitle clips
can be positioned anywhere on the stream and there can be gaps between them.
Adding Audio Assets Automatically
When you enable the “Find matching audio when dragging” setting in the Track pane in
DVD Studio Pro Preferences, audio assets are automatically added to a track when video
is added.
When you add a video asset to the V1 stream, DVD Studio Pro checks to see if there is an
audio asset with the same base name in the same folder. If there is, it is automatically
added to the A1 audio stream.
The start of the audio clip will be the same as the video clip. If any audio already exists
in the A1 stream where the new audio clip needs to go, it is trimmed or moved as
necessary.
Note: Hold down the Command key after you start dragging to temporarily override the
“Find matching audio when dragging” preferences setting.
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Adding AC-3 Audio Assets
AC-3 audio assets are the only DVD Studio Pro–supported audio asset type that actually
have embedded timecode. This can help when you want to maintain sync between the
video and audio.
To add an AC-3 asset using its timecode
μ Hold down the Option key, then drag the AC-3 audio file from the Assets tab to an audio
stream in the Track Editor.
Note: Because the file must be parsed to determine its embedded timecode, an AC-3
file’s timecode is only available when you drag it from the Assets tab, and not from the
Palette or a Finder window. Drag the AC-3 file to the Assets tab first and then from there
to the Track Editor.
When you add an AC-3 asset to an audio stream while holding down the Option key,
DVD Studio Pro checks to see if its timecode is coincident with the V1 stream’s timecode.
In other words, it checks to see if the AC-3 asset has timecode that falls within the timecode
range of the video asset.
• If it is coincident: The AC-3 asset is placed in the stream so that it is in sync with the
video.
• If it is not coincident: The AC-3 stream is placed at the beginning of the stream.
Note: If the V1 stream has more than one video clip, the AC-3 timecode is ignored. It is
also ignored if the audio stream you drag it to already has an audio clip.
Using Multiple Copies of a Clip
You can use a clip multiple times in the same stream or you can drag the clip to other
streams.
To copy a clip within a stream
μ Option-click the clip and drag it to an empty location in the stream.
You can treat the clip’s copy the same as any other clip in the stream.
To copy a clip to a different stream
Do one of the following:
μ Option-drag the clip to the stream that you want to copy it to. You can position it as
needed.
μ Shift-Option-drag the clip to the stream that you want to copy it to. The clip is constrained
to use the same start time as the original.
The original clip is not affected, and remains in its location.
Chapter 17 Creating and Editing Tracks 387
Copies of the original clip take up as much disc space as the original clip. If the size of
your project is an issue, you may want to simply reuse the original clip by setting markers
and creating scripts to access the clip from another project element.
Viewing a Clip’s Properties
When you select a clip in one of the Track Editor’s video or audio streams, the Clip Inspector
appears.
To accommodate the additional settings used to configure transitions, the Clip Inspector
used for still clips contains two tabs: General and Transition. The General tab contains
the same information and settings as with video clips. See Using Still Clip Transitions for
information on the Transition tab.
Note: Selecting a clip in a subtitle stream opens the Subtitle Inspector. See Creating
Subtitles for information on subtitles.
The Clip Inspector shows information about both the clip and the stream.
Settings at the top of the Inspector
• Name: Enter a name for the clip. This name applies to the clip in this track’s timeline
only—it does not affect the asset’s name in the Assets tab.
• Asset: Shows the clip’s actual filename.
• Est. Size: Shows how much disc space this clip requires.
Clip Information and Settings
• Start: Shows the clip’s start time in the stream.
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• Clip Start Trim: Choose the part of the asset that the clip should use. Enter an amount
of time by which to trim the clip’s beginning. This affects the clip’s overall length. When
you enter a new Clip Start Time, the clip repositions itself on the timeline so that it
begins at the same time, with the clip’s end moving to its new position.
• Duration: Shows the clip’s length. You can enter a new length to trim the end of the
clip.
Note: When you import a QuickTime asset that contains both video and audio, you
may find that their durations, as shown in the Clip Inspector, do not match exactly. This
is often due to the DVD-Video specification’s frame rate for the supported audio formats
not dividing evenly into the video frame rate. This does not affect the lip sync between
the audio and video streams or their playback and is purely cosmetic.
• Asset Start Timestamp: Displays the timecode of the asset’s first frame.
• Bits/Second (Avg.): Shows the clip’s bit rate information.
Stream Information
• Stream Number: Shows the stream’s number.
• Stream Duration: Shows the stream’s length.
• Language: For audio clips only; shows the stream’s language setting. You can choose
a different language from the pop-up menu. The new language is applied to the entire
stream. See Setting Stream Properties for more information.
Browse Clip
For video clips only. You can drag the slider under the thumbnail image to scrub through
the clip’s video.
Removing a Clip from a Stream
There are several ways you can remove clips from a stream.
To remove a clip from a stream
Do one of the following:
μ Click the clip to select it, then press the Delete key.
μ Control-click the clip, then choose Delete Media Clip from the shortcut menu.
These methods remove the clip from the stream, but the asset remains in the Assets tab.
The actual asset’s file is not affected.
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Editing Video and Audio Clips
You can trim the start and end of a clip, which is useful when you need to remove a
portion of an asset for artistic reasons (such as a bumped camera). It is important to
understand that video clips in DVD Studio Pro are trimmed based on GOP boundaries—you
cannot choose a specific frame to trim to. The typical GOP (Group of Pictures) size for
NTSC video is 15 frames—for PAL video it is 12 frames. This means you may have to
choose between trimming a little too much or not quite enough. If you need to trim a
clip precisely, you should use a video editor to make the trim, and then bring the asset
back into DVD Studio Pro.
You can trim audio clips by frames, making it possible to trim off a popping noise.
Trimming can also be a way to use a small part of a longer asset. Only the part of the
asset that is in the stream is included in the final disc size.
About the V1 Stream
The first video stream, V1, has requirements different from the other streams.
DVD Studio Pro automatically ensures these conditions are met.
• The first clip must be at the beginning of the timeline. There cannot be a gap between
the timeline’s first frame and the first frame of the V1 clip. All other streams, including
the other video streams, can have their first clip start anywhere in the timeline.
• You cannot have gaps between clips in the V1 stream. All other streams can have gaps
between their clips.
• When building the project, the track ends at the last frame of video in the V1 stream.
Any streams that have clips extending beyond the V1 clips are automatically truncated
by the build process.
Trimming and Positioning Clips
There are several methods you can use to trim and position a stream’s clips within the
Track Editor.
To trim a stream’s clip by dragging
1 Position the pointer over the end of the clip you want to trim. The pointer changes to a
bracket with an arrow pointing in the direction you can trim.
2 Drag the clip’s edge to its new position.
Note: You cannot trim a clip beyond the edges of the asset.
390 Chapter 17 Creating and Editing Tracks
To help guide you when trimming your clip, drag the playhead to the point you want to
edit to. A vertical line appears across all streams, which you can use as a guide to trim an
edge to. Be sure to use the timeline zoom feature to provide a close-up view of the area
you’re editing.
Use care not to lose your video and audio synchronization when trimming. Instead of
dragging, you can enter values in the Start and End boxes at the top of the Track Editor
and the Duration and Clip Start Offset entries in the Clip Inspector to trim a clip more
precisely so that you can repeat exactly the trim on other clips.
To use the start and end values to position and trim a clip
1 Select the clip you want to trim. Its start and end values appear in the Track Editor’s Start
and End boxes.
2 Enter a new Start time. The beginning of the clip moves to that time.
This moves the entire clip, but does not actually trim it.
3 Enter a new End time. The end of the clip is trimmed to that time.
To use the Clip Inspector to trim a clip
1 Select the clip you want to trim.
The clip appears in the Clip Inspector.
2 Enter a new Clip Start Offset to trim the clip’s start.
The clip’s start position on the timeline is not changed—only its end position is moved
to match its new duration.
3 Enter a new Duration value to trim the clip’s end.
Clip Conflicts
There are a number of rules to keep in mind when you trim and position a clip.
Video Clips
Dragging clips to the V1 stream is different from dragging audio clips. In part this is due
to the requirement that there can be no gaps in the V1 stream, and there must be a clip
at its beginning.
The following situations cause video clips already in the V1 stream to move. This can
cause problems if the video clips have associated audio or markers because they do not
move with the video.
• If you drag a video clip to the start of a V1 stream that already has a clip assigned: The
new clip becomes the first clip and the original one (and any that follow it) shuffle
down the timeline.
• If you drag a video clip to the point where two existing video clips meet in a V1 stream: The
new clip is inserted between them.
Chapter 17 Creating and Editing Tracks 391
• If you drag a video clip to the stream, and the “Find matching audio when dragging”
preference setting is enabled: The audio in the A1 stream is trimmed or moved to
accommodate the new video clip, even if that clip does not have matching audio. This
maintains sync between the track’s existing video and audio clips.
Audio Clips
Because audio clips can be placed anywhere in their audio streams, the results are different
from those you get when working with video clips.
• If you drag an audio clip to any open area within an audio stream: The clip is placed there.
If the open area is not long enough to hold the whole clip, the clip’s end is trimmed
so that it will fit. Unlike video clips, audio clips do not move unless you move them
intentionally.
Setting Stream Properties
Each stream has a few settings you can use while configuring it.
Click to lock the stream,
preventing inadvertent
changes to it.
Choose a language
to assign to each audio
and subtitle stream.
Click to choose one
video, audio, and subtitle
stream to play in the
Viewer tab.
Each stream has a button at the far-left side of the Track tab that you can click to enable
that stream when you play the track in the Viewer tab. You can choose one video, and
optionally, one audio and one subtitle stream.
Each audio and subtitle stream in a track can have a language assigned to it. When the
track plays, it can select a stream based on the DVD player’s language setting. If no suitable
stream is found, the player plays the first stream.
Note: The Languages area of the Outline tab and the Add Language icon in the toolbar
are used when creating multiple-language menus and are not used by the Track Editor.
See Setting Up Menus for the Languages for more information.
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You can protect a stream from accidental changes by clicking its lock icon. When it is
open (unlocked), you can make changes to the stream; when the lock is closed, you can’t.
You can still select it for previewing and assign a language to it, but you cannot make
any changes to its clips.
To lock all streams
μ Choose Project > Timeline > Lock All Streams (or press Shift-F4).
Exporting an MPEG Clip
You can export the contents of the V1 stream as an MPEG file. This can be useful in some
situations:
• If you have a long video asset and want to make a separate asset of a small part of it,
you can add the asset to the stream, trim it to the size you want, and export it as a new
asset. You can use this asset as you would any other asset. For example, you could use
it as a menu background.
• You can edit multiple assets into the stream, and then export them as a single MPEG
file.
Note: You cannot export the stream as an MPEG file if the stream contains still images
or uses H.264 format clips.
To export an MPEG file from the V1 stream
1 Configure the stream as needed.
2 Do one of the following:
• Choose File > Export > MPEG File.
• Control-click the stream, then choose Export MPEG File from the shortcut menu.
3 Enter a name and select a destination for the file in the Save Stream dialog that appears,
then click Save.
When exporting a large asset, be sure you have sufficient disk space to hold the file.
Working with Markers
You can add up to 255 markers to a track, although a maximum of 99 can be set as chapter
markers. Each marker has its own properties that define its purpose. Markers can be used
to:
• Identify chapter points that the viewer can skip to when viewing the title
• Define when buttons appear over the video stream
• Identify the dual-layer break point when creating dual-layer projects
• Identify points in the stream that can be accessed by buttons and scripts
Chapter 17 Creating and Editing Tracks 393
• Identify points where mixed-angle tracks can start
• Configure a DVD@CCESS operation to launch once the viewer reaches the marker point
while playing the title
• Set a jump to another element in the project once the marker reaches its end. This is
most often used by scripts that are set to play a portion of the stream and then return
to another place in the project.
There are three ways to place markers on your track:
• You can manually place the markers along the track’s timeline.
• If you are editing your video using Final Cut Pro 3.0.2 or later or Final Cut Express, you
can place the markers as part of the editing process. These markers are automatically
imported into DVD Studio Pro when you import the video asset. See Adding and
Configuring Markers in Final Cut Pro and Final Cut Express for more information.
• You can import a text file that contains a list of markers.
With all three methods, you can always edit the markers’ position and attributes as needed.
About Marker Placement
Markers can only be placed on Group of Pictures (GOP) boundaries. Because of this
restriction, you cannot precisely position a marker on the exact frame you want to—you
often need to set the marker either a little early or a little late. The length of the GOP
depends on the MPEG encoder’s settings (NTSC systems commonly use a GOP size of
15 frames and PAL systems commonly use a GOP size of 12 frames). This means that,
unless you embed markers with a video editor, you may need to set a marker as much
as 6 or 7 frames from where you’d like.
If you import markers from a timecode list, the markers are moved to a GOP boundary
when they are imported. The Track pane in DVD Studio Pro Preferences lets you choose
how the markers are placed. See Track Preferences for more information.
If you import a video asset edited with a version of Final Cut Pro or Final Cut Express that
supports chapter markers, the integrated MPEG encoder automatically adds GOP
boundaries at the marker frames, so the markers end up positioned exactly where
intended.
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If you convert a slideshow to a track, each still clip has a marker placed at its beginning.
The markers are named the same as the still asset used for its clip. These markers retain
any pause and DVD@CCESS settings that may have been set in the Slideshow editor. If
any slides use transitions, the transitions appear as a shaded area in the timeline with a
cell marker at their beginning.
Transition indicator
You can configure the transition by selecting the clip and making changes in the Clip
Inspector’s Transition tab. If a still with a transition also has a pause, the marker for the
next clip is placed at the beginning of the transition instead of at the next clip’s start. See
Using Still Clip Transitions and Converting a Slideshow to a Track for more information.
See Working with GOP Settings for more information about GOP structures, and Adding
Markers to Your Video for information on using Final Cut Pro or Final Cut Express to add
markers to a clip.
Creating and Editing Markers
Each track always contains a chapter marker at its beginning. You can add up to 98
additional chapter markers to a track.
Markers appear along the top of the timeline display. A vertical line extends across all
streams at the position of each marker.
To add a marker to a track
Do one of the following:
μ Click in the area above the timeline display. A marker is added at the point where you
clicked.
μ Position the playhead at the point where you want to add the marker, then press M.
By default, the marker is set to be a chapter marker and is purple. See About the Marker
Types for more information about the marker types.
Chapter 17 Creating and Editing Tracks 395
Depending on the currently selected stream size, a thumbnail image of the frame located
at the marker point appears in the video stream. You can modify the thumbnail image
in the Marker Inspector. See Setting Marker Properties for more information.
The default marker’s name is “Chapter _,” with “_” being the next number available. The
number is based on the order in which you create the markers, not on their location on
the track. This means Chapter 4 may occur before Chapter 2. To avoid confusion, you
should rename your markers in the Marker Inspector. See Setting Marker Properties for
more information. The Track pane in DVD Studio Pro Preferences contains a setting you
can use to control the names assigned to markers as they are created. See Track
Preferences for more information.
When you have multiple clips in the V1 stream, you can also have markers placed at a
stream’s clip end (except for the last clip).
To add a marker to a clip’s end
μ Control-click the clip in the V1 stream to base the marker on, then choose Add Marker
to Clip End from the shortcut menu to add a cell marker, or Add Chapter to Clip End to
add a chapter marker.
You cannot add a marker to the end of the last clip in the V1 stream. See About the Marker
Types for information on the difference between a cell marker and a chapter marker.
To set the playhead to a marker’s position
μ Control-click the marker, then choose Set Playhead Here from the shortcut menu.
This makes it easier to see the video at the marker’s position. You can also hold down
the Control key and use the Left Arrow and Right Arrow keys to jump from marker to
marker.
To move a marker
Do one of the following:
μ Drag the marker to its new position. The timecode of the marker’s position appears next
to the pointer timecode display as you move it.
μ Enter a new time in one of the timecode boxes (zero-based or asset-based) in the Marker
Inspector. See Setting Marker Properties for more information.
μ Drag the slider underneath the video thumbnail in the Marker Inspector.
When you move a marker, the thumbnail image in the video stream changes to match
the marker’s new location.
To delete a marker
Do one of the following:
μ Control-click the marker, then choose Delete Marker from the shortcut menu.
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μ Select the marker, then press the Delete key.
To delete all markers
Do one of the following:
μ Choose Edit > Delete All Markers.
μ Control-click in an empty part of the Track Editor’s marker area, then choose Delete All
Markers from the shortcut menu.
Adding Markers to a Track Without a Video Clip Assigned
You can add markers to a track even if you have not assigned a video clip to the track.
You can also add markers beyond the end of the video clip, in anticipation of adding a
video clip later. In these cases, because the GOP structure is unknown, you can place the
markers at any frame. Once the video is added, however, the markers will need to be
adjusted because most will not be at legal GOP boundaries.
DVD Studio Pro automatically readjusts the marker positions based on the Snap To setting
in the Track pane in DVD Studio Pro Preferences.
What Happens to the Markers If You Move the Video?
When you place markers in the Track Editor with a video clip already present, the markers
are automatically placed at GOP boundaries. If you move a marker, it jumps from one
GOP boundary to the next, and therefore is always in a legal position.
If you move the video clip—for example, by trimming its start or dragging it to another
position when multiple clips are in the V1 stream—the markers do not reposition to
follow the video. There is also a good chance that at least some of the markers will no
longer be at GOP boundaries. For this reason, you should be sure the video is in its final
location before adding markers to it.
When you build your project, DVD Studio Pro verifies that all markers are on GOP
boundaries, and that none are placed after the end of the V1 stream’s video. A setting
in the Track pane in DVD Studio Pro Preferences determines whether the build will quit
if invalid markers are found, or if it will reposition markers to a GOP boundary and remove
excess markers from the end of the track and continue with the build. See Track
Preferences for more information.
Importing Markers from an Editor
When you edit your video asset in Final Cut Pro or Final Cut Express, you can add chapter
markers that DVD Studio Pro uses to create markers on the track. If you have named the
markers, DVD Studio Pro uses those names when it creates the markers.
Chapter 17 Creating and Editing Tracks 397
How you add the video asset to your project determines what happens with the markers:
• If you add the asset by dragging it to the Menu Editor: You can choose any of the Drop
Palette options that create a track. In addition to creating a track with the markers in
place, some options create chapter index menus. The chapter index menu buttons are
automatically linked to the track’s markers.
• If you add the asset by dragging it to a track: You can import the markers from the Track
Editor.
Note: The first marker in a track is always at the beginning of the timeline and is named
“Start” when a track is created by dragging the video asset to the Menu Editor. It is not
affected by imported markers. You can rename the marker as needed.
To use the Menu Editor to import an asset with chapter markers
1 Drag the video asset with markers to the Menu Editor. You can drag it to an existing
button or to an empty area.
2 When the Drop Palette appears, choose an option that creates a track.
3 If you choose an option that creates a chapter index menu, select the template or layout
style to use for the chapter index menu in the dialog that appears.
DVD Studio Pro creates the chapter index menu and a new track. The chapter index menu
contains a button for each marker. Depending on the number of markers and the template
or layout style you select, there may be multiple chapter index menus, and each marker
button may have the name and a thumbnail image of the video frame located at its
marker. Each of these marker buttons is linked to the new track, which displays the markers
along with their names.
To import chapter markers directly into a track
1 Drag the video asset with markers to the V1 stream of the Track Editor.
If there are currently no markers in the track (other than the one at the start of the
timeline), the clip’s markers are automatically imported. If there are markers in the track
other than the one at the timeline’s start, you must manually import them.
2 Control-click the clip, then choose Import Embedded Markers from the shortcut menu.
While this does not create chapter index menus, you can create them later by dragging
this track from the Outline or Graphical tab to the Menu Editor. The advantage of this
method is that you can add or edit the track’s markers before creating the chapter index
menus.
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Importing Markers from a Text List
You can create a list of timecode points that DVD Studio Pro can import to create markers.
The timecode values need to match the timecode of the track’s video clip. The list of
timecode values must be a plain text file; you can create it with TextEdit (as long as you
save the file as plain text). If you create the list with a more complex word-processing
application, be sure to save the file as a plain ASCII text file with no formatting. The file
must follow these rules:
• Each marker must be on a new line that starts with a timecode value in the “00:00:00:00”
format. These values identify the marker positions.
• After the timecode value, you can include a name for the marker. You can use a comma,
space, or tab character to separate the timecode value from the marker name.
• Any lines that do not begin with a timecode value are ignored. This makes it easy for
you to add comments to the list.
• The timecode values do not have to be listed in chronological order.
To import a marker list from a text file
Do one of the following:
μ Choose File > Import > Marker List.
μ Control-click in the Track Editor’s marker area in the track you want to apply the marker
list to, then choose Import Marker List from the shortcut menu.
Once the import is complete, a message appears stating how many markers were
imported. The markers are placed on the timeline at GOP boundaries. The Track pane in
DVD Studio Pro Preferences contains a setting that controls how the GOP is chosen. See
Track Preferences for more information.
About the Marker Types
There are four types of markers you can have in the track. One marker can be one or more
of these types. The color of a marker in the Track Editor indicates its type—if you configure
a marker to be more than one type, the marker symbol splits to display the relevant colors.
The types of markers and their colors are:
• Chapter: Purple
Chapter 17 Creating and Editing Tracks 399
• Button highlight: Orange
• Dual-layer break: Black dot in the marker’s middle
• Cell: Green
You define the type of marker in the Marker Inspector. Additionally, you can set a marker
to be a button highlight type by Control-clicking it and choosing Button Highlight Marker
from the shortcut menu.
Note: Only chapter markers can be connected to from menu buttons and scripts.
Each marker has a duration that is determined by the distance between it and the next
marker. This duration is especially important when using button highlight markers, because
it determines how long the highlights display over the video, and when creating stories,
because it determines the length of each story’s segment. See Creating Buttons over
Video and Introduction to Stories for more information.
Chapter Markers
By default, all markers you create start out as chapter markers. Viewers can jump to these
markers by pressing the Previous and Next buttons on their DVD player’s remote control.
Because of this, even simple projects without a chapter index menu can benefit by having
chapter markers added to the track because they provide a viewer with the ability to
quickly skip through sections of a track.
Only chapter markers can be connected to from other project elements such as menu
buttons and scripts, and a track’s story can only use track sections defined by chapter
markers. While a track can have up to 255 markers, it is limited to a maximum of 99 chapter
markers.
Note: The Previous and Next buttons can act differently on different DVD players. See
Getting Consistent Previous and Next Button Behavior for more information.
Chapter markers have an end jump setting. By default, this is set to Not Set, which actually
means that playback will automatically jump to the next video frame. In almost all cases
you will leave the End Jump set to Not Set; however, you may have non-standard situations
where you need to set the End Jump to a specific element. In these cases, you are limited
to a maximum of 106 chapter markers and individual end jump chapter settings. See
Setting Chapter Marker End Jumps for more information.
Note: The DVD specification does not allow subtitles to extend across chapter markers.
For that reason, subtitles that cross chapter markers are automatically split into multiple
subtitle clips at each marker when you build your project.
400 Chapter 17 Creating and Editing Tracks
Button Highlight Markers
You use button highlight markers when you want to have buttons display over the video
on the track. These buttons are actually configured as part of a subtitle clip. The buttons
appear once you reach the marker and disappear when you reach the next marker (unless
it has also been configured as a button highlight marker). Often referred to as “buttons
over video,” this feature allows you to provide choices to viewers while they watch the
track part of the title. See Creating Buttons over Video for more information on using
buttons over video.
Important: There must be at least 1.5 seconds between a button highlight marker and
the next marker.
Dual-Layer Break Markers
When you create a dual-layer title, you can set a marker to be used as the dual-layer break
point, the point where the title splits between the first and second layer. Because the
break point is often noticeable when playing the disc on a DVD player (the video
temporarily freezes), you want to try to choose a place in the track where the freezing is
not as noticeable. See About Choosing a Dual-Layer Break Point for details on choosing
a dual-layer break point.
Cell Markers
All markers define a cell in the track. A cell marker is a marker that has no specific
assignment. They are often added to a track to start a DVD@CCESS action or to provide
a break point for a button highlight marker.
Setting Marker Properties
When you select a marker, the Marker Inspector appears. It has two tabs: General and
User Operations.
See User Operations for details on the settings in this tab. Also see Getting Consistent
Previous and Next Button Behavior for information specific to user operations and markers.
Settings at the Top of the Marker Inspector
The following settings are at the top of the Marker Inspector.
• Name: Enter the name for the marker. See Track Preferences for information on how
DVD Studio Pro can automatically assign names to markers. A number is automatically
appended to the name you enter if a marker with that name already exists on that
track.
Chapter 17 Creating and Editing Tracks 401
• End Jump: Choose the project element to jump to when the marker finishes playing
(occurs just before the next marker is reached). This is typically left at “not set.” In most
cases, if you leave it at “not set,” each marker is automatically connected to the next
marker. This setting can be used by specialized projects and scripts that dynamically
control which parts of the track plays. See Setting Chapter Marker End Jumps for more
information.
General Tab in the Marker Inspector
The following settings are in the General tab of the Marker Inspector.
Marker thumbnail
• Thumbnail: The thumbnail is the video frame where the marker is located. You can
drag the slider beneath the thumbnail image to move the marker to a new position.
• Save Still: Click to save the thumbnail image as a video resolution TIFF file. You can
import this file for use as a menu background or shape asset. This is useful as a way to
create a still image from a frame of a video asset.
• Zero-Based: Shows the marker’s timecode based on the timeline’s zero-based mode
(based on the timeline’s first frame being 00:00:00:00). You can reposition the marker
by entering a new value or using the arrows. The new position must correspond to a
GOP boundary—the arrows jump one GOP at a time.
• Asset-Based: Shows the marker’s timecode based on the timeline’s asset-based mode
(based on the timecode of the timeline’s first clip or a value entered in the Track
Inspector’s Other tab).
• Type: Select the function to assign to the marker. You can select one or all functions.
See About the Marker Types for information.
• Wait: Use this control to set how long the DVD player displays the last frame of the
marker’s video before exercising the End Jump setting.
• None: Immediately jumps to the End Jump setting.
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• Seconds: Shows the marker’s last frame for the number of seconds you enter.
• Infinite: Shows the marker’s last frame indefinitely.
• Pause after each VOBU: Select if you want playback to pause until the viewer presses
the Play button, when it plays to the next VOBU (Video Object Unit) and pauses again.
This is a way to pause the track’s playback and wait for the viewer to start it again.
The length of a VOBU varies depending on whether it is a still image or full-motion
video. When you place a still image in the video stream, it lasts for one VOBU regardless
of its duration. With video, a VOBU can be from 0.4 to 1 second long. For this reason,
“Pause after each VOBU” is generally only used on markers at still boundaries. You
should avoid using it on markers with video because it will cause the playback to stop
about once a second.
• DVD@CCESS: Select to make the name and URL settings available for this marker, which
allows you to add functionality to your title when played on a computer. See
DVD@CCESS for more information.
• Remote Control: Choose the place in the project to jump to if the viewer presses the
remote control’s Menu button. See Remote Control Settings for more information on
remote control settings.
• Macrovision: SD projects only. Choose the Macrovision setting to apply to this marker’s
video. See About the Macrovision Settings for more information on Macrovision
copy-protection.
Introduction to Stories
A story is simply a way to rearrange the playback of the track cells defined by the chapter
markers. You may want to create a version of a track that skips some objectionable
content, or you may want to use a short piece of the track as a preview. A story does not
increase the amount of disc space the track requires because it is simply playing the
track’s markers in a different order.
A story has access to the entire track, but it does not have to include it all. You can choose
which chapter markers to include and in what order—you can even play a marker’s video
more than once.
Additionally, you can exclude and subtitle audio streams from a story. By default, a story
has access to the same audio and subtitle streams that the track has access to, which can
be a problem if your intention is to present a less objectionable version of the track by
providing alternative audio and subtitle streams. By excluding selected audio streams,
you can force the DVD player to play the alternate audio and subtitle streams.
Chapter 17 Creating and Editing Tracks 403
Creating a Story for a Track
Because stories are associated with the current track, you need to make sure you select
the correct track before creating the story.
To create a story for a track
1 In the Outline or Graphical tab, select the track for which you want to create a story.
2 To create the story, do one of the following:
• Choose Project > Add to Project > Story (or press Command-Shift-T).
• Control-click in the Outline or Graphical tab, choose Add from the shortcut menu, then
choose Story from the submenu.
• Control-click the track, choose Add from the shortcut menu, then choose Story from
the submenu.
• Click Create Story in the toolbar.
3 Double-click the new story.
The Story Editor appears.
Using the Story Editor
The Story Editor is where you create your story.
Choose a story from
the current track to edit.
The entry list. Drag
markers to this list
to create your story.
The source list. Drag markers
from this side to the other side
to create your story.
The Story Editor contains two areas:
• The left area is the source list, which contains a list of all markers in the track. You cannot
directly make changes to the source list.
404 Chapter 17 Creating and Editing Tracks
• The right area is the entry list, where you create your story by dragging markers from
the area on the left (the source list).
As you drag markers from the source list to the entry list, you add story entries. Each entry
shows the source marker’s name and the running time of the story, based on the duration
of that marker and all markers ahead of it. A number is added to the end of the source
marker’s name if the marker appears more than once in the entry list.
To delete a marker from the entry list
μ Select the entry, then press the Delete key.
The entry is removed from the entry list.
To change an entry in the entry list
μ Control-click the entry, choose Change Chapter from the shortcut menu, then choose
the marker you want to replace the entry with from the submenu.
You can also change a story entry’s source marker in the entry’s Story Inspector.
To change the order of the entry list
μ Drag an entry to a new position.
The order of the entries in the entry list controls how the story plays. This makes it easy
to rearrange the order if you inadvertently mix up a couple of markers.
Setting Story Properties
The Story Inspector has two tabs: General and User Operations.
See User Operations for details on the settings in this tab.
Settings at the Top of the Story Inspector
Following are the settings at the top of the Story Inspector.
• Name: Enter the name for the story.
• End Jump: Choose the project element to jump to when the story finishes playing. This
is typically left at Same as Track, but can be set to any other element in the project.
Chapter 17 Creating and Editing Tracks 405
General Tab in the Story Inspector
The Story Inspector appears when you select a story in the Outline or Graphical tab. If
you select an entry or marker in the Story Editor, the Inspector changes to display details
about that item. Select the story in the Outline or Graphical tab to switch back to the
Story Inspector.
• Stream Options: Deselect the checkboxes to disable any audio and subtitle streams you
do not want to be available when this story plays. This is useful when you don’t want
the story to have access to streams that might contain objectionable content.
• Pre-Script: The script you choose in this pop-up menu will run as soon as the story is
selected. The script determines whether to play the story or configure the DVD player
before playing it. See Creating Scripts for information on scripts.
• Wait: Use this control to set how long the DVD player displays the last frame of the
story’s video before exercising the End Jump setting.
• None: Immediately jumps to the End Jump setting.
• Seconds: Shows the story’s last frame for the number of seconds you enter.
• Infinite: Shows the story’s last frame indefinitely.
• Remote Control: Choose what happens when the viewer uses the Menu button of the
remote control. See Remote Control Settings for more information.
• Display Condition: Select this checkbox to set display condition settings to control
whether this story should play or not, and to define what should play if not this story.
See Display Condition for more information.
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Setting Story Entry Properties
If you select a marker in the Story Editor’s source list, the Marker Inspector appears,
displaying the settings for that marker. See Setting Marker Properties for an explanation
of this window.
If you select an entry in the entry list, the Story Marker Inspector appears.
• Name: Enter the name for the story entry. This does not affect the marker’s name.
• End Jump: Choose the project element to jump to when the entry finishes playing
(occurs just before the next entry is reached). This is typically left at “not set.” In most
cases, if you leave it at “not set,” each story entry is automatically connected to the
next entry. This setting can be used by specialized scripts that dynamically control
which parts of the track play.
• Zero-Based: Shows the story entry’s timecode based on the timeline’s zero-based mode
(based on the timeline’s first frame being 00:00:00:00).
• Asset-Based: Shows the marker’s timecode based on the timeline’s asset-based mode
(based on the timecode of the timeline’s first asset).
• Track Marker: Choose a marker from the source list to assign to this entry.
• Remote Control: Choose the place in the project to jump to if the viewer uses the Menu
button of the remote control. See Remote Control Settings for more information.
Simulating a Story
Simulating a story allows you to verify that it plays as expected.
To simulate a story
Do one of the following:
μ Select the story, then choose File > Simulate Story, or press Command-Option-0 (zero).
μ Control-click the story’s name in the Outline tab or its tile in the Graphical tab, then choose
Simulate Story from the shortcut menu.
These methods force the Simulator to start at this specific story instead of the First Play
connection, as it does when you open it using the icon in the toolbar.
Chapter 17 Creating and Editing Tracks 407
You can also start the Simulator from a specific story entry.
To simulate a story entry
Do one of the following:
μ Select the story entry in the Story Editor, then choose File > Simulate Story Entry, or press
Command-Option-0 (zero).
μ Control-click the story entry, then choose Simulate Story entry from the shortcut menu.
Once the story starts playing, you can use the Simulator’s controls to choose the streams
to view (angle, audio, and subtitle).
See Simulating Your Project for information on using the Simulator.
Adding Alternate Video Streams
One feature unique to the DVD medium is the viewer’s ability to switch between parallel
video streams with continuous audio. Only one video stream at a time can serve as the
active stream, but there can be as many as eight alternate streams, for a total of nine
“camera angles.” These can be different camera views, or angles, of the same subject, or
they can be any other video sources.
For example, a concert video could use different camera angles for the alternate video
streams, with cameras focusing on each musician. Stream V1, the main video stream,
could be an edited version of all angles while streams V2 to V9 could be unedited versions
of each musician. This would allow the viewer to choose whether to see the whole concert
or focus on a specific aspect of it.
In another example, the V1 stream could contain the normal view of a business
presentation, including the presenter, and the presentation’s slides could be displayed
up close on the V2 stream.
Multi-Angle and Mixed-Angle Tracks
DVD Studio Pro allows you to create either multi-angle or mixed-angle tracks. With a
multi-angle track, the alternate video streams are the same length as the main stream. A
mixed-angle track uses partial alternate video streams.
Authoring with multi-angle video is an exciting capability of the DVD medium, though
there are some disadvantages, the main one being that multi-angle video streams consume
a great deal of disc space. A DVD capable of holding 120 minutes of video has its play
time reduced to 60 minutes if there are two video angles (120 divided by 2), and to
13.3 minutes if there are 9 video angles.
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A space-efficient method of taking advantage of the alternate video streams is to build
DVD projects that have a single video stream for most of their playing time, but that
provide alternate streams in certain sections. This is known as using mixed angles.
Angle
1
2
3
4
Mixed-angle track with stream 3 playing
About Alternate Stream Video Assets
If you want to switch between video streams while the DVD is playing, the DVD
specification sets some restrictions on the alternate streams. They must be in the same
MPEG format and have the exact same GOP structure as the main stream. It is strongly
recommended that you use the same encoder for all streams to ensure they match exactly.
For multi-angle tracks, all streams, including the main one, must be the exact same length.
For mixed-angle tracks, you use markers to define one or more sections of the main
stream that contain the alternate streams. There are three basic rules for the alternative
sections:
• Within a track, you can use markers to define multiple sections to use additional angles,
but each section must have the same number of streams. For example, you cannot
have one section early in the track with two alternate streams and a section later in
the track with three alternate streams—both sections must have either two or three
streams.
• Each alternate angle section can be different lengths, but all streams within a section
must be the same length. For example, you can have one mixed-angle section early in
the track that is 10 seconds long and a second mixed-angle section that is 20 seconds
long. All alternate streams in the first mixed-angle section must be 10 seconds long;
all alternate streams in the second mixed-angle section must be 20 seconds long.
• You cannot use still images in the V2 through V9 streams. You can use still images in
the V1 stream as long as they are outside of the mixed-angle areas (places where video
is present in the V2 through V9 streams).
See Encoding Video for Multi-Angle Tracks for more information on stream requirements.
Creating a Multi-Angle Track
To create a multi-angle track, you need to use two or more suitable video assets that are
the exact same length and have the same GOP structure.
To create a multi-angle track
1 Configure the Track Editor so that you can see as many video streams as you intend to
use. See Viewing the Streams for details.
Chapter 17 Creating and Editing Tracks 409
2 Add the main video asset to the track’s video stream 1 (V1).
3 Add the second video asset to the track’s second video stream (V2).
4 Continue adding video assets to the next available streams until they are all in place.
You can name each clip in each stream using the Clip Inspector.
Creating a Mixed-Angle Track
With a mixed-angle track, the main video stream runs the full length of the track with
the alternate streams using only a small part of that time. Each of the track’s alternate
video streams is aligned to a marker, and all corresponding alternate video assets start
at the same point.
Each alternate stream must use assets with the same length, and their GOP structures
must match the main video stream.
To create a mixed-angle track
1 Configure the Track Editor so that you can see as many video streams as you intend to
use. See Viewing the Streams for details.
2 Configure the V1 stream as needed. If you are adding multiple clips or still images, place
them all and make any necessary adjustments before adding anything to streams V2
through V9.
3 Create a marker where you want the first mixed-angle portion to begin.
4 Add the second video asset to the track’s second video stream (V2) at the marker.
The asset snaps to the marker. Use the timeline zoom control to verify the asset is
positioned properly.
5 Continue placing video assets to the next available streams until they are all in place and
lined up with the marker.
6 Add a marker at the end of the angle clips by Control-clicking the clip in the V2 stream
and choosing Add Marker to Clip End from the shortcut menu.
7 If you are adding an additional mixed-angle section to the track, add another marker and
repeat steps 3 through 6.
You can name each clip in each stream using the Clip Inspector.
Important: To avoid errors when building your project, do not edit the V1 stream (add,
trim, or remove assets) once you have added assets to the V2 through V9 streams.
Using Still Clip Transitions
When you add a still asset as a clip to a track, you are able to configure a transition for it.
The transition can be an effect, such as a dissolve or wipe, that provides a smooth transition
from the still clip to the next clip.
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Each still clip in a track has its own transition settings, accessible in the Transition tab in
the Clip Inspector. You can also set a default transition for the track in the Transition tab
in the Track Inspector.
The transition is considered part of the still clip, and, in most cases, does not affect its
duration. Using long transitions may lead to the still being visible for only a short time,
or may require the clip’s duration to be increased. If any clips use transitions, the transitions
appear as a shaded area in the timeline.
Transition indicator
Each transition has a start and end frame. The start frame is the still you are transitioning
from and the end frame is the still you are transitioning to. If you are transitioning to a
video clip, the end frame is the first frame of the video clip.
Note: You cannot configure a transition from a video clip to a still clip.
Adding Transitions to Still Clips
You can add a transition to any still clip in a track.
Setting a Track’s Default Transition
You can set a default transition for a track. All still clips with their type set to Same as
Track use the transition.
To set a track’s default transition
1 Click in an empty stream in the Track Editor to show the Track Inspector.
2 Click the Transition tab.
3 Choose the transition to use from the Transition pop-up menu.
Choose “not set” if you do not want still clips to use a default transition. (You can still
configure individual clips to use transitions.)
4 Configure the transition using its specific parameters.
Setting an Individual Still Clip’s Transition
You can set each still clip’s transition settings.
To set a still clip’s transition
1 Click the still clip in the timeline to which you want to add the transition.
2 Click the Transition tab in the Clip Inspector.
3 Choose the transition to use from the Transition pop-up menu, or choose Same as Track
to use the track’s default transition settings.
Chapter 17 Creating and Editing Tracks 411
Choose “not set” if you do not want this still clip to use a transition.
4 Configure the transition using its specific parameters.
Transition Tab in the Track and Clip Inspectors
The Transition tabs in the Track and Clip Inspectors are identical—the only difference is
that the Type pop-up menu in the Clip Inspector has a Same as Track choice that the
Track Inspector does not have.
• Start thumbnail: Shows the video frame that a still transition will start from.
• Transition thumbnail: Provides a preview of a still transition when you click the Preview
button.
• End thumbnail: Shows the video frame that a still transition will end with. This thumbnail
is empty in the Track Inspector.
• Transition: Choose the type of transition to use. In the Track Inspector, this sets the
default transition for this track, which you can override at each still clip.
• not set: Disables default transitions for this track or still clip. (Even with “not set”
chosen for the track, you can set transitions at each still clip.)
• Still Transition: Creates a transition clip based on the chosen transition and its related
settings.
• Same as Track: Only available in the Clip Inspector. Sets the current still clip to use
the transition settings in the Track Inspector.
• Preview: Click this to preview the current transition in the Transition thumbnail area.
• Parameters: Contains the parameters for the current transition. Each transition has its
own set of parameters.
Transition Parameters
Each transition has its own parameters. In many cases, the settings are self-explanatory;
however, in some cases, the settings are not obvious. See Transition Parameters for details
on the parameters for each transition.
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Viewing a Track
The track preview feature allows you to select a video, audio, and subtitle stream to view.
You control which streams play using the buttons at the far-left side of the stream.
To preview a track
Do one of the following:
μ Control-click in the video stream, then choose Play from the shortcut menu.
μ Press the Space bar.
μ Move the playhead.
The Viewer tab moves to the front (if not already there) and shows the selected video
stream and subtitle. You can also hear the audio of the selected audio stream through
your system’s speakers or through an external audio decoder and monitor.
You can also see the video if you drag the playhead along the timeline in the Track Editor.
If you click in the timeline, the playhead jumps to that position and its video appears in
the Viewer tab.
About the Viewer Tab
You use the Viewer tab to preview tracks. It is also used as the Subtitle Editor when you
create subtitles in DVD Studio Pro.
Click this control
to show or hide
the viewer controls.
The Play, Stop,
and Step buttons
Chapter 17 Creating and Editing Tracks 413
When previewing a track, you can use four buttons to control the preview:
• Play/Pause
• Stop
• Step Forward
• Step Reverse
Note: The Subtitle Editor tools in the Viewer tab are unavailable unless you select a subtitle
to edit. See Creating Subtitles with DVD Studio Pro for more information.
Pausing or Stopping Playback?
The difference between pausing and stopping playback is what happens to the playhead:
• When you pause playback by clicking the Play/Pause button: The playhead remains at its
current position.
• When you stop playback by clicking the Stop button: The playhead jumps to the position
it was at when playback started.
You can also use your keyboard’s Space bar to pause or stop the track. The “Space bar
toggles between play/pause” setting in the Track pane of DVD Studio Pro Preferences
controls whether the Space bar pauses or stops the track:
• With the checkbox selected: The Space bar pauses playback, leaving the playhead at its
current position.
• With the checkbox not selected: The Space bar stops playback, returning the playhead
to its original position.
Holding down the Space bar while playing the clip allows you to stop playing the clip
automatically by releasing the Space bar. The playhead then follows the above preferences
setting.
Modifying the Step Buttons
The Step Forward and Step Reverse buttons move the playhead one frame at a time. You
can use modifier keys to enhance their capabilities.
• Holding down the Shift key while clicking the step buttons: This moves the playhead one
second at a time.
• Holding down the Option key while clicking the step buttons: This moves the playhead
one Group of Pictures (GOP) at a time.
• Holding down the Control key while clicking the step buttons: This moves the playhead
one marker at a time.
You can also click a step button and continue to hold down the mouse button to
repeatedly step the playhead.
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Previewing Angles
If you are previewing a mixed-angle track and select a video stream other than V1, the
preview still plays the V1 stream whenever the selected video stream is not present.
To see the multi-angle or mixed-angle stream actually function, you need to use the
DVD Studio Pro Simulator.
Simulating a Track
Simulating a track allows you to verify all streams and any special interactivity you may
have built into it.
To simulate a track
Do one of the following:
μ Select the track, then choose File > Simulate Track, or press Command-Option-0 (zero).
μ Control-click the track’s name in the Outline tab or its tile in the Graphical tab, then choose
Simulate Track from the shortcut menu.
μ Control-click one of the streams in the Track Editor, then choose Simulate from Track
from the shortcut menu.
These methods force the Simulator to start at this specific track instead of the First Play
connection, as it does when you open it using the icon in the toolbar.
Once the track starts playing, you can use the Simulator’s controls to choose the streams
to view (angle, audio, and subtitle).
See Simulating Your Project for information on using the Simulator.
Chapter 17 Creating and Editing Tracks 415
Slideshows can be combined with video tracks on a DVD to provide extra information
about the subject, such as historical information, newspaper and magazine articles, and
cast biographies.
This chapter covers the following:
• Introduction to Slideshows (p. 417)
• Want Your Slideshows to Do More? (p. 418)
• File Formats for Slideshows (p. 418)
• Adding a Slideshow to Your Project (p. 419)
• Creating a Slideshow Using the Menu Editor (p. 420)
• Working with Slides in a Slideshow (p. 421)
• Adding Audio to Your Slideshow (p. 424)
• Working with Slideshows (p. 427)
• Setting Slideshow Properties (p. 437)
• Setting Slide Properties (p. 440)
• Previewing a Slideshow (p. 441)
• Simulating a Slideshow (p. 442)
Introduction to Slideshows
In much the same way you assemble video assets in the Track Editor, you can assemble
still images in slideshows, with fixed or user-controlled duration, and with or without
audio. With the DVD Studio Pro slideshow feature, you can also create presentations with
high-quality audio, and even put photo albums and scrapbooks on DVDs.
Slideshows can be used for training, human resources information, education, corporate
communications, health care, weddings, and special events. Features, documentaries,
and promotional materials on DVD can include slideshows for supplementary materials.
417
Creating Slideshows 18
You can also convert a slideshow to a track, allowing you to add additional audio streams
and subtitles to it.
A slideshow can contain up to 99 still images. Each still can have its own display duration,
or the viewer can control when to go to the next still. You can add audio to each slide
and let each audio file’s duration determine the slide’s display duration. Alternatively,
you can assign one or more audio files to the overall slideshow, with each slide’s duration
scaled so the whole slideshow fits the duration of the audio files. You can also assign
transitions to each slide, adding effects such as dissolves and wipes as you play the
slideshow.
Want Your Slideshows to Do More?
Even with all that DVD Studio Pro allows you to do with a slideshow, you may find yourself
wanting it to do more. For example, if you want a panning or zooming action on each
slide, or more than the 99–still image limit, you will need to use an editing application,
such as Final Cut Pro or Final Cut Express to edit the stills together into a QuickTime movie.
You can import the movie into a DVD Studio Pro track. You can even add markers and
force manual pauses so that the viewer can still control the pace of the slideshow playback.
Another way to get around the 99–still image limit is to manually create a slideshow in
the Track Editor.
File Formats for Slideshows
Slideshows can use a wide variety of still and audio formats. The following sections, Still
Images in SD Projects, Still Images in HD Projects, and Audio Files, provide details on
these formats.
Still Images in SD Projects
DVD Studio Pro lets you use most common image formats in slideshows. You can also
use a mix of formats within a slideshow. See Slideshow File Formats for a list of supported
formats.
Once a still is imported into DVD Studio Pro, it is scaled, if necessary, to fit the slideshow’s
resolution. If any of the still images do not fit the 4:3 or 16:9 aspect ratio you’ve chosen
for the slideshow, a background color fills the gaps. You can set the background color in
the General pane in DVD Studio Pro Preferences. See General Preferences for more
information.
Important: Use care not to mix 4:3 and 16:9 stills in a slideshow.
For more information about still image sources, see Preparing Slideshow Assets.
418 Chapter 18 Creating Slideshows
Still Images in HD Projects
Creating slideshows for HD projects is not much different from creating slideshows for
SD projects. The most common issue is understanding how the HD slideshows handle
stills with respect to their resolutions.
A Resolution setting in the General pane of DVD Studio Pro Preferences defines the default
resolution of all new slideshows (and tracks and menus) you create. However, the actual
resolution of a slideshow is usually defined by the first still you assign to it.
For example, if your default resolution as defined by the preferences setting is 1280 x
720p and you create a new slideshow, its resolution is 1280 x 720p. If the first still you
add has a 1920 x 1080 resolution, the slideshow’s resolution automatically changes to
match it.
If the first still’s resolution is something that is non-standard, for example, a still that is
800 x 600, the slideshow’s resolution changes to the highest resolution that is smaller
than the non-standard size (in this example, full D1, which is 720 x 480 for NTSC or
720 x 576 for PAL), and the image is scaled to fit. If you set a menu’s background to
something that is smaller than full D1, it is scaled up to the full D1 size.
After you have added one or more stills, you can choose a resolution in the General tab
of the Slideshow Inspector to force the stills to be scaled to a specific resolution.
Note: As with SD slideshows, when a still does not match the 4:3 or 16:9 display mode,
the empty areas are filled with the slideshow background color, as defined in the General
pane of DVD Studio Pro Preferences.
Audio Files
Slideshows can have one or more audio files for the overall slideshow, or a separate file
for each still. While you can import files in a wide variety of audio formats for use with
slideshows, all audio files within a slideshow must have the same format, resolution, and
bit rate. See Preparing Audio Assets for more information about audio files.
Adding a Slideshow to Your Project
You add and manipulate still images in the same manner as you do video assets. You can
drag images directly to the Slideshow Editor from the Finder, or you can drag them to
the Assets tab, and then to the Slideshow Editor. You can also create slideshows by
dragging groups of stills to the Menu Editor.
When you open DVD Studio Pro, no default slideshow is created. You have to add a
slideshow to include one in your project.
Chapter 18 Creating Slideshows 419
To add a slideshow to your project
1 Do one of the following:
• Choose Project > Add to Project > Slideshow (or press Command-K).
• Control-click in the Outline or Graphical tab, choose Add from the shortcut menu, then
choose Slideshow from the submenu.
• Click Add Slideshow in the toolbar.
• Click the Slideshow tab and drag one or more stills to the Slideshow Editor.
A slideshow element appears in the Outline and Graphical tabs.
2 To open the slideshow in the Slideshow Editor, double-click it.
3 Enter a name for the slideshow in the Slideshow Inspector.
Use the Slideshow Inspector to set the jumps and remote control settings for the
slideshow.
Creating a Slideshow Using the Menu Editor
An easy way to create a slideshow and a button that links to it is to drag a group of stills
to the Menu Editor and choose Create Button and Slideshow from the Drop Palette.
To create a slideshow in the Menu Editor
1 Do one of the following to select the menu to which you want to add the button that
links to the new slideshow:
• Choose the menu from the Menu Editor’s View pop-up menu.
• Select the menu in the Outline or Graphical tab.
2 In either the Assets tab, the Palette, or a Finder window, select two or more still images
to be used in the slideshow. You can also select a folder that contains the still images.
420 Chapter 18 Creating Slideshows
3 Drag the still images to the Menu Editor, positioning them at the location where you
want the new button to be created. You can also drag them to an existing button if you
want to link that button to the slideshow.
4 When you hold the pointer still, the Drop Palette appears. Choose an option that creates
a slideshow.
A slideshow is created and linked to a button on the menu.
You can modify the slideshow just like any other slideshow, adding additional stills and
audio as desired. Use the Slideshow Inspector to set the slideshow’s name, jumps, and
remote control settings.
Working with Slides in a Slideshow
Once you’ve created a slideshow, you can start adding still images to it. You can add still
images one at a time or as a group, and rearrange their order. Before you begin adding
slides, you should set their default duration.
Setting the Default Slide Duration
The General pane in DVD Studio Pro Preferences contains a default duration setting that
determines each slide’s length when first imported. It’s a good idea to set the default
slide duration before adding slides to the slideshow. While this setting applies to all slides
when first imported, you can change the duration of individual slides later.
See General Preferences for more information on this setting.
You shouldn’t spend too much time fine-tuning each slide’s duration until you have
added and arranged all slides, and have added any audio.
Chapter 18 Creating Slideshows 421
Adding Slides to a Slideshow
Slides can be added to a slideshow one at a time or as a group.
Note: Do not mix slides with 4:3 and 16:9 aspect ratios in a slideshow. Slideshows only
directly support the 4:3 aspect ratio.
To add slides to a slideshow
1 Select one or a group of slides in the Assets tab, the Palette, or a Finder window.
2 Drag the file or files to the Slideshow Editor. If there are existing slides in the editor, a line
appears where you position the pointer. The Slideshow Editor inserts the new slides
underneath the line. By moving the pointer before releasing the mouse button, you can
control where the slides are inserted.
If you add a group of slides, the slides are added in alphabetical order. You can easily
rearrange the slide order later.
Selecting Slides in a Slideshow
As you add slides to a slideshow, you will need to be able to scroll through the list and
select the slide you want to work on.
To scroll through the slideshow list
Do one of the following:
μ Drag the scroller along the right edge of the Slideshow Editor.
μ Press the Up Arrow and Down Arrow keys to move through the list one slide at a time.
μ Press the Option key, then the Up Arrow or Down Arrow key to jump to the first or last
slide in the list.
μ Press the Page Up and Page Down keys to move through the list one page at a time.
In the last three cases, a slide is selected and it appears in the Viewer tab.
There are times when you will want to select a group of slides. For example, you might
need to delete them, change their duration, or move them to a different point in the list.
There are several ways to select groups of slides.
422 Chapter 18 Creating Slideshows
To select a group of slides
Do one of the following:
μ To select a group of nonadjacent slides, hold down the Command key while you select
the slides.
μ To select a group of adjacent slides, hold down the Shift key while selecting the first and
last slide in the group.
μ Hold down the Shift key while pressing the Up Arrow or Down Arrow key to select each
slide you scroll through.
μ Press Command-A to select all slides. You can also press Command-Shift-A to deselect
all slides.
Rearranging Slides in a Slideshow
Use the Slideshow Editor to rearrange slides in a slideshow.
To rearrange slides in a slideshow
1 Select the slide or slides to be moved. You can move a group of nonadjacent slides
together, but they will end up adjacent once they are moved.
2 Drag the slide (or slides) to a new position. When you hold a slide over another slide in
the list, a line appears where you position the pointer. The repositioned slide is inserted
underneath this line when you release the mouse button.
Removing Slides from a Slideshow
You can remove slides from your slideshow, either one at a time or as a group.
To remove slides from a slideshow
1 Select the slide or slides you want to remove in the Slideshow Editor.
2 Do one of the following:
• Choose Edit > Delete.
• Press the Delete key.
Note: Dragging a slide out of the list does not remove it from the slideshow.
Chapter 18 Creating Slideshows 423
Adding Audio to Your Slideshow
You can assign one audio file to each slide or add one or more audio files to the overall
slideshow. The method you choose depends on the type of slideshow you are creating.
• If each slide requires descriptive audio: Having a separate file for each makes it easy to
ensure that the audio always matches the appropriate slide. See Assigning an Audio
File to Each Slide for more information.
• If your slideshow consists of stills with an audio file providing background music: It is much
easier to assign one or more audio files, or an “overall audio file,” to the entire slideshow.
See Assigning Overall Audio Files to the Slideshow for more information.
Assigning an Audio File to Each Slide
You can assign an audio file to each individual slide in a slideshow. You can use the same
audio file multiple times, or only add audio to a few slides and leave the others silent.
Important: You cannot add audio files directly to slides as long as there is an overall audio
file assigned to the slideshow. See Assigning Overall Audio Files to the Slideshow for
information on removing overall audio files from a slideshow.
To assign audio to a slide using the Slideshow Editor
1 Select the audio file in the Assets tab, the Palette, or a Finder window.
Note: You can only add one audio file at a time when assigning them to slides.
2 Drag the file to a slide in the Slideshow Editor. When you pause the pointer, a black box
surrounds the slide the audio will be assigned to.
3 Release the mouse button when the correct slide is selected.
The slide’s duration changes to match the length of the audio file. You cannot change
the slide’s duration to a different value.
4 Press the Space bar to play the slide with its audio. Press the Space bar a second time to
stop playback.
To assign audio to a slide using the Slide Inspector
1 Select the slide to which you want to add audio.
424 Chapter 18 Creating Slideshows
2 In the Slide Inspector, choose the audio asset to assign to the slide using the Audio File
pop-up menu.
The Audio File pop-up menu in the Slide Inspector only allows you to choose from files
already imported into your project.
To change the audio file assigned to a slide
Do one of the following:
μ Drag a new file to the slide in the Slideshow Editor.
μ Choose a new file with the Audio File pop-up menu in the Slide Inspector.
To delete an audio file assigned to a slide
Do one of the following:
μ Select the audio file in the Audio column in the Slideshow Editor, then press the Delete
key. Make sure you only select the audio portion of the slide.
μ Choose “not set” from the Audio File pop-up menu in the Slide Inspector.
Note: All audio files used within a slideshow must be the same type and use the same
resolution and bit rate.
Assigning Overall Audio Files to the Slideshow
You can assign one or more audio files to a slideshow as overall audio files. This allows
you to have audio files that are not specific to a single slide. When you assign overall
audio to the slideshow, you can choose whether the slide or audio durations determine
the slideshow’s duration.
To assign overall audio files to a slideshow
1 Select the audio file or files in the Assets tab, the Palette, or a Finder window.
2 Do one of the following:
• Drag the file or files to the audio well in the Slideshow Editor.
Drag one or more audio
files to this location.
The audio well shows how many overall audio files are assigned to the slideshow.
Chapter 18 Creating Slideshows 425
• Drag the file or files to the Audio section in the Slideshow Inspector’s General tab.
3 Do one of the following to choose one of the two Slideshow Duration options:
• Choose Fit To Audio, Fit To Slides, or Fit To Slides and Loop Audio from the Slideshow
Editor’s Settings pop-up menu.
Choose a Slideshow
Duration setting.
• Select either Fit To Slides or Fit To Audio in the Slideshow Inspector’s General tab. If
you select Fit To Slides, you can also select the Loop Audio checkbox.
Use Fit To Audio to calculate a slide duration value that is applied to all slides, based
on the length of the audio file. The duration ensures the slides and the audio finish at
the same time and that all slides appear for the same amount of time.
There are several things to be aware of when using Fit To Audio:
• Each slide’s duration automatically updates if you add or remove slides or overall
audio files in the slideshow.
• Using a short audio file with Fit To Audio can cause the audio to finish before the
slides, because the slides cannot be set to durations shorter than their minimum
duration (15 frames for NTSC or 12 frames for PAL projects). The minimum duration
for the slides increases when one or more of them uses transitions.
• All slide duration controls are disabled when Fit To Audio is selected.
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Use Fit To Slides to leave each slide’s duration as is. When the slideshow is played, most
likely the audio will not finish at the same time that the slides finish appearing.
• If the slides finish first: The audio is clipped off. (The Loop Audio setting has no effect.)
• If the audio finishes first: The slides continue playing in silence. With Loop Audio
selected, the audio loops back to its beginning and continues playing if it reaches
its end before the slides.
4 Select the first slide and press the Space bar to play the slideshow with its audio.
Important: Adding an overall audio file automatically removes any audio files assigned
to individual slides. As long as there is an overall audio file assigned to the slideshow,
you cannot add audio files directly to slides.
To change the assigned audio files using the Slideshow Inspector
Do one of the following:
μ Select one or more existing files and press Delete to remove them from the slideshow.
μ Drag an existing audio file to a new location in the list to change its order.
μ Drag one or more new audio files to the list to add them to the slideshow.
You can also drag additional audio files to the audio well in the Slideshow Editor to add
them to the end of the list.
Working with Slideshows
You use the Slideshow Editor and Slideshow Inspector to change the settings for your
slideshow.
Setting the Slideshow Editor’s Thumbnail Size
The General pane in DVD Studio Pro Preferences contains a thumbnail image size setting
that allows you to control the number of slides displayed in the Slideshow Editor. See
General Preferences for more information on this setting.
Slideshow Editor Settings
The Slideshow Editor has two areas:
• The controls along its top: These buttons and pop-up menus provide easy access to a
variety of slideshow features. See Slideshow Editor Controls for details on these.
Chapter 18 Creating Slideshows 427
• The slide list: This lists the slideshow’s slides in the order they appear. See Slide List for
more information.
Slideshow Editor controls
Lists the slides in the
order they appear.
The triangle indicates this
slide has a transition, and
can be clicked to show
the Transition Inspector.
Slideshow Editor Controls
The top of the Slideshow Editor contains several controls that you can use while making
changes to your slideshow.
Choose the slideshow
to edit.
Converts the slideshow
to a track, allowing you
to add additional
features to it.
Choose the default
transition for the
slideshow.
Sets the duration
for the selected slides.
Shows that an overall
audio file has been
assigned. You can
drag audio files here
to add them.
Contains overall audio
duration and manual
advance settings.
• View pop-up menu: Use this to select the slideshow to open in the Slideshow Editor.
• Transition pop-up menu: Use this to choose the default transition for the slideshow. See
Using Slideshow Transitions for more information.
• Overall Audio well: Drag audio files here to add them to the overall audio file list. The
graphic in the well changes to show that one or more audio files are currently assigned
as the overall slideshow audio. When you position the pointer over the well, a tooltip
appears that lists some overall audio file information. You can Control-click the well to
remove all assigned overall audio files.
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• Convert to Track button: Click this button to convert the slideshow to a track. See
Converting a Slideshow to a Track for details.
• Duration: Enter a new value or choose a value from its pop-up menu. This duration
affects all currently selected slides. This setting is disabled if overall audio is being used,
and the Fit To Audio mode is selected. See Manually Changing a Slide’s Duration for
more information.
• Settings pop-up menu: Contains a variety of settings you can use with your slideshow:
• Fit To Audio, Fit To Slides, and Fit To Slides and Loop Audio: Control how the slideshow
uses the audio when it is configured to use overall audio. These settings are disabled
when audio is assigned to individual slides. See Assigning Overall Audio Files to the
Slideshow for more information.
• Manual Advance: Use to set all selected slides to pause or, if they are already set to
pause, to turn pause off. See Setting Up a Slideshow to Let the Viewer Advance the
Slides for more information.
Slide List
The Slideshow Editor displays eight columns of information for each slide. You can edit
two of these columns: Duration and Pause.
Note: You can drag the list headings to rearrange their order. You can also drag the edges
of the Audio columns to control its width.
• No.: Displays each slide’s number, indicating its order in the slideshow. You cannot
edit this number directly, but if you drag one or a group of slides to a new position,
the number is changed to reflect the slide’s new position in the slideshow.
• Image: Displays a thumbnail image of each slide. All slides with a transition assigned
have a triangle in their lower-right corner. Press Command–Equal Sign (=) for large
thumbnails and Command-Hyphen (-) for small thumbnails.
• File: Displays the name of each slide’s asset file.
• Audio: Displays the name of the audio file assigned to the slide (if applicable).
Chapter 18 Creating Slideshows 429
• Time: Displays the slideshow’s elapsed time at the beginning of each slide. This time
value does not include the duration of the slide it is listed with. All slideshows start at
00:00:00:00. While you cannot directly edit this value, changing the duration of any
slides positioned earlier in the list will change this time value.
• Duration: Displays the slide duration. This value is either the default duration selected
in the Preferences window, the length of the audio file assigned to the slide, or, when
using an overall audio file with the “Fit to audio” option selected in the Slideshow
Duration pop-up menu, a value calculated so that all slides play for an equal amount
of time and match the overall audio file length. You can edit this duration except on
slides that have an audio asset assigned to them or in slideshows with an overall audio
file that have “Fit to audio” selected. See Manually Changing a Slide’s Duration for
details.
• Pause: Select the checkbox if you want a pause to occur at the end of the slide. The
viewer then manually advances to the next slide using the Next button or Play button
on the DVD player’s remote control.
Note: If the slide contains a transition, the pause occurs before the transition. When
the viewer advances to the next slide, the transition plays and then the next slide
appears.
Manually Changing a Slide’s Duration
You can manually change each slide’s duration except on slides that have an audio asset
assigned to them or in slideshows with an overall audio file that have “Fit to audio”
selected.
To change a selected slide’s duration to a fixed value using the Slideshow Editor
1 Select one or more slides to change their durations.
2 Do one of the following:
• Choose a set value (1, 3, 5, 10, or 15 seconds) from the Duration pop-up menu.
• Enter a value (in seconds) in the Duration field and press Return.
Either enter a duration
or choose one from the
pop-up menu to apply
to the selected slides.
The duration of all selected slides is changed to the new value.
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To manually enter a slide’s duration in the slide list in the Slideshow Editor
1 Select the slide whose duration you want to change.
2 Double-click the current duration setting.
The duration highlights.
3 Type the new value and press Return.
Once you press Return, the new duration is set and the Time values for all affected slides
adjust to reflect this change. The Duration value of the next slide is automatically selected.
If you do not want to change its duration, select a different slide.
When entering a value, you don’t need to enter a colon to define the number pairs—the
values automatically divide into pairs starting from the frames.
If you enter a value that is greater than the maximum value for that field, the appropriate
time is added to the next field. For example, if you enter 79 seconds, the seconds field
displays “19” and one minute is added to the minutes field.
Note: The minimum slide duration for NTSC projects is 15 frames; for PAL, it is 12 frames.
The minimum is longer on slides using transitions.
To manually enter a slide’s duration in the Slide Inspector
1 Select the slide whose duration you want to change.
2 Do one of the following:
• Enter a new duration directly. Use the same methods as when entering a new duration
in the slide list area of the Slideshow Editor.
• Choose a duration from the Duration pop-up menu.
Setting Up a Slideshow to Let the Viewer Advance the Slides
You can set up your slideshow so that each slide appears for a specified length of time
or until the viewer decides to advance to the next slide. For example, you might want to
coordinate your slideshow for a speaker to step through each slide. This allows the viewer
(in this case the speaker) to choose when to advance to the next slide by pressing the
Next or Play button on the DVD player’s remote control.
To set up a viewer-advanced slideshow
Do one of the following:
μ Select the checkbox in the Pause column next to each slide that you want the viewer to
be able to advance manually.
μ Select a group of slides and choose Manual Advance from the Slideshow Editor’s Settings
pop-up menu. This turns on the Pause option on all selected slides.
Chapter 18 Creating Slideshows 431
μ Select a slide and select the Manual Advance checkbox in the Slide Inspector.
Select the Pause
checkbox on slides
you want to be
advanced manually.
The pause occurs at the end of the slide’s duration. If you have added an audio asset to
the slide, the audio plays and then the pause occurs. The viewer can press the Next button
or the Play button on the DVD player’s remote control to continue to the next slide.
Note: If the slide contains a transition, the pause occurs before the transition. When the
viewer advances to the next slide using the Play button, the transition plays and then
the next slide appears. If the viewer advances using the Next button, the transition does
not play, and the next slide immediately appears.
Setting a Pause on the Last Slide
The viewer may have problems when playing your slideshow on some DVD players if you
set the last slide to have a pause. Some DVD players do not react to presses of the Next
button once the viewer reaches the last slide, which leaves the viewer with no way to
activate the slideshow’s End Jump setting.
There are two methods you can use to avoid this problem and provide consistent playback
on all DVD players:
• Set the slideshow’s Next Jump connection in the Connections tab.
• Duplicate the last slide in the slideshow and set the new last slide not to pause.
Setting the Slideshow’s Next Jump Connection
Each element in your project has a Next Jump connection that is normally left not set.
The only place you can set a connection for Next Jump is in the Connections tab.
To set the slideshow’s Next Jump connection
1 Select the slideshow in the Outline tab.
2 Click the Connections tab.
3 Choose Advanced from the Connection tab’s View pop-up menu. Make sure the pop-up
menu next to the View pop-up menu is set to All.
4 Locate the End Jump and Next Jump items in the list of sources.
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5 Set the Next Jump target to be the same as the slideshow’s End Jump setting by dragging
the End Jump target setting to the Next Jump target.
See Next Jump and Prev Jump for more information.
Duplicating the Last Slide
Duplicating the last slide in a slideshow allows you to create a “false ending” for the
slideshow, and avoid the pause issue.
To duplicate and configure the last slide in a slideshow
1 In the Slideshow Editor, determine the asset name of the last slide and drag that slide’s
asset from the Assets tab to the next slide location.
2 Select the new last slide in the Slideshow Editor and set its duration to 15 frames by
double-clicking its duration value, entering 15, then pressing Return.
Note: For PAL projects, you can use a 12 frame duration.
3 Make sure the last slide’s Pause checkbox is not selected.
When you play this version of the slideshow and press the Next button on the last slide
with a pause, it jumps to the new last slide and then to the End Jump setting.
Using Slideshow Transitions
Slideshow transitions allow you to control whether the slideshow directly jumps from
slide to slide or uses a transition effect, such as a wipe or crossfade, to move from slide
to slide. You are able to set a transition effect that applies to all slides in the slideshow
or you can individually configure each slide’s transition effect.
About Transitions
Each slide has its own transition settings, accessible in the Transition tab in the Slide
Inspector. The default transition settings for the slideshow are in the Transition tab in the
Slideshow Inspector.
The transition is considered part of the slide, and, in most cases, does not affect its duration.
Using long transitions may lead to the slide being visible for only a short time, or may
require the slide’s duration to be increased. When you select a transition for a slide, group
of slides, or the slideshow, a warning appears if any slides must be lengthened.
Start and End Frames
Each transition has a start and end frame. The start frame is the slide you are transitioning
from, and the end is the slide you are transitioning to.
If the last slide in a slideshow has a transition assigned, its transition’s end frame is based
on the slideshow’s End Jump setting. If the End Jump is set to a script, the transition is
to black.
Chapter 18 Creating Slideshows 433
Setting a Slideshow’s Default Transition
Setting the transition for a slideshow affects all slides with their type set to “Same as
Slideshow.”
To set a slideshow’s default transition using the Slideshow Editor
μ Choose the transition from the Slideshow Editor’s Transition pop-up menu.
Choose the
default transition
for the slideshow.
The triangle indicates
this slide has a transition.
The transition uses its default settings. You can change the settings in the Transition tab
in the Slideshow Inspector.
To set a slideshow’s default transition using the Slideshow Inspector
1 Double-click an empty place in the Slideshow Editor’s control area to show the Slideshow
Inspector.
2 Click the Transition tab.
3 Choose the transition to use from the Transition pop-up menu.
Choose “not set” if you do not want slides to use a default transition. (You can still
configure individual slides to use transitions.)
4 Configure the transition using its specific parameters.
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Setting an Individual Slide’s Transition
You can use either the Slide Inspector or the Slideshow Editor to set the transition for a
slide.
To set a slide’s transition in the Slide Inspector
1 Select the slide for which you want to set a transition.
2 Click the Transition tab in the Slide Inspector and set the transition parameters.
In addition to selecting one of the transitions to use, you can choose “not set” to disable
transitions for that slide, or “Same as Slideshow” to have the slide use the slideshow’s
default transition.
To select a transition for a group of slides
1 Select the group of slides for which you want to select a transition.
2 Control-click one of the slides, choose Transition from the shortcut menu, then choose
the transition from the submenu.
Setting the Transition Parameters
The Transition tabs in the Slideshow and Slide Inspectors are identical—the only difference
is that the Type pop-up menu in the Slide Inspector has a “Same as Slideshow“ choice
that the Slideshow Inspector does not have.
• Start thumbnail: Shows the video frame that a still transition will start from.
• Transition thumbnail: Provides a preview of a still transition when you click the Preview
button.
• End thumbnail: Shows the video frame that a still transition will end with. This thumbnail
is empty in the Slideshow Inspector.
• Transition: Choose the type of transition to use. In the Slideshow Inspector, this sets
the default transition for this slideshow, which you can override at each slide.
• not set: Disables transitions for this slideshow or slide. (Even with “not set” chosen
for the slideshow, you can set transitions at each slide.)
Chapter 18 Creating Slideshows 435
• Still Transition: Creates a transition clip based on the chosen transition and its related
settings.
• Same as Slideshow: Only available in the Slide Inspector. Sets the current slide to use
the transition settings in the Slideshow Inspector.
• Preview: Click this to preview the current transition in the Transition thumbnail area.
• Parameters: Contains the parameters for the current transition. Each transition has its
own set of parameters.
Transition Parameters
Each transition has its own parameters. In many cases, the settings are self-explanatory;
however, in some cases the settings are not obvious. See Transition Parameters for details
on the parameters for each transition.
Converting a Slideshow to a Track
You may want to add several features to your slideshow that the Slideshow Editor does
not support. These include:
• Subtitles
• Alternate language streams
• The ability to combine moving video with the slides
To get access to these features, you can convert your slideshow to a track. Once converted
to a track, what was previously a slideshow is now a track, and must be edited in the
Track Editor.
Note: Once you convert a slideshow to a track, you cannot convert it back. You can use
the Undo feature or create a duplicate of the slideshow before you convert it to a track.
If you do create a duplicate of the slideshow, be sure to delete the duplicate before you
build your project.
To convert a slideshow to a track
1 In the Outline tab, Control-click the slideshow’s name, then choose Duplicate from the
shortcut menu.
An identical copy of the slideshow is created in case you need it later. You should delete
this copy when you are sure that it is no longer needed.
2 Choose the original slideshow in the Slideshow Editor.
3 Do one of the following:
• Choose Project > Slideshow > Convert to Track.
• Click Convert To Track in the Slideshow Editor.
436 Chapter 18 Creating Slideshows
The slideshow is deleted and a new track is created using the slideshow’s name.
Click Convert To Track
to create a track from
the selected slideshow.
The new track has a marker at each slide, each named with the slide’s filename. Each slide
retains its duration and pause setting. If audio files were assigned, they are also present
in the track.
Note: If a slide has a transition, a cell marker is placed at the beginning of the transition.
If the slide has pause selected, this marker is set to pause.
Setting Slideshow Properties
Selecting a slideshow in the Outline tab displays the Slideshow Inspector. The Slideshow
Inspector contains a top section and three tabs: General, Advanced, and Transition.
Settings at the Top of the Slideshow Inspector
Following are the settings at the top of the Slideshow Inspector.
• Name: Enter the name of the slideshow. This is the name that appears in the Outline
tab (where you can also change it).
• Est. Size: Displays the amount of disc space the slideshow requires.
• End Jump: Choose a setting from this pop-up menu to determine what happens once
the slideshow finishes playing.
Chapter 18 Creating Slideshows 437
General Tab in the Slideshow Inspector
The settings in the General tab in the Slideshow Inspector are used to set the slideshow’s
resolution and display mode. These settings are also used to configure a slideshow for
overall audio and are disabled when you are using no audio or are assigning audio to
individual slides.
Resolution and Display Settings
These settings define the basic video attributes of the slideshow.
• Resolution: Choose the slideshow’s resolution.
• For SD DVD projects: The resolution is either 720 x 480i (NTSC) or 720 x 576i (PAL).
• For HD DVD projects: You can choose from any of the supported resolutions. The
resolution automatically changes to match the first slide’s resolution if it matches
one of the supported resolutions, or to the closest smaller resolution if there is not
a direct match. DVD Studio Pro Preferences includes a setting for the default resolution
(which also applies to menus and tracks). See Still Images in HD Projects for more
information.
• Display Mode: Set the aspect ratio for this slideshow (4:3 or 16:9) and, with 16:9, choose
how it displays on a 4:3 monitor. The aspect ratio of the slide assets should match this
setting.
Parameters
These settings define the length of the slideshow.
• Slideshow Duration: Controls how the slideshow uses the audio when it is configured
to use overall audio. These settings are disabled when you assign audio to individual
slides. See Assigning Overall Audio Files to the Slideshow for more information.
• Fit To Audio: Slide durations are changed to a value that ensures the slides and audio
end at the same time.
438 Chapter 18 Creating Slideshows
• Fit To Slides: Slide durations are not changed, which means the audio can end before
or after the last slide. Selecting Fit To Slides enables the Loop Audio checkbox.
• Loop Audio: Select this to have the slide durations control when the slideshow ends.
If the audio is too long, it is clipped so that it ends with the last slide. If the audio is
too short, it loops back to the first audio asset and continues playing until the last
slide finishes.
• Total Running Time: Shows the duration of the slideshow.
Audio
The audio section lists the overall audio files assigned to the slideshow. You can drag a
file within the list to change its order.
• Add (+): Opens a file selection dialog so you can add an audio file to the list.
• Delete (–): Removes the selected audio files from the list.
• Total Audio Duration: Shows the combined duration of the audio files.
Advanced Tab in the Slideshow Inspector
Following are the settings in the Advanced tab of the Slideshow Inspector.
• Pre-Script: If applicable, you can choose a script from this pop-up menu. See Pre-Scripts
for information on using pre-scripts.
• Remote Control: Use these pop-up menus to customize the viewer’s interaction with
the title from this slideshow. See Remote Control Settings for details.
Chapter 18 Creating Slideshows 439
Transition Tab in the Slideshow Inspector
See Setting the Transition Parameters for details on the Transition tab.
Setting Slide Properties
If you select a slide in the Slideshow Editor, the Slide Inspector appears. It allows you to
set attributes for each slide. It contains a top section and two tabs: General and Transition.
See Setting the Transition Parameters for details on the Transition tab.
Note: Any settings you make in the Slide Inspector become marker properties if you
convert the slideshow to a track.
Settings at the Top of the Slide Inspector
Following are the settings at the top of the Slide Inspector.
• Name: Displays the name of the slide as it appears in the Assets tab, where its name
can be changed.
• Asset: Displays the name of the slide’s actual asset.
440 Chapter 18 Creating Slideshows
General Tab in the Slide Inspector
Following are the settings in the General tab of the Slide Inspector.
• Slide Duration: Displays the duration of the selected slide. You can enter a new duration
or choose a duration from the pop-up menu.
• Manual Advance: Determines whether the slideshow pauses (checkbox selected) or
continues playing to the next slide (checkbox not selected).
• Audio File: Displays the name of the audio asset assigned to this slide. You can use this
pop-up menu to choose from the audio assets already imported into this project.
Important: All audio files within a slideshow must have the same format, resolution,
and bit rate.
• DVD@CCESS: Select this checkbox for titles played on a computer if you need to open
an application such as a web browser to view special content when the slide starts
playing. See DVD@CCESS for information on DVD@CCESS.
Previewing a Slideshow
Before you build the slideshow, it’s a good idea to preview it.
To preview a slideshow
1 Select the slideshow in the Outline tab.
2 In the Slideshow Editor, select the slide to start playing from.
3 Do one of the following:
• Press the Space bar.
• In the Slideshow tab, Control-click a slide, then choose Play from the shortcut menu.
The Viewer tab appears and the slideshow starts playing from the selected slide. If the
slideshow has audio assigned, it also plays. A drawback is that pauses are ignored. You
can use the Simulator to play the slideshow and test any pauses you have set.
Chapter 18 Creating Slideshows 441
Simulating a Slideshow
Simulating a slideshow allows you to fully test a slideshow, including its pauses and
DVD@CCESS settings.
To simulate a slideshow
Do one of the following:
μ Select the slideshow, then choose File > Simulate Slideshow, or press Command-Option-0
(zero).
μ Control-click the slideshow in the Outline tab, then choose Simulate from the shortcut
menu.
μ In the Slideshow tab, Control-click a slide, then choose Simulate from the shortcut menu.
These options force the Simulator to start at this slideshow instead of the First Play
connection, as it does when started by clicking Simulator in the toolbar.
Once the slideshow starts playing, you can use the Simulator’s controls to test the pauses.
See Simulating Your Project for information on using the Simulator.
442 Chapter 18 Creating Slideshows
Although the most common use for subtitles is to display a text version of the dialogue,
subtitles created in DVD Studio Pro can be used for many other purposes.
This chapter covers the following:
• Introduction to Subtitles (p. 443)
• Importing Older DVD Studio Pro Subtitles (p. 445)
• Subtitles and Overlays (p. 445)
• About Subtitles and Closed Captions (p. 445)
• Subtitle Stream Basics (p. 446)
• Subtitle Inspector (p. 448)
• What Happens with Different Aspect Ratios? (p. 454)
• Viewing Subtitles (p. 455)
• Creating Subtitles with DVD Studio Pro (p. 457)
• Importing Graphics Files for Subtitles (p. 463)
• Creating and Importing Subtitle Files (p. 464)
• Importing a Subtitle File (p. 465)
• Creating an STL Format Subtitle File (p. 467)
• Creating Buttons over Video (p. 471)
• Configuring a Button over Video Subtitle Clip (p. 473)
Introduction to Subtitles
Each track can include up to 32 subtitle streams. Having multiple streams makes it possible
to offer text in several languages, allowing the viewer to select the appropriate one.
Increasingly, subtitles are being used for other purposes, such as to create buttons over
video (also known as interactive markers or interactive subtitles), which allow the viewer
to make choices while watching the movie. You can also use subtitles to supply simple
graphics to augment the video, such as arrows and lines.
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Creating Subtitles 19
You can create text subtitles directly in DVD Studio Pro, one at a time. You set their
position, font, size, style, and color, and can have them fade in and out. You control their
start and stop time either by entering timecode values or dragging in the timeline.
You can also import subtitle files containing all of the subtitles for a track. DVD Studio Pro
supports files that conform to any of these formats:
• STL: The Spruce Technologies subtitle format
• SON: The Sonic Solutions bitmap-based format
• TXT: A plain text file
• SCR: The Daiken-Comtec Laboratories Scenarist bitmap-based format
Note: See Importing Older DVD Studio Pro Subtitles for information on importing SPU
format subtitles (subtitles created with earlier versions of DVD Studio Pro).
Files in these formats should all contain multiple subtitle text or graphics images tied to
timecode values, ensuring they are placed properly within the timeline.
You can also import graphics files and use them as subtitles or overlay them on the video.
For example, you could have a graphic that traces a route on a map that appears in the
video stream. By importing several graphics, you could effectively animate the graphic
(by making the line move in the map, for example).
Subtitles can also be used to superimpose buttons over the track’s video. The viewer
selects these buttons just as they would buttons on a menu. Creating buttons over video
is similar to creating buttons using the standard menu creation method; that is, both
involve overlays, drawing rectangles to identify each button’s active area, and color
mapping.
There are no limits to how many subtitles you can add to a subtitle stream. However,
there are limits to how many subtitles you can have that provide buttons over video. See
How Do Buttons over Video Work? for more information.
There is also no limit to the length of subtitles—you can make subtitles as short as one
frame or as long as the track.
Short subtitles can be useful if you want to create an animation effect, with simple graphics
that move. See Using Graphics Files to Create an Animation for more information.
Subtitles can be configured so that the viewer controls whether they appear, or they can
be forced to appear.
444 Chapter 19 Creating Subtitles
Importing Older DVD Studio Pro Subtitles
Because of the way they are created, you cannot directly import subtitle files created with
the Subtitle Editor in earlier versions of DVD Studio Pro. These subtitle files have an “.SPU”
extension.
However, you can import older DVD Studio Pro projects that contain subtitles into
DVD Studio Pro 4. Each subtitle entry is converted to a TIFF file and placed on the timeline
at the correct location. Because the subtitles are TIFF files, you cannot edit their text within
DVD Studio Pro 4.
Subtitles and Overlays
All subtitle types use the same advanced overlay method used in the standard menu
creation method. This means that any graphics and subtitle files must be made of up to
four predefined colors, on which you map the actual colors that appear when the title
plays. See Creating Overlays for information on overlay graphics.
About Subtitles and Closed Captions
While this chapter describes working with subtitles, it is important to understand how
they compare to closed captions, which are also supported by DVD Studio Pro when
creating NTSC SD projects. This is especially important if you are creating DVD titles that
must comply with accessibility requirements.
There are two methods available to you to provide visual text to the viewers of your NTSC
SD-based DVD title: adding subtitles and importing closed caption files. In both cases,
text can be made to appear on the screen along with the video. However, the capabilities
of each method are different.
Note: DVD Studio Pro does not support closed captions in HD projects or PAL SD projects.
Subtitle Capabilities
Subtitles generally provide dialogue text only—there is no text description of sounds
that may also be part of a scene (although those could be added if you wish). Subtitles
are generally intended to provide the dialogue in a second language and assume you
can hear the disc’s audio.
When creating subtitles, you can define their position, size, font, and color. Subtitles do
not actually have to be text—they can be a graphic used to display a logo or point out
an item in the video.
All DVD players, including those used by computers, include the ability to show subtitles.
Subtitles work the same in both NTSC and PAL projects.
Chapter 19 Creating Subtitles 445
Closed Caption Capabilities
Closed captions provide not only dialogue text but also descriptions of other sounds that
are part of a scene (such as a phone ringing or a dog barking). They are intended to
enhance the viewing experience for deaf and hearing-impaired viewers.
To view closed captions, you must have a suitable decoder—either built in to the television
or as a standalone device. When creating closed captions, you choose the text’s position
and, in some cases, its color—the font is controlled by the decoder.
Because a lot of computers do not have closed caption decoders, playing DVD titles on
them means you generally cannot count on being able to show any included closed
captions.
Due to their reliance on information contained in line 21 of the video signal, closed
captions, as supported by the DVD specification, apply to NTSC programs only.
See Adding Closed Captions to a DVD for details on importing a closed caption file.
Subtitle Stream Basics
There are several aspects of working with subtitle streams that apply whether you create
them in DVD Studio Pro or import them.
Working with Subtitles in DVD Studio Pro
Working with subtitles in DVD Studio Pro involves using the Track Editor, the Subtitle
Inspector, and the Viewer tab.
All subtitles, whether created with text entered in DVD Studio Pro, as individual imported
graphics files, or as a subtitle file containing multiple subtitles, are based on subtitle clips
in one of the 32 subtitle streams. In general, you work with the subtitle clips the same
way you work with audio clips in the Track Editor. You can drag the clips to change their
position and drag their edges to change their length.
The Subtitle Inspector provides the settings you use to configure each of the subtitle
clips. Even the subtitle clips you import as part of a subtitle file can have their settings
modified in the Subtitle Inspector.
The Viewer tab serves the Subtitle Editor function. When you double-click a subtitle clip
in the Track Editor, its playhead jumps to the subtitle clip’s start, with the subtitle appearing
over the track’s video. You can enter and position subtitle text directly in the Viewer tab.
It also contains the tools you use when you create subtitles configured for buttons over
video.
446 Chapter 19 Creating Subtitles
How Subtitles Switch Streams
When the viewer switches from one subtitle stream to the other, two things must happen
before the second stream’s subtitles appear:
• The subtitle clip currently showing must reach its end. No subtitle actions, including
switching streams and turning subtitles off, can occur until the DVD player finishes
showing the current subtitle clip.
• A clip on the second stream must start. If a subtitle clip on the second stream starts
before the subtitle clip on the first stream ends, it does not appear, and instead, the
next clip on the second stream is the first from that stream to appear.
For most standard subtitles, this happens relatively quickly and the viewer quickly starts
seeing subtitles from the selected stream. At most they might miss one subtitle clip.
These rules become important if you create a long subtitle clip that is the same length
as the track because you will never be able to select it or switch from it. Having a single
long subtitle clip is useful if you want to place a logo in a corner of the image. For this to
work, its subtitle stream must be selected before the long clip starts, and once selected,
you cannot switch it off or switch to a different subtitle stream.
Note: Subtitles that cross chapter markers are automatically split into multiple subtitle
clips at each marker when you build your project.
Subtitle Preferences
DVD Studio Pro contains a set of preferences that control many aspects of how subtitles
appear on a stream, whether manually created or imported (unless specifically overridden).
It is recommended that you take some time and configure these preferences before you
start working in the subtitle streams.
The preferences cover the following areas:
• Fade and length: The General pane in DVD Studio Pro Preferences contains the default
settings for the fade in and out settings as well as the subtitle length. The fade settings
apply to all subtitles except those configured to provide buttons over video. The length
setting applies only to new subtitles you create in DVD Studio Pro.
• Font and position: The Text pane in DVD Studio Pro Preferences contains the default
settings for the font used with text subtitles and the position settings for both text and
graphic-based subtitles. Depending on the type of subtitle file you are importing, these
settings may be overridden during the file import.
• Color mapping: The Colors pane in DVD Studio Pro Preferences contains default settings
for the color mapping used when importing subtitle files and creating subtitles in
DVD Studio Pro. Depending on the type of subtitle file you are importing, these settings
may be overridden during the file import.
See Setting DVD Studio Pro Preferences for more information.
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Applying Subtitle Settings to the Stream
No matter how carefully you configure your preferences and how much time you spend
deciding how the subtitles should look, there will often be times when you need to make
a change to all subtitle clips in a stream (and there could be hundreds of clips in a stream).
For example, you may need to use a different color for the text or to change the font.
The Subtitle Inspector includes an Apply to Stream function that you can use to selectively
apply changes you make in one subtitle clip to all subtitle clips in that stream.
There are three areas in which you can independently apply changes you make to the
entire stream:
• Fade In and Out: You can make changes to a clip’s fade settings in the General tab in
the Subtitle Inspector and apply the changes to all subtitle clips in the stream.
• Text formatting: You can make changes to a clip’s font and position settings in the
General tab in the Subtitle Inspector and apply the changes to all subtitle clips in the
stream.
• Color mapping: You can make changes to a clip’s color and opacity settings in the
Colors tab in the Subtitle Inspector and apply the changes to all subtitle clips in the
stream.
Subtitle Inspector
The Subtitle Inspector contains settings applicable to all subtitle clips. It shows the settings
of the currently selected subtitle clip. The Subtitle Inspector contains three tabs: General,
Button, and Colors. There is also the Text entry area at the top of the Inspector.
Text Entry Area in the Subtitle Inspector
You can use the Text area to enter subtitle text for the current subtitle clip. The Text area
also displays any text you enter directly in the Subtitle Editor. If you have imported the
subtitle as a graphic, the Text area does not show any text contained in the graphic.
Click within the Text area to enter text. You can even combine text with an imported
graphic. Press Return to insert a line break.
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General Tab in the Subtitle Inspector
Following are the settings in the General tab of the Subtitle Inspector.
Clip Info
• Start: The timecode where this clip appears. You can change a clip’s start time by
entering a new value here or by dragging the clip’s leading edge in the Track Editor.
Changing the start time also affects the clip’s end time, but not its duration.
• Duration: The length of the clip. If you enter a new duration here, the clip’s end time
changes to fit it. You can also change a clip’s duration by dragging its edges in the
Track Editor.
• Stop Time: The timecode where the clip stops appearing. You can change a clip’s stop
time by entering a new value here or by dragging the clip’s trailing edge in the Track
Editor. Changing the stop time also affects the clip’s duration.
• Fade In: You can enter a value (in frames) that controls how long the clip takes to
dissolve on. The fade in starts at the clip’s start time.
Note: The Fade settings are unavailable when you are working with a subtitle clip
configured to provide buttons over video.
• Out: You can enter a value (in frames) that controls how long the clip takes to dissolve
off. The fade out finishes at the clip’s stop time.
Note: Because there are only 16 opacity levels, setting fades longer than 20 frames
produces noticeable “stepping” as the subtitle dissolves in and out.
• Force display: Select this checkbox to force specific subtitle clips to appear, even if the
viewer has disabled subtitles. Subtitle clips set to force their display only appear if their
subtitle stream is currently selected.
• Apply to Stream: Click to apply the fade in and out settings to all subtitle clips in this
stream.
Chapter 19 Creating Subtitles 449
Formatting
• Horizontal: Sets the horizontal justification of the text. Click the appropriate icon for
left, center, or right alignment.
• Horizontal Offset: Trims the horizontal position of the text, in pixel steps, from the
selected justification setting. Positive values move the text to the right and negative
values move it to the left. A value of 0 positions the text at its justification setting.
• Vertical: Sets the vertical justification of the text. Click the appropriate icon for top,
center, or bottom alignment.
• Vertical Offset: Trims the vertical position of the text, in pixel steps, from the selected
justification setting. Positive values move the text down and negative values move it
up. A value of 0 positions the text at its justification setting.
• Apply to Stream: Click to apply the formatting settings to all subtitle clips in this stream.
Graphic
• File: Shows the name of the graphics file assigned to this subtitle clip. You can enter
the path and name for a graphics file or click the Choose button to open a file selection
dialog.
• Offset X and Y: Use to trim the graphic’s position.
• Offset X: Trims the horizontal position. Positive values move the graphic to the right
and negative values move it to the left. A value of 0 positions the graphic at its default
position.
• Offset Y: Trims the vertical position. Positive values move the graphic down and
negative values move it up. A value of 0 positions the graphic at its default position.
Stream
• Language: Choose the stream’s language. This setting applies to all subtitles in the
stream. You can also choose the stream’s language in the stream configuration area
of the Track Editor.
• Import Subtitles: Click this button to import a subtitle file. This file affects the entire
subtitle stream. See Importing a Subtitle File for more information.
Note: Importing a subtitle file deletes any existing subtitle clips from the stream.
Button Tab in the Subtitle Inspector
The Button tab in the Subtitle Inspector is empty unless the subtitle is configured to
provide buttons over video. See Creating Buttons over Video for more information.
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You use the Button tab to configure the buttons to add to the subtitle.
• Name: By default, buttons are named “Button _,” where “_” is the button number in
that menu. To reduce confusion when viewing a list of the menu’s buttons, it is helpful
to rename the buttons based on their functions.
• Default: Choose the button to be selected when the subtitle appears during playback
of the title. This setting can be overridden by any element that jumps to this subtitle’s
marker, based on its jump setting.
• Target: You can use this pop-up menu to define a button’s action when activated. (You
can also use the Connections tab or Control-click the button.) Often you must set the
connection later because what you want to jump to has not been added to the project
yet. The pop-up menu contains all possible elements you can jump to.
• Highlight: Select the color mapping set (1, 2, or 3) to use for this button.
• Angle/Audio/Subtitle Streams: Use these three pop-up menus to have a button select
specific angle, audio, and subtitle streams to play back. For the subtitle stream, you
can also choose whether subtitles should appear. These settings are only active if the
target is set to “not set.” You can set the target to run a script if you want a button to
jump to a specific stream in a different track.
• Remote: This area lets you set the actions that take place when the viewer uses the
arrow buttons on the DVD player’s remote control to navigate through the title. Because
this is the typical way the title will be viewed, it is important to spend some time
configuring the navigation in a logical, predictable way. See Configuring Button
Navigation for information.
Chapter 19 Creating Subtitles 451
• Number Pad: Defines which buttons are directly accessible by a DVD player’s numeric
keypad. Choose All, None, or a button number from the pop-up menu. When you
choose a button number, that button and all buttons less than that number are
accessible via the numeric keypad—buttons greater than this value are blocked from
direct access.
Important: This feature is based on the order in which the buttons are created. In most
cases, this order is the same as the default button names shown in the Viewer. This
button order can be changed if you delete a button and later add a new button—the
new button’s default name is not a reliable indicator of the order in which the buttons
were created.
• Button Offset: You can use this to offset button numbers so they make sense to a viewer
who wants to select a button by entering its number. For example, you may have a set
of scene selection menus with numbered scenes. One of the menus may have scenes
23 to 34, with the button for scene 23 being the first button on the menu. If you enter
an offset value of 22 for this menu, when the viewer enters 23 on the remote control,
22 is subtracted from it, with the result being 1—the button’s actual number.
• Coordinates & Size: This area lets you set the location of each edge of the button’s active
area, plus the area’s height and width. The upper-left corner of the menu is at pixel 0,
line 0. You can enter values for each edge, allowing you to precisely position and size
the button’s active area. (You can also drag the area and each of its edges with the
pointer.)
• Auto Action: If you select Auto Action for a button, the button activates automatically
as soon as it is navigated to, without the viewer needing to press Enter. This is useful
in menus, such as scene selection menus, in which you use Next and Previous buttons;
you can assume that if viewers navigate to the Next or Previous button, they want to
activate it.
With overlay-based buttons, if you select this option, only the activated color mapping
appears when the button is navigated to, skipping the selected color mapping.
Important: When viewed with most software-based DVD players, such as the Apple
DVD Player, auto action buttons must be clicked if a mouse is used to select buttons.
If you use the computer’s arrow keys, however, auto action buttons activate
automatically as with set-top DVD players.
• Invisible: Applies to overlay-based buttons. Allows you to have a button that does not
display highlights in the normal, selected, or activated state. This is useful when you
want to have a menu with text and no visible buttons. The text could tell the viewer
to press the Enter button to go to the next menu or start playback (or whatever the
button is set to jump to).
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Colors Tab in the Subtitle Inspector
The Colors tab in the Subtitle Inspector is very similar to the Colors tab in the Menu
Inspector.
• Mapping Type: Select the colors used to create the overlay graphic. This setting only
applies to imported graphics files.
• Chroma: Uses black, red, blue, and white
• Grayscale: Uses black, dark gray, light gray, and white.
• Selection State: Unless you have configured this subtitle clip to provide buttons over
video, only the Normal setting is available. When configured for buttons over video,
you can select the button state you want to configure, and that state’s colors and
transparencies are displayed.
• Set: Active only when you have configured this subtitle clip to provide buttons over
video. Select the color mapping set (1, 2, or 3) to configure. All new buttons use set 1.
See Color Mapping Sets for more information.
Note: These sets apply only to the selected and activated button states. The normal
state color mapping setting applies to the entire overlay graphic unless a button’s
active area is selected or activated.
• Key: Displays the overlay file’s colors as selected with the Mapping Type. The names
to the left of the key colors (Text, Outline 1, Outline 2, and Background) show which
settings apply to subtitle text entered in DVD Studio Pro.
• Color: Select the color for each of the four overlay colors from the current Color Palette.
If this subtitle is configured to provide buttons over video, you must do this for all three
button states.
• Opacity: Set the transparency for each of the highlight colors. You can use the slider
or enter a value from 0 (completely transparent) to 15 (completely opaque).
Chapter 19 Creating Subtitles 453
• Apply to Stream: Click to apply the color and opacity settings to all subtitle clips in this
stream.
• Save As Default: Click to save this color mapping configuration as the default to be
used on all new subtitles you create.
Note: This is not the same palette used by the Menu Editor.
• Restore Default: Click to replace the existing settings with those of the default subtitle
color mapping configuration.
• Edit Palette: Click to display the Color Palette dialog, which you can use to change
colors within the palette. See Color Mapping Palette for more information.
What Happens with Different Aspect Ratios?
There are special considerations when you add subtitles to a track with its display set to
one of the 16:9 options, especially if you have subtitles configured to provide buttons
over video.
Normal Text Subtitles and 16:9
The text on the subtitles you create in DVD Studio Pro on 16:9 tracks will appear
horizontally stretched when viewed on a 16:9 monitor. You can counteract this effect by
choosing a narrow font. When a 16:9 track’s subtitle plays on a 4:3 monitor using either
the letterbox or pan-scan method, the text will appear at its natural, nonstretched width.
Additionally, the text is complete, even when you use the pan-scan mode.
Normal Overlay Graphic Subtitles and 16:9
Overlay graphics that you use for subtitles on 16:9 tracks must be anamorphic (horizontally
compressed) to display properly when viewed on a 16:9 monitor. If you use nonanamorphic
graphics for the subtitles, they will appear horizontally stretched when viewed on a 16:9
monitor.
When a 16:9 track with a graphic subtitle plays on a 4:3 monitor, the entire graphic
appears, whether you use the letterbox or pan-scan mode. If you used an anamorphic
graphic for the subtitle, it will appear horizontally squeezed when viewed on a 4:3 monitor.
Buttons over Video Using Text Buttons and 16:9
If you create subtitle buttons by typing text and using the text as the buttons on a 16:9
track, the highlights will work as expected when played on a 16:9 monitor.
How the track plays on a 4:3 monitor depends on whether you are using the letterbox
or pan-scan mode.
• If you play the 16:9 track on a 4:3 letterbox monitor: The highlights will not match the
text, because the highlight areas have been scaled along with the video.
• If you play the 16:9 track on a 4:3 pan-scan monitor: The highlights will match the text.
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Based on this behavior, it is recommended that text buttons not be used when creating
buttons over video on a 16:9 track that is set to play in the letterbox mode on a 4:3
monitor.
Buttons over Video Using Overlay Graphic Buttons and 16:9
If you create subtitle buttons by importing an overlay graphic and configuring it for a
16:9 track, the highlights will work as expected when played on a 16:9 monitor.
The highlights will not match the overlay graphic when played on a 4:3 monitor, either
letterbox or pan-scan.
• If you play the 16:9 track on a 4:3 letterbox monitor: The highlights will be expecting the
overlay graphic to be compressed vertically about its center by 25 percent (matching
what happens to the track’s video).
• If you play the 16:9 track on a 4:3 pan-scan monitor: The highlights will be expecting the
overlay graphic to have had 12.5 percent of its width removed from both the left and
right edges (resulting in a total of 25 percent of the width being removed, matching
what happens to the track’s video).
In both cases, you can create overlay graphics that compensate for these issues, but not
one that will work for both 16:9 and 4:3 playback.
One solution is to create two sets of graphics—one for 16:9 monitors and the other for
4:3 monitors, either letterbox or pan-scan. If you place the graphics on separate subtitle
streams at the same timecode, you can use a script to determine how the DVD player is
configured and enable the appropriate stream.
See Creating Buttons over Video for more information about using buttons over video.
Viewing Subtitles
To see how your subtitles look over moving video, including the fade in and fade out
settings, you must preview or simulate the track.
• Previewing: Previewing subtitles plays the selected subtitle stream over the video track
in the Viewer tab. You are able to switch subtitle streams during playback. However,
they switch immediately—not as they would switch with a DVD player. You cannot try
out any buttons over video you may have added.
• Simulating: Simulating subtitles plays the track in the Simulator. You are able to properly
switch subtitle streams during playback and can verify any buttons over video you
have configured.
Previewing Subtitles
Before you can preview a subtitle, you need to enable its stream; you can then start
playing the track.
Chapter 19 Creating Subtitles 455
To preview a subtitle
1 Select the video, audio, and subtitle streams you want to preview, using the button at
the far left of each stream.
Click to select one video,
audio, and subtitle
stream to preview.
See Setting Stream Properties for more information on stream settings.
2 Play the track by clicking the Play button in the Viewer tab.
The track plays from the playhead’s current position. Because the playhead automatically
jumps to each subtitle clip as you edit them, you need to move it back to the track’s
beginning if you want to begin playing from there. Alternatively, you can move the
playhead to any position on the timeline to start playback at that point.
See Playhead for information on using the playhead. See Viewing a Track for more
information on playing tracks.
Simulating Subtitles
DVD Studio Pro provides two ways to start the Simulator: at the First Play connection
using Simulator in the toolbar, and at the current track using a shortcut menu in the
Outline and Graphical tabs.
Because you may have not yet configured your project so that you can easily navigate
to this track from the First Play setting, it is often more convenient to start the Simulator
playing at the current track.
To start the Simulator at a specific track
Do one of the following:
μ Select the track, then choose File > Simulate Track, or press Command-Option-0 (zero).
μ Control-click the track in the Outline or Graphical tab, then choose Simulate Track from
the shortcut menu.
μ Control-click a stream in the Track Editor, then choose Simulate from Track from the
shortcut menu.
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Creating Subtitles with DVD Studio Pro
Before you create a subtitle, you must have first created and selected the track where the
subtitle will go. Because the contents of the track’s video and audio streams typically
determine the subtitle placement, you should not start adding subtitles until these streams
are set.
Creating a Subtitle Clip
There are several methods you can use to create a new subtitle clip.
Note: Remember that you have to create the subtitle in a subtitle stream (one of the
streams labeled S1 to S32), and not in the V1 stream.
To create a new subtitle clip
Do one of the following:
μ Double-click in the subtitle stream at the approximate time position where the subtitle
clip should appear.
μ Position the track’s playhead where the subtitle clip should appear, then choose Project
> Timeline > Add Subtitle at Playhead.
μ Position the track’s playhead where the subtitle clip should appear, Control-click in the
subtitle stream, then choose Add Subtitle at Playhead from the shortcut menu.
μ Position the track’s playhead where the subtitle clip should appear, then press Shift-Tilde
(~).
μ Control-click in the subtitle stream at the approximate time position where the subtitle
clip should appear, then choose Add Subtitle from the shortcut menu.
Double-click in a subtitle
stream to create a new
subtitle.
Control-click in a subtitle
stream to open this
shortcut menu.
All methods create an empty subtitle, with the duration and colors set in the General and
Colors panes in DVD Studio Pro Preferences. Click the Viewer tab to see the video frame
that corresponds to the start of the subtitle.
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Positioning and Trimming a Subtitle Within a Stream
You can use your mouse or the settings in the General tab in the Subtitle Inspector to
adjust the position and duration of the subtitle.
To position and trim a subtitle
1 Change the subtitle’s position on the timeline by doing one of the following:
• Drag it to a new position.
• Enter a new start time in the General tab in the Subtitle Inspector.
2 Change the subtitle’s duration by doing one of the following:
• Drag one of its edges to a new position. You may need to change the timeline’s zoom
level to make it easier to see any changes you make, especially if the subtitle clip appears
very small. The pointer changes to indicate when you are over an edge and can start
dragging it.
• Enter a new duration in the General tab in the Subtitle Inspector.
• Enter a new stop time in the General tab in the Subtitle Inspector.
Note: Subtitles cannot cross chapter markers. When you build your project, any subtitle
clips that reach a chapter marker are clipped at that point.
Selecting Subtitle Clips
Once you have multiple subtitle clips in a stream, you can use a variety of methods to
select one.
To select a subtitle clip in a subtitle stream
Do one of the following:
μ Choose Project > Subtitle > Next or Project > Subtitle > Previous.
μ Click a subtitle clip in the subtitle stream.
μ Click the left and right arrows in the Viewer tab.
μ Press the Up Arrow and Down Arrow keys to move the playhead through the timeline,
stopping at each clip edge and marker.
Entering Subtitle Text
If you have experience using graphics applications, most aspects of entering subtitle text
will be familiar to you. You can type directly in the Viewer tab or in the Text area in the
Subtitle Inspector.
To enter subtitle text
1 Do one of the following:
• If the blinking insertion point is showing in the Subtitle Editor, you can start typing the
text. The insertion point automatically appears at the default position in the Subtitle
Editor.
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• Click in the Text area in the Subtitle Inspector.
2 Type the text. Press Return to start a new line.
Note: When typing text in the Subtitle Editor, press Enter to exit the text entry mode.
You cannot create more than one text entry per subtitle. For example, you cannot enter
a sentence, position it in the upper-left corner, and enter a second sentence and position
it in the lower-right corner. If you need this functionality, create a graphics file that contains
the text as required, and import it into a subtitle. See Importing Graphics Files for Subtitles
for more information.
See Setting the Subtitle Font if the font is not the right size or style. See Setting the Subtitle
Color if you see the insertion point move, but no text appears in the Viewer tab, or you
want the text to be a different color.
You can edit the text by clicking to place the insertion point or selecting existing text
and typing new text. You can also drag the text in the Subtitle Editor to a new position.
Copying Text Between Subtitles
You can copy text from one subtitle or other text source to a subtitle. Depending on
where you paste the text, you can even maintain the font and size of the copied text:
• To use the font and size information in addition to the text: Paste at the insertion point
in the Viewer tab. The text’s color and justification are not copied.
• To use only the text: Paste in the Subtitle Inspector’s text entry area. The text uses the
subtitle’s font and size settings.
To copy text to a subtitle
1 Select the text to be copied.
This text can be from almost any text source, including other subtitles or TextEdit files.
2 Choose Edit > Copy (or press Command-C).
This copies the text to the Clipboard. The selected text is not affected.
3 Select the subtitle to copy the text to, then do one of the following:
• To add it as new text: Click the insertion point.
• To replace existing text: Highlight the text to be replaced.
• To add it to existing text: Place the insertion point where the copied text should go.
Use the Viewer tab to retain the font and size settings of the copied text, or use the
Subtitle Inspector’s text entry area to use the subtitle’s font and size settings.
4 To paste the text, choose Edit > Paste (or press Command-V).
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Entering Subtitles in Multiple Languages
One of the great things about subtitles is that you can have a completely different stream
for each language. In the Viewer tab, you can type the subtitles on that stream in any
language that your system is configured to handle.
When you build the project, the text subtitles are converted to bitmap images. The system
on which you build the project (if it is different from the one used to enter the subtitles)
must have the proper fonts installed to create the bitmaps. However, once the project is
built, the fonts are not required to view the title using DVD players.
You can copy each subtitle clip to a new stream, preserving any attributes, such as fading,
fonts, and duration, you have already set.
To copy a subtitle clip from one stream to another stream
Do one of the following:
μ Option-drag the existing subtitle clip to the new stream. You can place the clip freely
within the stream.
μ Shift-Option-drag the existing subtitle clip to the new stream. The subtitle clip is forced
to the same timeline position as the original.
Formatting Subtitle Text
You can format your subtitle text in a variety of ways. You get to choose:
• The font family and specific typeface attributes (bold, oblique, and so on)
• The font size
• The colors, including transparency and outlines
You can also mix multiple fonts and sizes within the subtitle, although they must all use
the same colors.
Note: You cannot set the color of subtitle text as you do a text object in the Menu Editor.
You must choose colors from the Color Palette. See Setting the Subtitle Color for more
information.
Setting the Subtitle Font
You can set the font attributes either before or after you type subtitle text.
To set the font attributes
1 To open the Fonts window, do one of the following:
• Choose Format > Font > Show Fonts (or press Command-T).
• Click Show Fonts in the toolbar.
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The Mac OS X Fonts window opens.
2 If you’re making changes to existing text, select the text in the Subtitle Editor by dragging
across it.
3 In the Fonts window, select the font family and the typeface style to use. The list of
available fonts and styles is based on fonts currently installed on your system.
4 Either select a size in the Size column (use the slider to scroll through the list) or select
the existing size and enter the new value, then press the Return key.
Note: If you open a DVD Studio Pro project that uses a font that is not on the computer
you are opening it on (either because the font was deleted or the project was created
on a different computer), any items using the missing font have a different font substituted
with no warning.
To help make the font list manageable, you can assign fonts to collections, creating
groupings of similar fonts. This makes it easy to get to a specific font type, such as script
or serif. For more information, see Mac OS X Help.
Setting the Subtitle Color
You can set the colors that subtitles are displayed in. As you type text into a subtitle, you
are actually creating an overlay graphic, exactly the same as an overlay graphic you might
create with a graphics application. As with an advanced overlay, a subtitle contains four
colors that you map to the actual colors that are displayed in the finished title. Each color
also has a transparency setting. For subtitles, however, the function of each of the four
colors is fixed: Color 1 is the text, color 2 is the first text outline, color 3 is the second text
outline, and color 4 is the text background.
You usually set the opacity of color 4 (the text background) to 0—other opacity settings
apply color 4 over the entire picture (except where the text is). Color 2 (text outline 1)
and color 3 (text outline 2) let you apply a text border to help improve the contrast with
the video underneath the subtitle. For example, you could set the text to be white and
the outlines to be black, making it easy to read the text over light or dark video content.
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You choose the colors that appear for each of the four overlays/text functions from a
16-color palette, exactly as you do with the standard menu creation method. You can
define the colors in the palette either in the Colors pane in DVD Studio Pro Preferences
or by clicking Edit Palette in the Colors tab in the Subtitle Inspector.
Note: The subtitle Color Palette is independent of the menu Color Palette. Changes you
make in one do not affect the other.
To set the text colors
1 For each of the four overlays/text functions, choose a new color from the Color pop-up
menu. See Color Mapping Palette for details on setting the color palette.
2 Adjust the opacity (0 is completely transparent; 15 is completely opaque) for each color
you set.
Note: The Mapping Type setting only applies to imported graphics, and does not affect
subtitle text.
Positioning Subtitle Text over the Video
Once you have typed your text and set its font attributes, you can set its final position.
There are several tools you can use to set the text’s position:
• You can set the default position for subtitles in the Text pane in DVD Studio Pro
Preferences. Any new subtitles you type will be placed according to your settings.
• You can drag the text to a new position.
• You can use the buttons in the General tab in the Subtitle Inspector to automatically
position the text horizontally and vertically. You can also fine-tune the placement by
entering an offset for each direction, which moves the text the distance you specify
from the position selected with the Horizontal and Vertical buttons.
The Text pane in DVD Studio Pro Preferences and the General tab in the Subtitle Inspector
use similar settings for positioning the text. In both cases, you use horizontal and vertical
alignment settings to get it close, and then use the offset settings to position it exactly.
To position subtitle text without dragging
1 Select the horizontal alignment (left, center, or right).
2 Enter an offset value, in pixels, to adjust the position selected with the alignment setting.
Positive numbers move the text to the right. Negative numbers move the text to the left.
A value of 0 positions the text at its default position for the selected alignment.
3 Select the vertical alignment (top, center, or bottom).
4 Enter an offset value, in pixels, to adjust the position selected with the alignment setting.
Positive numbers move the text down. Negative numbers move the text up. A value of
0 positions the text at its default position for the selected alignment.
462 Chapter 19 Creating Subtitles
Note: It’s easy to enter an offset value that makes the text disappear completely. If you
cannot see the text, enter 0 for the horizontal and vertical offsets.
Importing Graphics Files for Subtitles
You can use graphics files, configured as overlays, to create individual subtitles. These
graphics can be drawings or text created using a graphics application. See Creating
Overlays for information on creating overlay graphics. You must also use the correct frame
size when creating your graphics. See Understanding Pixel Differences in Graphics and
Video for information on square pixels and a list of frame sizes to use when creating the
graphics.
You can also use graphics in conjunction with typed text. Because the same color mapping
settings are used for both the text and graphics, you need to create the graphics with
the mapping setting for the four overlay colors in mind.
Importing a Graphics File
There are two approaches you can take to import a graphics file into a subtitle stream:
• Add a subtitle to a stream and import the graphic through the Subtitle Inspector.
• Drag a suitable graphics file directly to a subtitle stream.
In both cases, the graphic uses the normal color settings in the Colors tab in the Subtitle
Inspector.
To import a subtitle graphic using the Subtitle Inspector
1 Create a subtitle or select a previously created text subtitle. See Creating a Subtitle Clip.
2 Click Choose in the General tab in the Subtitle Inspector.
3 In the dialog that appears, select the graphics file to use, then click Open.
The graphic appears in the Viewer tab, using the current settings in the Colors tab.
To import a subtitle graphic by dragging
1 Locate the graphics file in the Assets tab, the Palette, or a Finder window.
2 Drag the graphics file to the subtitle stream at the approximate position where it should
start.
A new subtitle is created with the duration and color mapping set in the Colors pane in
DVD Studio Pro Preferences.
Using Graphics Files to Create an Animation
While subtitles are most often used to present text, the ability to import graphics files
into subtitle streams makes it possible to use them for other purposes. For example, the
video stream might show a mountain while the subtitle shows the route taken to climb
it with a line that gradually grows from the start of the trail to the mountain top.
Chapter 19 Creating Subtitles 463
While you cannot import any kind of a motion asset into a subtitle stream, you can
manually create an animation by adding a number of very short (one- or two-frame)
subtitles, each with a different graphic that shows the line at a different stage.
Typical text subtitles have little impact on the playback bit rate—on average they run at
around 10 kbps. When you use subtitles to create an animation, the impact on the playback
bit rate becomes substantial, and may force you to lower the bit rate of the video stream.
The DVD specification limits a subtitle stream’s bit rate to 3.36 Mbps (about the same as
some MPEG-2 video).
The easiest way to create a subtitle animation is to create an STL subtitle file and import
it. You can specify the exact duration and position of each graphic, as well as configure
the color mapping settings. See Creating an STL Format Subtitle File for more information.
Creating and Importing Subtitle Files
Often you may want to create your subtitles outside of DVD Studio Pro. There can be
several reasons for this:
• To use a facility that specializes in creating subtitles and closed captions: This can be
especially important if you are including subtitles in multiple languages.
• To free up your DVD Studio Pro system: Typing a lot of subtitles takes a significant amount
of time, especially if you are using multiple languages. This is often a task that can be
started well before you start authoring the project.
• To be able to spell-check the text: Creating the subtitle text with a text-editing program
gives you the ability to take advantage of its spell-checking capabilities.
There are two approaches used to create subtitle files for import into DVD Studio Pro:
Use a single file with the text embedded in it or use a group of graphics files, one for
each subtitle, with a master file that controls which files appear at which time.
In both cases, the subtitle files can be opened with a text-editing program such as TextEdit.
This makes it easy to verify the file’s settings and make any necessary modifications. Be
sure to save the file in a plain text format if you do make any changes.
Using a Single Subtitle File
When you use the single file subtitle method, you specify a timecode for each subtitle’s
start and end, as well as the actual subtitle text. You can also embed commands that
affect how the text appears on the screen, such as the font, position, color mapping
settings, and fade in and fade out settings.
There are two disadvantages of the single file subtitle method:
• It requires your authoring system to have the correct fonts installed. This can be an
important issue when working with foreign languages that require special characters.
464 Chapter 19 Creating Subtitles
• The subtitle can only include text characters. However, you can manually import graphics
files to use in addition to the imported subtitle file.
Using a Group of Graphics Files
When you use a group of graphics files for the subtitles, each file provides the graphic
for one subtitle. A master file provides a list of timecode values for the start and end of
each subtitle, along with the name of the graphics file to use for each subtitle.
An advantage of this subtitle method is that the graphics files do not need to actually
contain text. This method is useful if you want to include graphics elements along with
the text, such as a logo. This also means that the DVD Studio Pro system is not required
to have the same fonts you used to create the subtitle graphics.
A disadvantage of this method is that you have to manage a folder with a lot of large
graphics files, as compared to the single file method with its single small file.
The graphics files follow the same guidelines as overlay files. See Creating Overlays for
more information.
Importing a Subtitle File
Before you import a subtitle file, you will usually have the video asset it relates to in place
in the V1 stream. It is also a good idea to have the subtitle preferences configured before
importing a subtitle file. Unless the subtitle file specifically overrides them, these preference
settings will apply to all subtitles that are imported.
To import a subtitle file
Do one of the following:
μ Control-click in the subtitle stream to import the subtitles into, then choose Import Subtitle
File from the shortcut menu.
μ Select an existing subtitle clip in the stream, then click Import Subtitles in the Subtitle
Inspector.
Important: Importing a subtitle file deletes any subtitle clips in that stream that might
already be present.
In both cases, a file selection dialog appears for you to choose the file to import. After
you choose the file, a dialog appears stating how many subtitles were imported, and the
subtitle stream shows clips for each subtitle.
If a Subtitle Import Does Not Work
There are several common reasons why you might have problems when importing a
subtitle file.
Chapter 19 Creating Subtitles 465
Wrong Timecode
The most common problem is that the timecode in the subtitle file does not correspond
to the asset timecode of the video stream. In some cases, this is due to the original tape’s
timecode not being entered prior to the video being MPEG-encoded.
To see the timeline’s asset timecode, Control-click in the timeline, then choose Asset-Based
Timecode from the shortcut menu. You can force an STL format subtitle file to import
based on zero-based timecode (which sets the first frame as 00:00:00:00 regardless of the
asset’s timecode) by setting the $TapeOffset command to False (it is True by default). See
Timeline Command for more information.
You can also try importing the subtitle file into a track that has no video assets. This also
forces the subtitle clips to import based on zero-based timecode.
Font Not Available
If you are using the single subtitle file method and specify a font to use, a dialog appears
if the font is not found on the system, and DVD Studio Pro uses the default subtitle font
(as configured in the Text pane of DVD Studio Pro Preferences) as a substitute.
Note: The font must be installed as a Mac OS X font—Mac OS 9 fonts are not used.
Unable to Find the Graphics Files
In most cases, the master subtitle file and the graphics files it uses must be in the same
folder. In some cases, however, the master file may be configured to use a separate folder
for the graphics files. In this case, the path supplied by the master file must match the
actual location where the graphics files are.
How Subtitles Are Positioned
When you import subtitles, they are positioned in the subtitle stream based on the start
and end timecode values in the subtitle file and the video stream’s asset timecode. This
means that the timecode values in the subtitle file must be relative to the asset timecode
of the video stream’s clip, not to the timeline’s zero-based timecode. An exception is
when you use an STL format subtitle file, which can choose to use the timeline’s zero-based
timecode. See Timeline Command for information on positioning subtitles when using
an STL format file. See Understanding Time Information in the Track Editor for more
information on asset-based versus zero-based timecode.
Editing Imported Subtitles
Once you have imported a subtitle file, you can work with the individual subtitle clips as
if you had manually created them. You can reposition them and change their color
mapping and any other subtitle attribute. If you imported the subtitles as text from a
single subtitle file, you can edit the text. If you imported a group of graphics files as your
subtitles, you cannot edit the actual text.
466 Chapter 19 Creating Subtitles
You can also modify all of the subtitles in a stream by using the Apply to Stream controls.
See Applying Subtitle Settings to the Stream for more information.
Creating an STL Format Subtitle File
An easy and flexible way to create subtitle files is to use the STL format developed by
Spruce Technologies. The STL format allows you to configure most subtitle settings, and
change the settings on a subtitle by subtitle basis. It supports both the single file method
and the graphics file method, and even allows you to use both methods in the same file.
STL format files can be saved as either plain text files or as RTF files (as created with
TextEdit). You must use RTF files if your text contains Unicode characters.
Basic STL Format
There are three parts to an STL format subtitle file: commands, comments, and entries.
• Commands: These are preceded by the dollar sign ($). It is these commands that allow
you to configure the various aspects of the subtitles, such as their font and position.
See STL Commands for more information.
• Comments: These are preceded by a double slash (//). These allow you to add text
comments throughout the subtitle file without affecting its import.
• Entries: These include the start and end timecode values and the text or graphics file
for that subtitle clip.
Following is an example of a simple STL subtitle file.
$FontName = Arial
$FontSize = 65
//The following subtitles are for scene one.
00:00:12:04 , 00:00:14:12 , Lemurs are the bullies of the wild.
00:00:16:14 , 00:00:19:08 , Here we see them bring down a moose.
Commands, which are always preceded by a dollar sign, use the equal sign (=) to separate
the command name from its value. The entries use commas to separate their fields. In
both cases, you can add tab characters to align the fields and make the file easier to read.
Note: If you add spaces between the comma and the text entry, they are considered part
of the text and appear in the subtitle. You can use the tab character to provide space
between the comma and the text entry without affecting the text.
You can add a command multiple times within a file to change a setting for specific
subtitles.
$FontName = Arial
Chapter 19 Creating Subtitles 467
$FontSize = 65
00:00:12:04 , 00:00:14:12 , Lemurs are the bullies of the wild.
$FontSize = 50
00:00:16:14 , 00:00:19:08 , Here we see them bring down a moose.
In this case, both subtitles will use the same font, with the first one at a size of 65 and
the second one at 50.
STL Commands
Following is a list of the commands supported by the STL format.
Note: These commands override the settings in DVD Studio Pro Preferences, which provide
the default settings for all settings that have not been overridden.
Font Commands
The font commands set all commonly used font properties.
• $FontName: Sets the name of the font the subtitles use. Use the family name as it
appears in the Fonts window, which can be opened by clicking Show Fonts in the
toolbar or choosing Format > Fonts > Show Fonts.
• $FontSize: Sets the size of the font.
• $Bold: Selects the bold version of the font (if available). Enter True to select the bold
version and False to disable it.
• $Italic: Selects the italic version of the font (if available). Enter True to select the italic
version and False to disable it.
• $Underlined: Adds an underline to the subtitle text. Enter True to turn on the underline
and False to turn it off.
Color Commands
The color commands choose the colors from the default subtitle Color Palette to apply
to the subtitle. The values range from 0 to 15. You can assign the colors to the default
Color Palette in DVD Studio Pro Preferences.
• $ColorIndex1: Chooses the text color.
• $ColorIndex2: Chooses the text’s outline 1 color.
• $ColorIndex3: Chooses the text’s outline 2 color.
• $ColorIndex4: Chooses the background color.
Contrast Commands
The contrast commands set the opacity of the colors assigned to the subtitle. The values
range from 0 (transparent) to 15 (opaque).
• $TextContrast: Sets the opacity of the text color.
468 Chapter 19 Creating Subtitles
• $Outline1Contrast: Sets the opacity of the text’s outline 1 color.
• $Outline2Contrast: Sets the opacity of the text’s outline 2 color.
• $BackgroundContrast: Sets the opacity of the background color. This is usually set to
0, unless you are using a graphic that does not use white as the background color.
Position Commands
These commands control the subtitle’s position.
• $HorzAlign: Sets the subtitle’s horizontal alignment. You can enter left, center, or right.
• $VertAlign: Sets the subtitle’s vertical alignment. You can enter top, center, or bottom.
• $XOffset: Allows you to modify the subtitle’s horizontal position from where the
horizontal alignment placed it. The values you enter are in pixels, with positive values
moving the subtitle to the right and negative values moving it to the left.
• $YOffset: Allows you to modify the subtitle’s vertical position from where the vertical
alignment placed it. The values you enter are in pixels, with positive values moving the
subtitle up and negative values moving it down.
Display Commands
These commands control how a subtitle displays.
• $ForceDisplay: Forces the subtitle to display regardless of whether subtitles are turned
on by the DVD player. You can enter True (subtitles are forced to display) or False
(subtitle display is controlled by the DVD player).
• $FadeIn: Sets the fade time used to gradually dissolve the subtitles on. Enter a value
in frames.
• $FadeOut: Sets the fade time used to gradually dissolve the subtitles off. Enter a value
in frames.
Graphics File Command
Use this command if this subtitle file uses graphics files in addition to, or in place of, text
entries.
• $SetFilePathToken: Sets a token that you use on any subtitle entries that contain a
graphics filename instead of subtitle text. The entry must be such that it never appears
in normal text or filenames. The normal convention is to surround the text with dual
angle brackets, making it easier to locate within an STL file. For example, you could use
_Graphic_. See Referencing Graphics Files in STL Subtitle Files for details.
Chapter 19 Creating Subtitles 469
Timeline Command
By default, the timecode values in an STL file are in reference to the video stream’s
zero-based time, which starts at 00:00:00:00. You can use this command to reference the
file’s timecode values to the video stream’s asset-based timecode.
• $TapeOffset: Controls how the timecode values in the STL file are referenced to the
video stream. You can enter False to reference them to the stream’s zero-based timecode
(which begins at 00:00:00:00), or True (the default setting) to reference them to the
asset-based timecode.
Note: When referenced to the asset-based timecode, the Track Inspector’s Track Offset
setting is ignored—only the actual asset’s timecode is used.
Controls Embedded in the Subtitle Text
You can embed several controls in the text part of the entries. These controls can force
a line break and turn on and off the bold and italic font versions.
Line Breaks
Subtitle text does not automatically wrap at the edges of the screen. To make it fit you
must either reduce the font size or break it into multiple lines by inserting line breaks. To
insert a line break, add the vertical pipe character (|) to the text.
00:00:12:04 , 00:00:14:12 , Lemurs are the bullies | of the wild.
In the above example, the text will appear as two lines.
Bold, Italic, and Underlined Characters
You can embed controls that change the state of the bold and italic attributes within the
text part of an entry.
To change the state of the bold setting, insert an up arrow followed by the letter “B” (^B).
00:00:12:04 , 00:00:14:12 , Lemurs are ^Bbullies^B.
In the above example, the bold status changes for the word “bullies” only. If the bold
attribute had not already been activated, “bullies” would change to bold. If the bold
attribute had already been activated, “bullies” would not be bold.
To change the state of the italic setting, insert an up arrow followed by the letter “I” (^I).
You can also use bold and italic together.
00:00:12:04 , 00:00:14:12 , Lemurs are ^B^Ibullies^B^I.
In the above example, the word “bullies” has both the bold and italic attributes change.
To add an underline to portions of the text, insert an up arrow followed by the letter “U”
(^U). You can use the underline along with the bold and italic settings.
470 Chapter 19 Creating Subtitles
Referencing Graphics Files in STL Subtitle Files
An STL subtitle file can contain a mix of text subtitle entries and references to graphics
files. You must use the $SetFilePathToken command in the file before any lines that
reference a graphics file.
$SetFilePathToken = _Graphic_
00:00:12:04 , 00:00:14:12 , _Graphic_RabidLemur.tif
00:00:16:14 , 00:00:19:08 , _Graphic_MooseLemur.tif
Important: Do not add spaces between the token (_Graphic_ in this example) and the
filename.
The STL subtitle file and the graphics it references must be in the same folder. And, just
like the other assets that you import into your project, the graphics files must not be
moved, renamed, or deleted until after you build your project.
Creating Buttons over Video
Having buttons appear while a track plays can be a very useful navigational tool, providing
the viewer with options that can significantly add to the DVD title’s value. For example,
you can use buttons over video to allow the viewer to jump from the current track to a
track containing related information, such as an interview of an actor, a news clip, or an
explanation of how an effect was done.
How Do Buttons over Video Work?
DVD Studio Pro uses subtitles at specially configured markers to provide the buttons over
video feature. You configure the buttons exactly as if you were configuring a standard
menu using advanced overlays: You create each button’s active area, assign its connection,
set the button navigation (if you use more than one button), and set up the color mapping
for the highlights.
Each subtitle containing buttons over video is tied to a marker. You must create a marker
at the point where the subtitle should appear, and another where it should disappear.
You can mix standard subtitles in the same stream as button over video subtitles.
You can only view one subtitle stream at a time. Because the buttons over video feature
uses a subtitle stream, you effectively disable the normal usage of subtitles on the title
while the buttons over video stream is selected. (Although a subtitle clip can have both
buttons and subtitle text, often the buttons need to appear longer than normal dialogue
text.) In most cases, you would configure the title so that the viewer decides whether to
enable buttons over video by selecting a button on a menu. When selected, the subtitle
stream that contains the buttons is usually configured to be forced to display so that the
viewer does not inadvertently turn it off.
Chapter 19 Creating Subtitles 471
Adding Button Highlight Markers
To create a button over video subtitle, you add a marker at the point where the subtitle
should appear, select its button highlight setting, and add a second marker where the
subtitle should end. Once you do this, if you create a subtitle between these markers, its
start snaps to the marker with the button highlight setting selected and its end snaps to
the second marker, regardless of its type.
Any marker can be configured as a button highlight marker. See Working with Markers
for information on adding markers to a track.
To configure a marker as a button highlight marker
Do one of the following:
μ Control-click the marker, then choose Button Highlight Marker from the shortcut menu.
μ Select the marker in the Track Editor. In the Marker Inspector, select the Button Highlight
type in the General tab.
You can also select any of the other types available. Depending on the other types you
select, at least a part of the marker will change to red. See Working with Markers for more
information.
The second marker, which ends the button over video subtitle, can be of any type.
How a Button Highlight Marker Affects the Subtitle Stream
If a subtitle already exists between the two markers that specify the start and end of a
button over video subtitle, its duration changes to match the time between the two
markers. This is true of all subtitle streams. If you have traditional subtitles on one or more
of the other subtitle streams, adding button highlight markers will also affect them. For
this reason, you must use care when deciding when and how long to have the buttons
over video subtitle appear, so as not to affect existing subtitles.
You can have several subtitle streams in the same track configured for buttons over video.
For example, you may be using text for the buttons and want to have different streams
for each language. It’s important to keep in mind that all button active areas, connections,
navigation settings, and color mapping settings are applied to all subtitle streams. The
only element that can be different between the streams is the text or overlay you use.
Adding a Button over Video Subtitle Clip
Once you have configured the button highlight marker and the ending marker, you can
add the button over video subtitle.
To add a button over video subtitle clip
μ Double-click in the subtitle stream between the button highlight marker and the ending
marker.
472 Chapter 19 Creating Subtitles
A new subtitle clip appears, with its duration matching the time between the two markers.
See the next section, Configuring a Button over Video Subtitle Clip, for information on
configuring the subtitle clip to provide buttons over video.
Configuring a Button over Video Subtitle Clip
To configure a button over video subtitle clip, you first add the text or import the graphic
to use for the button or buttons, and then configure the buttons much as you would
when creating a menu.
Using an Overlay Graphic
The first step to creating a button over video subtitle using an overlay graphic is to import
the overlay graphic into the subtitle.
To import an overlay graphic for a button over video
1 Select the subtitle clip that you previously created to configure for buttons over video.
2 Click Choose in the General tab in the Subtitle Inspector.
3 In the dialog that appears, select the graphics file to use, then click Choose.
The graphic appears in the Viewer tab, using the current settings in the Colors tab.
Using Text Buttons
The first step to creating a button over video subtitle using subtitle text is to enter the
text in the subtitle. You need to set its font and position before proceeding with creating
buttons from it. See Formatting Subtitle Text and Positioning Subtitle Text over the Video
for more information.
Creating the Buttons for Button over Video Subtitles
Once you have imported the overlay graphic or entered the button text, you can create
the buttons. To create the buttons, you create active area rectangles by dragging over
each button’s area. See Adding Overlay-Based Buttons for details on this process.
The number of buttons you can have depends on the track’s aspect ratio setting, set with
the Display Mode pop-up menu in the General tab in the Track Inspector.
See Choosing an Aspect Ratio for more information on these modes. Also see What
Happens with Different Aspect Ratios? for issues that occur when creating buttons over
video on a 16:9 track.
SD Projects
• 4:3: You can have up to 36 buttons.
• 16:9 Pan Scan: You can have up to 18 buttons.
• 16:9 Letterbox: You can have up to 18 buttons.
Chapter 19 Creating Subtitles 473
• 16:9 Pan Scan & Letterbox: You can have up to 12 buttons.
HD Projects
• 4:3: You can have up to 48 buttons.
• 16:9 Pan Scan: You can have up to 24 buttons.
• 16:9 Letterbox: You can have up to 24 buttons.
• 16:9 Pan Scan & Letterbox: You can have up to 16 buttons.
Configuring the Buttons for Button over Video Subtitles
Once you have created the buttons, you need to configure them. There are three areas
to configure:
• Button navigation: Sets how a viewer jumps from one button to the next using the
remote control’s arrow buttons.
• Button targets: Sets the connection for each button (what is jumped to when the button
is activated).
• Color mapping: Sets the colors that appear for the normal, selected, and activated
button states.
Button Navigation
Configuring button navigation with buttons over video is exactly the same as configuring
the navigation in menus. By default, the navigation is assigned continuously, with
DVD Studio Pro automatically setting the arrow button actions for each button. You can
disable this function and set the navigation manually if you prefer.
See Configuring Button Navigation for details on the methods you can use.
Button Targets
Configuring the targets for each button with buttons over video is almost exactly the
same as configuring the button targets in menus. You have the option of setting them
in the Connections tab (the buttons appear as marker items), in the Subtitle Inspector,
or by using a shortcut menu in the Subtitle Editor.
The difference is that a button within a track cannot select a specific stream in a different
track. For this reason, the stream settings for buttons in subtitles are inactive if the target
is set to anything other than “not set.”
If you need a button within a track to select a specific stream in another track, you can
set the target to run a script that’s configured to jump to the desired stream.
See Setting a Button’s Connection for details on each method.
Color Mapping
Configuring the color mapping for the buttons with buttons over video is similar to
configuring the color mapping for an advanced overlay with a menu.
474 Chapter 19 Creating Subtitles
The biggest difference is that you don’t have the option of using a simple overlay. You
can accomplish a similar effect by setting the color and opacity settings for the three
nonwhite overlay colors to the same values, and setting the white overlay opacity to 0,
making it completely transparent.
Another difference is that the overlay colors have pre-assigned functions if you are typing
subtitle text. See Setting the Subtitle Color for more information.
See Using Advanced Overlay Color Mapping and Colors Tab in the Menu Inspector with
Advanced Selected for more information.
Copying Buttons in a Subtitle Clip
You are able to copy buttons within a subtitle clip or to a different subtitle clip. The
buttons retain all of their settings, including their target setting.
You are not allowed to copy buttons to a subtitle clip if it causes that clip to exceed the
maximum number of buttons allowed. See Creating the Buttons for Button over Video
Subtitles for details on the maximum number of buttons allowed.
Copying Buttons by Dragging
You can copy one or more buttons within a subtitle clip by selecting them, then dragging
them to a new location.
To copy one or more buttons within a subtitle clip by dragging
1 Select the buttons to be copied.
2 Press the Option key, then drag the buttons to their new position.
If multiple buttons are selected, they all move as a group, maintaining their relationships
to each other.
Using Copy, Cut, and Paste
You can use the Copy and Paste commands to copy buttons within a subtitle clip and
between subtitle clips. You can even copy buttons from a menu to a subtitle clip. However,
any shapes, button styles, button text, and button assets that the menu’s button might
have are not copied to the subtitle.
Important: If you copy a button to a subtitle clip that is not configured for buttons over
video, DVD Studio Pro automatically converts the subtitle clip to support buttons by
adding a button highlight marker (named “Button Marker _,” where “_” is the button
marker number on that track) to the timeline at the clip’s beginning, and a cell marker
(named “Marker _,” where “_” is the cell marker number on that track) at its end.
To copy one or more buttons using copy and paste
1 Select the buttons to be copied.
2 Choose Edit > Copy (or press Command-C).
Chapter 19 Creating Subtitles 475
This copies the selected buttons to the Clipboard. The selected buttons are not affected.
3 Select the subtitle clip to which you want the copied buttons to be pasted.
4 If the insertion point is active in the Viewer tab, click an empty area to deactivate it.
5 Choose Edit > Paste (or press Command-V).
If there are no buttons selected in the subtitle clip before you paste the copied buttons,
the copied buttons are placed in the same locations as the originals. If a button is selected
in the subtitle clip before you paste the copied items, the copied buttons are positioned
relative to the selected button with a small offset.
You can use the Paste command multiple times after using the Copy command. This
makes it easy to add a button to multiple subtitle clips.
To move one or more buttons using cut and paste
1 Select the buttons to be moved.
2 Choose Edit > Cut (or press Command-X).
This copies the buttons to the Clipboard and removes the buttons from the current
subtitle clip.
3 Select the subtitle clip to which you want the cut buttons to be pasted.
4 If the insertion point is active in the Viewer tab, click an empty area to deactivate it.
5 Choose Edit > Paste (or press Command-V).
This is most useful when you are moving buttons from one subtitle clip to another.
476 Chapter 19 Creating Subtitles
You can add sophisticated interactivity and control to a project with only a few simple
scripts.
This chapter covers the following:
• Introduction to Scripts (p. 477)
• Pre-Scripts (p. 478)
• Scripting Overview (p. 479)
• The Scripting User Interface (p. 480)
• About the Script Tab (p. 481)
• About the Script Inspector (p. 484)
• About the Script Command Inspector (p. 485)
• Creating and Testing Scripts (p. 486)
• Script Command Details (p. 489)
• System Parameter Register Memories List (p. 499)
• System Parameter Register Memories Details (p. 500)
• Using Bit-Wise Operations (p. 511)
• General Purpose Register Memories (p. 512)
• Scripting Examples (p. 517)
• Language Code Table (p. 525)
Introduction to Scripts
The DVD-Video specification includes a simple yet powerful scripting language. This
scripting language provides for extensive interactivity between the viewer and the DVD
player. DVD Studio Pro gives you full access to these scripting capabilities.
Scripts in DVD Studio Pro are created as separate elements within a project, so they can
be assigned easily to any element that supports a script. Scripts can be assigned to buttons
or attached to the start or end of any track, story, menu, or marker.
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Creating Scripts 20
With scripts you can:
• Have the title automatically customize itself to best match the DVD player’s configuration
in areas such as language selection, audio formats, and parental management
• Add specialized features, such as a random play after a menu times out
• Add subtle features, such as having a menu highlight the next button when returning
to the menu after activating a previous button
Those are just a few examples of the ways you can customize your DVD project and create
a better viewer experience.
Pre-Scripts
Tracks, stories, slideshows, and menus have pre-script settings. A pre-script is a normal
script that is run before the element plays or displays. It can be used to do things such
as decide whether to play the element or to configure the DVD player before it is played.
For example, you may have a pre-script assigned to a track that checks the DVD player’s
parental management setting to decide whether this track or a different one should play.
Pre-scripts only run if you jump to the root of the element (its name shown in square
brackets, or, in the Connections tab, the element’s name) they are assigned to.
Choose [Track] to have
a pre-script assigned
to this track run when
it is jumped to.
Connect to the element’s
name to have the
pre-script run.
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For example, when you assign a connection to a menu, you can choose to jump to a
specific button or to the menu root with no button specified (using the [Menu] selection).
A pre-script assigned to a menu only runs if the element that jumped to it had [Menu]
selected. If the jump selected a specific button on the menu, the pre-script is skipped.
Similarly, a pre-script on a track or story does not run if you jump directly to a marker.
With slideshows, the pre-script does not run if you jump directly to a slide.
In all cases, if you want the pre-script to run, you must jump to the root of the element,
indicated by the square brackets.
If an element is also configured with a display condition, the pre-script runs first, and then
the display condition.
Note: Unlike pre-scripts, display conditions run when any part of an element is connected
to.
Scripting Overview
Scripts you add to your project contain commands that allow you to access the
functionality available in all DVD players. Each script can contain up to 124 commands.
Every DVD player contains a micro-controller that can execute a set of commands defined
by the DVD-Video specification.
The commands defined in the DVD-Video specification are at the level of microprocessor
machine code, with very simple commands used to initiate desired functions. You may
find that some of the concepts and terms are a challenge. Therefore, when learning
scripting, proceed with initial deliberateness and caution—it is very easy to author titles
with scripts that just don’t work. You should also use the Simulator and test builds of
your project using the Apple DVD Player to verify that your title plays back exactly as
intended.
About DVD Player Registers
Each DVD player has two types of memory registers: General Purpose Register Memories
(GPRMs, also known as variables) and System Parameter Register Memories (SPRMs).
Scripts interact with these registers to determine DVD player settings (such as language
and parental control) and to control various aspects of disc playback.
Chapter 20 Creating Scripts 479
Scripts use GPRMs as temporary storage, or “scratch pads,” while executing their
commands. DVD Studio Pro provides access to eight 16-bit GPRM registers, designated
GPRM 0 through GPRM 7 (though they can be renamed). DVD Studio Pro includes the
ability to partition seven of these registers into multiple smaller registers. For example,
you can partition GPRM3 into four 4-bit registers. Each register is independent of the
others, and all are cleared whenever a disc is inserted into the DVD player. The registers
can be used as storage locations or as countdown timers.
In contrast, SPRMs have rigidly defined functions. There are 24 of them, designated SPRM
0 through SPRM 23. See System Parameter Register Memories Details for a detailed listing
of their functions.
Scripts spend a lot of time copying values from an SPRM to a GPRM, extracting information
from the values (for example, determining the language setting), and then acting on that
information (selecting the proper audio stream to play). Extracting the information can
be challenging, requiring a bit of skill and programming knowledge.
About Scripting Commands
You can choose from ten scripting commands when building your script. Each scripting
command has its own set of controls that fit the command’s function. Each script can
contain up to 124 commands, or operations. Depending on how you configure the
scripting command, it might use up to 16 of the 124 commands. The top of the Script
Inspector shows the number of commands used and available. A dialog appears to warn
you if you create a script with too many commands, and the Script Inspector shows the
commands used and available values in red, with a negative number for the Commands
Remaining value.
Each scripting command creates a command line that appears in the Script Editor. You
are provided with a variety of tools to rearrange the order of the command lines in the
script, which is important because the command lines are executed in order (though it
is possible for a command line to jump to any other command line in the script).
The Scripting User Interface
Scripts appear in the Outline and Graphical tabs. Double-clicking an existing script or
clicking the Script tab displays the Script Editor and the Script Inspectors. You use the
Script tab to add and remove commands, as well as modify their order. You use the Script
Inspectors to configure the commands, choosing the actual command to use and setting
its parameters. See the following for details on the items that make up the scripting user
interface:
• About the Script Tab
• About the Script Inspector
• About the Script Command Inspector
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About the Script Tab
You click the Script tab to access the Script Editor. The Script Editor lists the command
lines within the script. You use its Add button to add command lines to the script. The
other buttons provide methods for managing the order of the command lines. Because
scripts generally execute the command lines in order, starting at command line 1, it is
important to have them in the correct order.
Select to view the
values as hexadecimal.
Choose the script to work
with in the editor.
Command line
reorder tools
Command line add
and delete controls
Drag this bar to adjust
column sizes.
Once you have multiple commands in the list, you can move between them by either
selecting the one you want to go to or using the keyboard’s Up Arrow and Down Arrow
keys to step from one to the other. You can also press the Command key along with the
Up Arrow and Down Arrow keys to jump to the first or last command line, or the Page
Up and Page Down keys to move through the list one page at a time.
Chapter 20 Creating Scripts 481
Command Line Add and Delete Buttons
There are three buttons you can use to add or remove command lines from the Script
Editor.
Inserts a command line
below the selected line.
Adds a command line
to the end of the list.
Deletes the selected
command line.
• Add (+): Clicking the Add button, or pressing Command–Equal Sign (=), adds a command
line to the script. This command line is always placed at the end of the list, regardless
of which command is currently selected. By default, each added command line is set
to Nop (no operation) which works as a placeholder for the actual command you will
select in the Inspector.
• Delete (–): Clicking the Delete button removes the currently selected command line
from the list. You can also use the keyboard’s Delete key.
• Insert: Clicking the Insert button, or pressing Command–Shift–Equal Sign (=), adds a
new command line to the list, positioned after the currently selected command line.
All command lines below the current one ripple down one location. As with the Add
button, the new command is a Nop.
Command Line Reorder Tools
You can use the reorder tools to change the order of the command lines in the Script
Editor. You can also drag a line to a new position.
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Note: You are just rearranging the order of the command lines—you are not deleting or
replacing any command lines.
Moves the command line
up one line.
Moves the command
line down one line.
Moves the command line
to the top of the list.
Moves the command line
to the bottom of the list.
• Move Up: Clicking the Move Up button moves the currently selected command line
up one location. The command line already at that location moves down one location
to make room (the two command lines basically switch positions).
• Move Down: Clicking the Move Down button moves the currently selected command
line down one location. The command line already at that location moves up one
location (the two command lines basically switch positions).
• Move To Top: Clicking the Move To Top button moves the currently selected command
line to the top of the list, making it the first command line executed. All command lines
that were above it in the list ripple down (the command line that was at the top is
moved to the number 2 position, the number 2 command line moves to number 3,
and so on).
• Move To Bottom: Clicking the Move To Bottom button moves the currently selected
command line to the bottom of the list, making it the last command line executed. All
command lines that were below it in the list ripple up.
Copying Command Lines
When creating a script with multiple similar command lines, you may find it easier to
create the first version of the command line, copy that command line multiple times,
then modify the copies as needed. You can also copy a command line from one script to
another.
To copy command lines in the Script Editor
1 Select the command line to be copied.
You can select more than one command line.
2 Choose Edit > Copy (or press Command-C).
This copies the command lines to the Clipboard. The selected command lines are not
affected.
Chapter 20 Creating Scripts 483
3 Select the command line in this script or a different script after which you want to paste
the copied command lines.
If you have no command lines selected, the copied command lines are placed after the
last existing command line.
4 Choose Edit > Paste (or press Command-V).
To move one or more command lines using cut and paste
1 Select a command line or a group of command lines to be moved.
2 Choose Edit > Cut (or press Command-X).
This copies the command lines to the Clipboard and removes the command lines from
the current list.
3 Select the command line in the script after which you want the cut command lines to be
pasted.
4 Choose Edit > Paste (or press Command-V).
This is most useful when you are moving command lines from one script to another.
About the Script Inspector
A general Script Inspector appears when no command lines in the script are selected. To
display the script’s Script Inspector, you need to either click in an empty area below the
command lines in the Script Editor or click the script’s name in the Outline or Graphical
tab.
Configure the
GPRM partitions.
Enter a name for
the script.
Use these to
import and export
GPRM configurations.
484 Chapter 20 Creating Scripts
The Script Inspector displays values showing the number of commands used and how
many are still available out of the possible total of 124. (Configuring a scripting command
may use up to 16 of the 124 commands.) These values will turn red if your script uses
more than 124 commands, with a negative number in the Commands Remaining value
indicating how many excess commands there are.
It is also where you name your script and then configure the partitions and names of the
GPRM registers.
Note: You can also configure the partitions and names of the GPRM registers in the
Advanced tab in the Disc Inspector.
See Configuring GPRM Partitions for more information.
About the Script Command Inspector
A Script Command Inspector appears when you select a command line. To display the
Script Command Inspector, you need to select a command line in the Script Editor.
Enter a comment
(optional).
Choose a command.
Configure the command.
Configure a compare
function (optional).
The Script Command Inspector has four sections:
• The command selection section, where you select which of the ten commands to use
• The command setup section, where you configure the command’s parameters. The
actual contents of this section vary, based on the command selected.
• The compare section, where you can add a compare function to the command
• The comment section, where you can add a comment to the command. Comments
are useful for both yourself and others later on when trying to remember why certain
commands were added.
See Script Command Details for details on setting up the commands.
Chapter 20 Creating Scripts 485
Creating and Testing Scripts
While it is easy to create scripts, it’s a good idea to first spend some time planning exactly
what you intend the script to do. Sometimes a single script can be designed to fit multiple
situations, or it may be easier to create multiple similar scripts, with each configured for
a specific case.
Creating a Script
Scripts can vary greatly. Simple scripts may contain only one or two commands, while
complex scripts can contain many commands and dependencies on other scripts. No
matter how complex the script, you create all scripts using the same basic methods.
To create a script
1 Do one of the following:
• Choose Project > Add to Project > Script, or press Command–Shift–Single Quote (’).
• Control-click in the Outline or Graphical tab, choose Add from the shortcut menu, then
choose Script from the submenu.
• Click Add Script in the toolbar.
A new script is added to the Outline and Graphical tabs.
2 To name the script, do one of the following:
• Enter the name in the Name field in the Script Inspector.
• Select the script in the Outline or Graphical tab, click its name, type the new name,
then press Return.
3 Double-click the new script in the Outline or Graphical tab or click the Script tab to open
the Script Editor.
4 In the Script Editor, select the default Nop command line.
The Script Command Inspector appears, displaying the command configuration display.
5 Configure the command line as desired, and add new command lines as needed.
See Script Command Details for details on the commands you can add to a script. See
About Connections for information on connecting scripts to your project’s elements.
Duplicating and Saving Scripts
Most scripts contain command lines that are specific to a particular function in a particular
project. However, because it is often easier to modify an existing script rather than start
from scratch, DVD Studio Pro includes several tools that allow you to create copies of a
script for use in this and other projects.
Duplicating Scripts
When creating several similar scripts, use the Outline or Graphical tab’s duplication function
to make a copy of a script.
486 Chapter 20 Creating Scripts
To duplicate a script within a project
Do one of the following:
μ Select the script in the Outline or Graphical tab, then choose Edit > Duplicate.
μ In the Outline or Graphical tab, Control-click the script, then choose Duplicate from the
shortcut menu.
A copy of the script is created with the same name as the original, with a number added
to the end of the name.
Saving Scripts
You can save a script as an item description file, making it easy to import a script into
other projects.
To save a script as an item description file
Do one of the following:
μ Select the script in the Outline or Graphical tab, then choose File > Export > Item
Description.
μ Control-click the script in the Outline or Graphical tab, then choose Save Script from the
shortcut menu.
Loading Scripts
You can load saved scripts into a DVD Studio Pro project.
To load a script file
Do one of the following:
μ Choose File > Import > Item Description to import a script item description (with an
“.dspScript” extension).
μ Control-click in the Outline or Graphical tab, then choose Load Script from the shortcut
menu.
The script appears in the Outline tab under the Scripts heading and as a new tile in the
Graphical tab, and can now be edited as needed.
Testing Scripts
Once you have created a script, you will want to test it. Depending on the script’s function,
you can test it with the Simulator, with the Apple DVD Player as part of an emulator test,
or in set-top DVD players after you burn a disc.
Chapter 20 Creating Scripts 487
Testing a Script in the Simulator
The DVD Studio Pro Simulator has a Registers display that shows useful information when
testing a script. The display appears when you click the Simulator’s Info button.
Select to show
the GPRM values.
Select to show the values
as hexadecimals.
Select to show
the SPRM values
You can display either the SPRM or GPRM values, or both at the same time. You can also
choose whether the values appear as decimal numbers or hexadecimal numbers. Seeing
the SPRM and GPRM values can be useful when you want to ensure the right values are
being set in the registers.
Additionally, you are able to enter values into the registers to preset a specific condition
you want to test. To enter a value, double-click its existing value and enter the new one.
Also, you can name the GPRMs within the Simulator. To name a GPRM, double-click the
existing name in the Description column and enter a new one.
The Simulator has several preferences settings that allow you to verify script commands
that rely on general DVD player settings, such as language preferences, aspect ratio, and
region code. See Simulator Preferences for more information on Simulator preferences.
See Simulating Your Project for more information on using the Simulator.
Testing a Script with DVD Player
The Apple DVD Player provides an additional way to test your scripts. Testing a project
with DVD Player is referred to as emulating the project. It requires you to build the project,
which creates the VIDEO_TS folder that DVD Player uses. See Emulating Your Project
Using DVD Player for more information.
Testing a Script on Set-Top DVD Players
The best test to give your scripts is to play the title in a set-top DVD player. This method
provides the most real-world experience, giving the scripts the most true tests.
488 Chapter 20 Creating Scripts
To test scripts in a set-top player, you need to build and format your project, burning it
onto a DVD. See Formatting Your Project for more information on burning a DVD.
General Scripting Information
There are a number of good practices to keep in mind when creating your scripts:
• Plan your GPRM partitioning: Partitioning one or more of the eight 16-bit GPRM registers
can add a lot of flexibility to your script writing by making many GPRM registers available
to be used. However, keep in mind that some scripting configurations and display
conditions require full 16-bit GPRM registers. Also, when you import a script item
description, any GPRMs used by the script must be partitioned exactly the same as they
were when the script was originally created. To ensure compatibility, it is a good idea
to consistently partition your GPRMs the same way for each project. See General Purpose
Register Memories for information on saving and loading GPRM configurations.
• Don’t forget about display conditions: Menus, tracks, and stories can all have display
conditions applied to them. Display conditions work a lot like a simple pre-script—they
determine whether the element should play, and if not, provide a jump to an alternative
element. One advantage of a display condition is that it is part of the track and is placed
in the same video title set (VTS) file as the track—by default, all scripts are placed in
VTS 1 (though you can move them to the track’s VTS with the VTS Editor). In some
cases, there could be a slight delay as the DVD player jumps from one VTS to the other
to run a script. An additional advantage is that a display condition executes whether
you jump to an element’s root or to a part of it (such as a button or marker). See
Pre-Scripts and Display Condition for more information.
• There are many ways to do the same thing: When creating your script, you will often find
that there are alternate ways to accomplish the same task. The simplest approach is
often the best, but other considerations, such as a lack of available GPRMs, may force
you to be creative in your script writing. Sometimes it is better to create several small
scripts rather than one large one that covers all situations.
• Make sure the script has a way to end: It is important for the script to have an exit point
that terminates its running and returns to playing the disc. For example, if you run a
script that only uses the set command to configure some registers, the DVD player will
just sit and wait for the script to finish, which it never will.
You create the exit point by using one of three commands: jump, resume, and exit
pre-script. You can use a jump command in any script; however, you can use the resume
and exit pre-script commands only in specific script types. See Script Command Details
for more information on these commands.
Script Command Details
Scripts can affect a disc’s playback in one of two ways:
• Playback can jump to a new location (track or menu).
Chapter 20 Creating Scripts 489
• A different stream (audio, video, subtitle) can be selected.
Most scripts use several commands to perform these functions. Often, one script may
use values placed in a GPRM by a different script that ran earlier.
Each of the ten commands has unique settings and uses. Some provide memory read
and write functions, some control jumping to elements within the title, and others control
how the script executes. These commands can be accessed at the top of the Script
Command Inspector.
In addition to the command configurations, each can also use a compare operation that
provides a conditional execution function.
Compare Function
You can use the compare function to determine whether or not a command executes
(also known as a conditional instruction execution). For example, you might set a jump
command to go to a track, but use the compare function to make sure the DVD player
supports its aspect ratio. If the compare function is not satisfied, the command is skipped
and the script moves down to the next command.
A compare function compares a specified element, which you select, with a value in a
specified GPRM. You choose how to compare the two elements from a list of operations
(equal to, greater than, and so on).
Choose the element type.
Choose the compare
operation.
Enables the compare
function.
Choose the actual
element.
Choose the GPRM
register.
To configure a compare
1 In the Script Command Inspector, select the Compare Command checkbox to activate
the compare settings.
2 Choose the GPRM location to compare to the selected element from the “Execute if”
pop-up menu.
3 Choose the compare operation type from the “is” pop-up menu.
4 Choose the type of elements to compare from the “to” pop-up menu.
5 Choose the actual element to compare to the GPRM from the “with value” pop-up menu.
490 Chapter 20 Creating Scripts
Element Types to Compare
You can choose from five different elements to be compared to the selected GPRM.
• GPRM: Allows you to select any of the available GPRMs to compare.
• SPRM: Allows you to select any of the 24 SPRMs to compare. See System Parameter
Register Memories Details for a list of SPRMs.
• Immediate: Allows you to enter a decimal value, whose range depends on the size of
the selected GPRM register, to compare.
• Jump Target: Allows you to select from all available project elements (menus, tracks,
stories, slideshows, and scripts) to compare.
• Special: Allows you to choose from Current Item, Last Item, and Last Track to compare.
• Current Item: This is this script, unless this is a pre-script. If this is a pre-script, the
Current Item is the project element (menu, track, slideshow, or story) the script is
assigned to.
• Last Item: This is the project element that started this script running.
• Last Track: This is the last track that was played, even if this script was started by a
button on a menu.
Note: Jump Target and Special require the selected GPRM to be a 16-bit GPRM register.
If you choose a partitioned GPRM with the “Execute if” pop-up menu before choosing
the element type, Jump Target and Special will not be available. If you choose Jump
Target or Special as the element type before choosing the “Execute if” GPRM, partitioned
GPRMs will not be available.
GPRMs To Be Compared To
You can select one of the GPRMs to be compared to the selected element. For the values
in a GPRM to be meaningful, you must first load something into it with a previous
command in this script or from a different script run earlier. This is often done using the
set command, but there are several other ways to load a value into a GPRM.
Chapter 20 Creating Scripts 491
Compare Operations
There are seven compare operations that you can use to compare the selected element
to the selected GPRM.
• = (equal): Executes the command if the two values are the same.
• != (not equal): Executes the command if the two values are not the same.
• > = (greater or equal): Executes the command if the selected GPRM is larger or the same
as the selected element.
• > (greater): Executes the command if the selected GPRM is larger than the selected
element.
• <= (smaller or equal): Executes the command if the selected GPRM is smaller or the
same as the selected element.
• < (smaller): Executes the command if the selected GPRM is smaller than the selected
element.
• & (and): Performs a bit-wise “and” operation between the two values and executes the
command if the bits set to 1 in the selected GPRM are also set to 1 in the selected
element. See Using Bit-Wise Operations for information on bit-wise operations.
Note: You need to have a basic understanding of working with binary numbers to be
able to use these operations.
Nop Command
The Nop (no operation) command provides a placeholder function. Anytime you add or
insert a new step into a script, it is set to Nop. If a script encounters a Nop command
while running, it immediately skips to the next command. If the Nop command is the last
command, the script stops running and the title stops playing.
Note: When a script is run as a pre-script, it reacts differently to having a Nop as the last
command line. With a pre-script, if the last command is a Nop, it is treated as if it were
an exit pre-script command, and the element the pre-script is assigned to displays as
normal.
Jump Command
Jump commands are usually the last step executed in a script, because they result in
another element (menu, track, or script) starting to play.
492 Chapter 20 Creating Scripts
Note: Being the last step executed is not the same as being the last step in the script. A
script might have multiple jump commands in it, with other commands determining
which jump to execute.
To configure a jump command
1 In the Script Command Inspector, choose Jump from the Command pop-up menu.
2 Choose the project element to jump to from the Jump To pop-up menu.
GPRM-Based Checkbox
A jump normally goes to a specific part of an element; for example, to button 3 on menu
2. Jumps also have the ability to use a value from a GPRM to determine which button or
marker they should go to. This is useful if, instead of jumping to a set location, you want
to jump to a place that is flexible, based on a value that a previous script writes to a GPRM.
To jump to a GPRM-based location
1 In the Script Command Inspector, select the GPRM Based checkbox to enable the GPRM
selection pop-up menu.
2 Choose the element to jump to from the Jump To pop-up menu. Specific buttons and
markers will be unavailable—you can only choose the basic elements (a menu, track,
story, and so on).
3 Choose the GPRM to use from the GPRM pop-up menu.
When jumping to menu buttons, you can load the GPRM with the actual button number
(1 through 36).
When jumping to markers, you must enter the marker number (1 through 99). Any values
you enter above 99 result in the first marker being selected.
Chapter 20 Creating Scripts 493
Start At Loop Point Checkbox
You can add a loop point to your motion menu that defines when the highlights appear
and where the menu jumps back to when it reaches the end. A jump to a motion menu
normally goes to its start point and begins playing from there. There are times, however,
when you might want the jump to go to the loop point instead, ensuring the highlights
appear immediately and avoiding forcing the viewer to sit through the first part of the
menu.
Selecting the Start At Loop Point checkbox configures the jump to play the menu from
the loop point. See About the Motion Settings for more information. See Jumping to a
Menu’s Loop Point for an example script using this feature.
Set GPRM Command
The set GPRM command is used to determine a value that is then placed in a GPRM
location. There are four elements to set:
• The operation type: There are 11 operations you can choose from, ranging from a simple
move to a “bit-wise exclusive or.” See Operation Types for details on using these
operations.
• The source type: You choose from five possible source element types that can be used
as the source. See Source Element Types for details on the element types.
• The source value: Once you choose the source element type, you can then choose the
actual element. For example, if you choose an SPRM element type, you use this setting
to choose the specific SPRM to use as the source.
• The GPRM target: You choose a GPRM location where the value gets written. Depending
on the operation you choose, this GPRM location may also be the second value in a
math operation. For example, if you choose a subtraction operation, the source value
is subtracted from the current target value and the result is written to the target location.
Choose the operation.
Choose the source
element type.
Choose the GPRM
target.
Choose the actual
source element.
To configure a set command
1 In the Script Command Inspector, choose the operation from the Operation pop-up menu.
2 Choose the source element type from the Source Type pop-up menu.
3 Choose the actual source element from the Source Value pop-up menu. The list of
elements is determined by the source element type selection set in step 2.
494 Chapter 20 Creating Scripts
4 Choose the GPRM target from the Target pop-up menu.
Operation Types
There are 11 operations you can choose from to control how the source and target values
are handled. There are limitations you need to keep in mind when using these operations:
• Registers have no overflow or underflow flags.
• If the script tries to store a value smaller than 0 or larger than 65535, no error message
is given; instead, the value “wraps around.” For example, if you subtract 7 from 3, you
would normally get –4. But if you do this in a script, 65532 is stored. If you add 6 to
65534 in a script, 4 is stored instead of 65540.
The operation types are:
• mov: Moves the source value to the target location, overwriting the existing value in
the target.
• swp: Swaps the source value with the target value. The source value is written to the
target location, and the target value is written to the source location. This is the only
operation that writes to the source location.
• add: Adds the source and target values together and writes the result in the target
location.
• sub: Subtracts the source value from the target value and writes the result in the target
location.
• mul: Multiplies the source value by the target value and writes the result in the target
location.
• div: Divides the target value by the source value and writes the result in the target
location.
• mod: Divides the target value by the source value and writes the remainder (modulo)
in the target location.
• ran: Generates a random value between 1 and the source value and writes the result
in the target location.
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• and: Performs a “bit-wise and” operation between the 16 individual bits of the source
and the target values, and writes the result in the target location. The bits that are set
(value of 1) in both values are left set. Bits that are not set in one or the other value are
reset (value 0).
• or: Performs a “bit-wise or” operation between the 16 individual bits of the source and
the target values, and writes the result in the target location. The bits that are set (value
of 1) in either value are left set. Bits that are not set in both of the values are reset (value
0).
• xor: Performs a “bit-wise exclusive or” operation between the 16 individual bits of the
source and the target values, and writes the result in the target location. The bits that
are set (value of 1) in one or the other value (but not both) are left set. Bits that are or
are not set in both of the values are reset (value 0).
Source Element Types
You choose from five different elements to be used as the source type.
• GPRM: Allows you to select any of the available GPRMs as the source.
• SPRM: Allows you to select any of the 24 SPRMs as the source. See System Parameter
Register Memories Details for a list of SPRMs.
• Immediate: Allows you to enter a decimal value, whose range depends on the size of
the selected GPRM register, as the source.
• Jump Target: Allows you to select from all available project elements (menus, tracks,
stories, slideshows, and scripts) as the source.
• Special: Allows you to choose from Current Item, Last Item, and Last Track as the source.
• Current Item: This is this script, unless this is a pre-script. If this is a pre-script, the
Current Item is the project element (menu, track, slideshow, or story) the script is
assigned to.
• Last Item: This is the project element that started this script running.
• Last Track: This is the last track that was played, even if this script was started by a
button on a menu.
Note: Jump Target and Special require the target to be a 16-bit GPRM register.
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Goto Command
The goto command provides a way to jump to a specific line in a script. This is usually
used in conjunction with a compare function, with the result determining whether the
goto command executes, or whether the script moves on to the next line.
Goto is useful when you build multiple jump commands into your script, because it allows
you to choose which jump command to execute by forcing the script to its line.
The only entry (other than the compare settings) is the Line Number value, which is a
number from 1 to 124.
Set System Stream Command
The set system stream command provides an easy way to set the audio, subtitle, and
video angle streams. You can choose to enable one, two, or all of the three streams. In
the case of the subtitle stream, you also choose whether or not it appears.
You choose between two modes to set the stream values:
• Immediate Value: Choose the streams directly using their pop-up menus. (Pop-up menu
values that say “not set” indicate that no assets are currently assigned to that stream.)
• GPRM Based: Choose a GPRM register from each stream’s pop-up menu.
Note: You can only choose 16-bit GPRM registers.
To configure the set system stream command
1 In the Script Command Inspector, select either the Immediate Value or GPRM Based
modes for stream selection by clicking the appropriate button.
2 Select the streams you want to control by clicking their checkboxes.
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3 For each stream you select, use the pop-up menu to choose the stream (Immediate mode)
or GPRM register (GPRM mode).
4 If you select the subtitle stream, select the View checkbox to force the subtitle to appear.
Resume Command
The resume command works like the Resume button on a DVD player’s remote
control—when executed as a step in a script, the disc starts playing from where it last
left off.
Note: When the resume command is executed from a pre-script, the result may not match
your expectations. Instead of playing the last menu or track that the viewer saw, the track
or menu that had the pre-script assigned to it plays instead (which, even though the
viewer had not seen it, was the last element “viewed”).
GPRM Mode Command
Each 16-bit GPRM register can be set to function as a memory location or as an
incrementing counter. By default, all GPRM registers, including those partitioned to smaller
registers than 16-bits, are set to be memory registers.
• Counter mode: The value loaded into the register increments once per second. This
mode can be a useful way to determine how far into the track the viewer has played.
• Register mode: A value written to a register remains there until a new value is written
or the disc is ejected.
To configure the GPRM mode command
1 In the Script Command Inspector, click either the Counter or Register Mode button to
set the selected GPRM’s mode.
2 Choose the GPRM register to configure with the Set To pop-up menu.
Only 16-bit GPRM registers appear in the pop-up menu. See Setting a GPRM’s Mode for
more information.
Exit Command
The exit command provides a way to stop the title from playing back. If, while a script is
running, an exit command is encountered, the script stops running and you are prevented
from playing the title. For example, you may want to do this in response to the player’s
region setting.
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Exit Pre-Script Command
A pre-script executes as soon as an element is selected. Depending on the purpose of
the pre-script, you will often want to have that element display as normal once the
pre-script is finished running. The exit pre-script command provides a way to end a
pre-script and display the element as normal.
Note: When a script is run as a pre-script, it reacts differently to having a Nop as the last
command line. With a regular script, if the last command line is a Nop and the script
encounters it while running, the script stops and the title will no longer play. With a
pre-script, if the last command is a Nop, it is treated as if it were an exit pre-script
command, and the element the pre-script is assigned to displays as normal.
Jump Indirect Command
With the normal jump command, you must specify an element (menu, track, story,
slideshow, or script) to jump to, even when using the GPRM Based Button setting.
The jump indirect command provides a way to jump to an element that is entirely
determined by a value stored in a GPRM. For example, you could have a script that uses
the set command write the current menu’s value to a GPRM, and then later on have a
second script use the jump indirect command to jump to that same menu by reading
that GPRM.
Note: You can only select from the 16-bit GPRM registers.
System Parameter Register Memories List
Each DVD player operates internally via a group of system parameter registers (System
Parameter Register Memories, or SPRMs). The status of player operation (which DVD track
is playing, what language is being used, and so on) can be read by script commands that
access the SPRM status registers.
The following list describes the system parameters that can be read by a script:
• SPRM 0: Menu language description code; DVD player setup by user
• SPRM 1: Current audio stream number; set by user or program
• SPRM 2: Current subtitle stream number; set by user or program
• SPRM 3: Current angle number; set by user or program
• SPRM 4: Current playing title number (Title); set by DVD player
Chapter 20 Creating Scripts 499
• SPRM 5: Current Video Title Set (VTS) number; set by DVD player
• SPRM 6: Current title PGC number; set by DVD player
• SPRM 7: Current part of title number (chapter); set by DVD player
• SPRM 8: Current highlighted button number; set by viewer in DVD player
• SPRM 9: Navigation timer; set by program, then times out
• SPRM 10: Timer target; DVD track to play when SPRM 9 times out
• SPRM 11: Player audio mixing mode for Karaoke; set by program or DVD player setup
• SPRM 12: Country code for parental management
• SPRM 13: Parental management level in effect
• SPRM 14: Player video configuration (Aspect Ratio, Letterbox Mode)
• SPRM 15: Player audio configuration (DTS, AC-3, MPEG, PCM, SDDS)
• SPRM 16: Initial language code for audio, DVD player setup by user
• SPRM 17: Initial language code extension for audio
• SPRM 18: Initial language code for subtitle, DVD player setup by user
• SPRM 19: Initial language code extension for subtitle
• SPRM 20: Player region code
• SPRM 21: Reserved
• SPRM 22: Reserved
• SPRM 23: Reserved
These SPRMs provide all of the status information and control capability for the scripts.
System Parameter Register Memories Details
In order to use the SPRMs, you need to know what the range of values is for these registers
and what that information means. The following sections list the most common bits used
when authoring DVDs. All SPRMs are 16-bit values, although only certain bits are described.
See Using Bit-Wise Operations for information on using the “bit-wise and” operation to
isolate specific bits of the 16-bit value, allowing you to use only those bits that are
necessary.
SPRM 0: Menu Language Description Code
Each DVD player has three types of language settings: Menu (SPRM 0), Audio (SPRM 16),
and Subtitle (SPRM 18). These values are based on a two-letter code for each language
spoken. The code is derived from the lowercase ASCII value of each letter.
500 Chapter 20 Creating Scripts
For example, the letters “en” represent English. The lowercase “e” is converted to an ASCII
value of 101 decimal or 65 in hexadecimal. The lowercase “n” is converted to an ASCII
value of 110 decimal or 6E in hexadecimal. When concatenated together in hexadecimal,
the value is 656E. The decimal value of 656E is 25966.
See Language Code Table for a complete listing of all of these language values.
It is useful to know the setting of this SPRM when dealing with multiple-language projects.
By reading the value of SPRM 0, you can determine the language the viewer wants to
see the menus displayed in. For instance, if you have a project that has menus in more
than one language, you can display menus in the language the viewer has selected.
SPRM 1: Current Audio Stream Number
The DVD specification allows for up to eight different audio streams. This SPRM lists the
current stream being played or the last one selected by the viewer.
The value range for this SPRM is 0 through 7, where 0 is the first stream and 7 is the last
stream.
Stream number SPRM 1 value
1 0
2 1
3 2
4 3
5 4
6 5
7 6
8 7
This information is useful when tracking which audio stream was last selected or played.
It is very useful when determining which button to highlight when jumping to a menu
where audio streams are selected. This is especially important if the viewer is allowed to
change the audio stream while viewing the movie.
SPRM 2: Current Subtitle Stream Number
The DVD specification allows for up to 32 different subtitle streams. This SPRM contains
two sets of values.
The first value shows which of the 32 streams is selected. These values range from 0
through 31 with 0 being the first stream and 31 being the last stream. The second value
of this SPRM is a display flag that tells you if the subtitle is turned on or off. The flag has
a value of 64 for on and 0 for off.
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To obtain the value of the stream that is selected and displayed, add 64 to the value of
the stream. For example: Stream 1 has a value of 0. If you add that value to the value of
the display flag “on” (64), you get a total of 64. Stream 2 has a value of 1; if you add the
value of the display flag on (64) to it, you get a total of 65.
The following table lists the possible settings for SPRM 2:
SPRM 2 value with the stream
selected and display on
SPRM 2 value with the stream
Stream number selected and display off
1 0 64
2 1 65
3 2 66
4 3 67
5 4 68
6 5 69
7 6 70
8 7 71
9 8 72
10 9 73
11 10 74
12 11 75
13 12 76
14 13 77
15 14 78
16 15 79
17 16 80
18 17 81
19 18 82
20 19 83
21 20 84
22 21 85
23 22 86
24 23 87
25 24 88
26 25 89
27 26 90
28 27 91
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SPRM 2 value with the stream
selected and display on
SPRM 2 value with the stream
Stream number selected and display off
29 28 92
30 29 93
31 30 94
32 31 95
Similar to SPRM 1, this information is useful to determine the last subtitle stream selected
by the viewer. If you have a menu for subtitle selection, you can use this information to
highlight the corresponding button for the correct subtitle.
SPRM 3: Current Angle Number
Similar to SPRM 1, the DVD specification allows for up to nine multi-angle MPEG video
streams. This SPRM lists the current stream being played or the last one selected by the
viewer.
The value range for this SPRM is 1 through 9, where 1 is the first stream and 9 is the last
stream (the value does not start at 0 as with SPRMs 1 and 2). If there is only one angle,
the default value is 1.
Knowing which multi-angle stream was last selected or played is very useful when
determining which button to highlight when jumping to a menu where multi-angle
streams are selected. This is especially important if the viewer is allowed to change the
multi-angle stream while viewing the movie.
SPRM 4: Current Playing Title Number
Each track, story, and slideshow element in your project is a title. You can have up to 99
titles in your project. All of these are assigned numbers based on their order in the Outline
tab’s By VTS display. SPRM 4 shows the number for the currently playing element.
If your project does not have stories, the VTS number shown in the Outline tab’s By VTS
display matches the SPRM 4 value. Because stories are not placed in their own VTS,
including them in your project affects the SPRM 4 values. For example, you could have
a project with two tracks, with Track 1 in VTS 1 including 2 stories (Story 1 and Story 2)
and Track 2 in VTS 2. The SPRM 4 values for this project are:
• Track 1 = 1
• Story 1 = 2
• Story 2 = 3
• Track 2 = 4
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SPRM 5: Current Title Number in Video Title Set (VTS)
In projects created with DVD Studio Pro, the title number within the current Video Title
Set (VTS) number is 1 for all elements, except stories. Each story within a track is assigned
to a higher title number, starting with 2 (the track itself is number 1).
SPRM 6: Current Title PGC Number
In projects created with DVD Studio Pro, the Program Group Chains (PGC) number is 1
for all elements, except stories. Each story within a track is assigned a number, starting
with 2 (the track itself is number 1). This value matches the SPRM 5 value except in the
case where a track, story, or slideshow has not yet been played. In that case, it is set to
0.
SPRM 7: Current Part of Title Number
The Part of Title is the current chapter number of the track being played.
This SPRM is useful if you need to know the last or current chapter played for that track.
There may be reasons to jump to the beginning of the last chapter played from any menu,
not just resume to the last place in the video. An example of this would be a training film
that requires the viewer to resume watching the chapter from the beginning if they do
not watch the chapter in its entirety.
SPRM 8: Current Highlighted Button Number
This SPRM is the last button number of the current or last menu displayed. You can use
this SPRM to track the last button position that the viewer selected. The value is calculated
by multiplying the button number by 1024 (this SPRM uses bits 10 through 15 to count
the buttons).
The table below lists the button number and its value:
Button number SPRM 8 value
1 1024
2 2048
3 3072
4 4096
5 5120
6 6144
7 7168
8 8192
9 9216
10 10240
11 11264
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Button number SPRM 8 value
12 12288
13 13312
14 14336
15 15360
16 16384
17 17408
18 18432
19 19456
20 20480
21 21504
22 22528
23 23552
24 24576
25 25600
26 26624
27 27648
28 28672
29 29696
30 30720
31 31744
32 32768
33 33792
34 34816
35 35840
36 36864
SPRM 9: Navigation Timer
This is the timer used to count down pauses and still frames. DVD Studio Pro automatically
loads this timer for timeouts and pauses. There is no real use for it in scripts.
SPRM 10: Timer Target
This SPRM is used in conjunction with SPRM 9. It is loaded with the PGC that is activated
when the Navigation Timer (SPRM 9) expires.
It is loaded and set by DVD Studio Pro, and there is no real use for it in scripts.
Chapter 20 Creating Scripts 505
SPRM 11: Player Audio Mixing Mode for Karaoke
Karaoke-capable DVD players can blend several audio streams together.
Note: Refer to SPRM 15 to identify whether or not a DVD player is karaoke-capable.
The primary stream is usually a music-only track in stereo (L and R). It is usually stream
number 1 or 2. To those streams you can mix a melody stream (M) or vocal streams (V1
and V2). The melody stream and the vocal streams are usually stream numbers 3, 4, and
5. The values of SPRM 11 are listed in the table below:
Bit description Bit Bit value
Reserved 0 1
Reserved 1 2
Stream 3 added to stream 1 2 4
Stream 4 added to stream 1 3 8
Stream 5 added to stream 1 4 16
Reserved 5 32
Reserved 6 64
Reserved 7 128
Reserved 8 256
Reserved 9 512
Stream 3 added to stream 2 10 1024
Stream 4 added to stream 2 11 2048
Stream 5 added to stream 2 12 4096
Reserved 13 8192
Reserved 14 16384
Reserved 15 32768
The value can be any combination of the above values (excluding reserved) with 0
indicating that no streams are added. A value of 3072 indicates that streams 3 and 4 are
added to stream 2 (1024 + 2048).
SPRM 12: Country Code for Parental Management
This SPRM lists the intended country code for the disc’s parental management feature.
For the United States this is 840.
SPRM 13: Parental Management Level
SPRM 13 lists the parental management level that the DVD player is currently set for. This
is set by the viewer and is used to prevent children from watching movies with mature
content.
506 Chapter 20 Creating Scripts
SPRM 13 can be useful in several ways. In some cases there may be more than one version
of a single movie on a single DVD disc. Larger discs such as DVD-9s can contain both the
R- and PG-rated versions of the same movie. By reading the value of SPRM 13, you could
determine which version of the movie to play.
Another use for SPRM 13 is to check the DVD player’s current parental setting. If the disc
is rated higher than the DVD player is currently set for, you could have a script that jumps
to a menu explaining that the disc cannot be played unless the player’s parental setting
is changed.
Important: DVD Studio Pro does not include a parental rating in its projects, so all DVD
players that support parental management will set SPRM 13 to 15 when playing a
DVD Studio Pro authored disc.
Below is a list of the numeric values of SPRM 13.
MPAA rating SPRM 13 value
G 1
— 2
PG 3
PG-13 4
— 5
R 6
NC-17 7
— 8
Disc not rated 15
SPRM 14: Player Video Configuration
Every DVD player has several modes of video display. These are divided into the display
mode and the aspect ratio. By reading SPRM 14 you can tell what modes the player is
currently in. Bits 8 and 9 of SPRM 14 are used to determine the current display mode
(whether the video needs processing for display on a 4:3 monitor) and bits 10 and 11 are
used to determine the aspect ratio of the monitor (4:3 or 16:9). The first eight bits in SPRM
14 are not used.
The following table shows the combinations for the display mode bits.
Display mode Bit 8 Bit 9 Total
Normal (no processing) 0 0 0
Pan-scan 256 0 256
Letterbox 0 512 512
Reserved 256 512 768
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The following table shows the combinations for the aspect ratio bits.
Aspect ratio Bit 10 Bit 11 Total
4:3 0 0 0
Not specified 1024 0 1024
Reserved 0 2048 2048
16:9 1024 2048 3072
SPRM 15: Player Audio Configuration
Each DVD player can have several types of audio capabilities. Most players can handle
Dolby Digital (AC-3), Linear PCM, and MPEG Audio. There are other audio options such
as DTS and SDDS, as well as karaoke capabilities.
By reading the values of SPRM 15, you can see which audio options the player has. This
could be useful if you have two types of audio streams and want to play the proper one
for that player. For example, if the player is capable of Dolby Digital (AC-3) audio, you
might want to play that stream instead of a stereo PCM stream.
Here is a table of the values for SPRM 15:
Player audio configuration Bit Bit value
Reserved 0 1
Reserved 1 2
SDDS karaoke capability (option) 2 4
DTS karaoke capability (option) 3 8
MPEG karaoke capability first bit 4 16
MPEG karaoke capability second 5 32
bit
AC-3 karaoke capability 6 64
PCM karaoke capability 7 128
Reserved 8 256
Reserved 9 512
SDDS capability (option) 10 1024
DTS capability (option) 11 2048
MPEG capability first bit 12 4096
MPEG capability second bit 13 8192
AC-3 capability 14 16384
Reserved 15 32768
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Bit 4 (MPEG karaoke capability first bit) is off when the player is not MPEG karaoke-capable,
and on when it is. Bit 5 (MPEG karaoke capability second bit) is always off.
Bit 12 (MPEG capability first bit) is off when the player is not MPEG capable, and on when
it is. Bit 13 (MPEG capability second bit) is always off.
There is no bit for regular PCM capability because all players must support it.
SPRM 16: Initial Language Code for Audio
This SPRM is the initial audio language that the viewer has set the DVD player to. It can
be assumed to be the primary spoken language that the viewer wants to hear.
As with SPRM 0, these values are derived from a two-letter code for each language spoken.
The code is derived from the lowercase ASCII value of each letter. See Language Code
Table for a complete table of all of these language values.
It is useful to know the setting of this SPRM when dealing with multiple-language projects.
By reading the value of SPRM 16, you can determine the spoken language that the viewer
wants to hear. If you have a project that has audio streams in more than one language,
you can play the appropriate spoken language that the viewer has selected. If the viewer
must choose a language from an audio menu, this SPRM value can be used to select the
appropriate button highlight.
SPRM 17: Initial Language Code Extension for Audio
SPRM 17 is rarely used but has several values. It can be used to flag an audio stream as
audio for the visually impaired or for director’s commentary.
Contents SPRM 17 value
Not specified 0
Normal captions 1
Audio for visually impaired 2
Director’s comments 1 3
Director’s comments 2 4
SPRM 18: Initial Language Code for Subtitle
SPRM 18 is the value of the initial subtitle language setting of the DVD player. It is a
preference set by the viewer.
Many feature films that are put onto DVD are subtitled in several languages. By reading
this SPRM, you can preselect the appropriate subtitle stream to the viewer’s preferred
language. In the case of a subtitle menu, you can preselect the appropriate button
highlight.
Chapter 20 Creating Scripts 509
As with SPRM 0, these values are derived from a two-letter code for each language spoken.
The code is derived from the lowercase ASCII value of each letter. See Language Code
Table for a complete table of all of these language values.
SPRM 19: Initial Language Code Extension for Subpicture
Similar to SPRM 17, SPRM 19 is an extension code for more in-depth information about
the subtitle stream. It covers such areas as subpicture size or whether the subtitle stream
is for children.
Contents SPRM 19 value
Not specified 0
Captions with normal size 1
characters
Captions with larger size 2
characters
Captions for children 3
Reserved 4
Closed captionswith normal size 5
characters
Closed captions with larger size 6
characters
Closed captions for children 7
Reserved 8
Forced captions 9
Reserved 10
Reserved 11
Reserved 12
Director’s commentary with 13
normal size characters
Director’s commentary with 14
larger size characters
Director’s commentary for 15
children
SPRM 20: Player Region Code
In order to have some control over which parts of the world can play a disc, a regional
coding system was developed. With this system, all standalone DVD players are
manufactured to support a single region, and DVD players used by computers have a
setting that configures the player’s region (with a limited number of changes allowed).
This SPRM returns the value of the DVD player’s region code.
510 Chapter 20 Creating Scripts
The globe is divided into eight sections:
• Region 1: Canada, United States, Puerto Rico, Bermuda, the Virgin Islands, and some
islands
• Region 2: Japan, Western Europe (including Poland, Romania, Bulgaria, and the Balkans),
South Africa, Turkey, and the Middle East (including Iran and Egypt)
• Region 3: Southeast Asia (including Indonesia, South Korea, Hong Kong, and Macao)
• Region 4: Australia, New Zealand, South America, most of Central America, Papua New
Guinea, and most of the South Pacific
• Region 5: Most of Africa, Russia (and former Russian states), Mongolia, Afghanistan,
Pakistan, India, Bangladesh, Nepal, Bhutan, and North Korea
• Region 6: China and Tibet
• Region 7: (Reserved)
• Region 8: Airlines, cruise ships, and other types of transportation
Here is a table of regions and values for SPRM 20:
Region SPRM 20 value
1 1
2 2
3 4
4 8
5 16
6 32
7 64
8 128
Using Bit-Wise Operations
More often than not, when working with the SPRM values, you will only be interested in
certain bits of each 16-bit value. The “bit-wise” operations (and, or, and exclusive or),
make it possible to mask the bits that are not needed, allowing you to determine the
states of the specific bits you need.
Note: You need to have a basic understanding of working with binary numbers to be
able to use these operations.
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Suppose you need to find out whether the DVD player is configured for a 4:3 or 16:9
aspect ratio monitor. To determine this, you only need to look at bits 10 and 11 of SPRM
14. You can use the “bit-wise and” operation to mask all bits except 10 and 11, making
it possible to easily determine the aspect ratio status without having to be concerned
with the other bits.
x
0
0
x
0
0
x
0
0
x
0
0
0/1
1
0/1
0/1
1
0/1
x
0
0
x
0
0
x
0
0
x
0
0
x
0
0
x
0
0
x
0
0
x
0
0
x
0
0
x
0
0
Bits 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 0
SPRM 14
And value
Result
Referring to the above table, the x’s in the SPRM 14 value represent bits that are not
needed. Bits 10 and 11 use “0/1” to indicate bits that you want to retain—these may be
set to either 0 or 1. When performing an AND operation, placing 0 in the bits you want
to mask results in their being cancelled out, regardless of their state. Placing 1 in the bits
you want to retain passes them to the result as is—a 0 is still a 0 and a 1 is still a 1. In this
case, an AND value of 3072 produces the proper masking.
The value of the result produces four possible answers: 0, 1024, 2048, and 3072. In the
case of SPRM 14, 0 indicates the DVD player is set to 4:3, and 3072 indicates it is set to
16:9 (the values of 1024 and 2048 are either not specified or reserved).
General Purpose Register Memories
The General Purpose Register Memories (GPRMs) provide memory storage that can be
used when building scripts. Unlike System Parameter Register Memories (SPRMs), GPRMs
are not used directly by the DVD player—they are only used by scripts. Values, such as
an SPRM or a value you specify, can be written to a GPRM, have a math operation applied
to it, and can then be used by a script command to control the DVD player.
DVD Studio Pro provides access to eight 16-bit GPRMs. Each register is completely
independent of the others. All of the registers are set to 0 when a disc is inserted into the
DVD player.
When creating scripts, you may find that you could use an additional GPRM or two.
Because you will often not need the full 16-bits of a GPRM register, you are able to increase
the number of GPRM registers by partitioning one or more of them into smaller sizes. For
example, you could choose to partition GPRM 1 into four 4-bit registers. This makes it
possible to greatly increase the usable number of GPRMs available when creating your
scripts.
Important: Several script command configurations and display conditions require the
use of full 16-bit GPRM registers. For that reason, you are only allowed to partition seven
of the eight 16-bit GPRM registers.
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About SPRMs and Partitioned GPRMs
SPRMs fall into one of three categories:
• Those that use the first bits of their register, such as SPRM 1
• Those that use part of the register, but not the first bits, such as SPRM 14 which uses
bits 8 through 11
• Those that use the entire register, with each bit representing the status of a function,
such as SPRM 15
If you partition a GPRM into four 4-bit registers, then move the same SPRM value into
each register, each of the 4-bit registers would get the same first four bits of the SPRM.
As an example, while SPRM 14 only uses four bits of its register, because they are not
the first four bits, they cannot be moved into a partitioned GPRM register. For this reason,
it is recommended that you always keep several 16-bit GPRMs available.
Configuring GPRM Partitions
You are able to individually configure the partitions of each 16-bit GPRM register using
either the Script Inspector or the Advanced tab of the Disc Inspector. Once configured,
you are then able to name them and save the configuration, which can then be loaded
into a different project.
Important: Once you partition a GPRM register and use it in a script, you cannot change
the GPRM’s partition settings. You also cannot import a script’s item description unless
the GPRMs it uses are partitioned the same as when the item description was saved.
To configure a GPRM’s partition
1 Do one of the following:
• Select a script in the Outline or Graphical tab. The Script Inspector appears.
• Select the disc in the Outline tab, then click the Advanced tab in the Disc Inspector.
• Click an empty area in the Graphical tab, then click the Advanced tab in the Disc
Inspector.
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2 Click the pop-up menu for the GPRM you want to partition, then choose the partition
configuration to use from the pop-up menu.
You can choose from the following:
Partition configuration Result Range of each register
1 Partition One 16-bit register 0-65535
2 Partitions Two 8-bit registers 0-255
4 Partitions Four 4-bit registers 0-15
8 Partitions Eight 2-bit registers 0-3
16 Partitions Sixteen 1-bit registers 0-1
Note: Any GPRMs that are currently used by a script have their pop-up menus deactivated
and cannot have their partition configuration changed.
514 Chapter 20 Creating Scripts
Once you choose the partition configuration to use for that GPRM, it displays the new
registers.
Click the disclosure
triangle to show or hide
the GPRM’s registers.
The registers of a
partitioned GPRM
Naming the GPRM Partitions
To help manage the process of creating a script, you are able to name each of the GPRM
partitions. (Even a 16-bit GPRM is considered to have one partition.) This makes it easier
to keep track of which GPRMs are being used for what purpose. Because the GPRMs are
shared by all scripts, once you name one, that name appears in all places it is used in all
scripts. You can name GPRMs in either the Script or Disc Inspector.
Note: All partition names must be unique.
To name a GPRM
1 Do one of the following:
• Select a script in the Outline or Graphical tab. The Script Inspector appears.
• Select the disc in the Outline tab, then click the Advanced tab in the Disc Inspector.
Chapter 20 Creating Scripts 515
• Click an empty area in the Graphical tab, then click the Advanced tab in the Disc
Inspector.
2 Click a GPRM’s disclosure triangle to show its partitions.
3 Double-click the partition name and type the new name in the text entry box for the
GPRM you want to rename.
Note: You can also change a GPRM partition’s name in the Simulator’s Registers display.
Importing and Exporting GPRM Configurations
If you find yourself needing to copy scripts from one project to another (using item
descriptions), you will find that it is much easier if you can be sure that each project uses
the same GPRM configuration. One way to do this is to export the GPRM configuration
from the project with scripts you want to copy from, and then import that GPRM
configuration into the project you want to copy the script into.
Important: You can only copy a script from one project to another project if the GPRMs
used by the script are partitioned the same way in both projects.
When you export a GPRM configuration, a file is created that contains the partition
information for each of the GPRMs plus their names.
When you import a GPRM configuration, the GPRMs are changed to match those in the
file, including the names. Some things to keep in mind:
• Any GPRMs that are already in use by a script will not be reconfigured, and a warning
will appear. All other GPRMs will be reconfigured.
• The names of all GPRM registers are changed to match those in the file you are
importing. Any GPRMs that are already in use are not affected.
To export a GPRM configuration
1 Configure the GPRM register partitions, including changing their names if needed.
2 Do one of the following:
• Click the Script Inspector’s Export button.
• Click the Export button in the Advanced tab of the Disc Inspector.
The Export dialog opens.
516 Chapter 20 Creating Scripts
3 Enter a name for the file, select its destination, and click Export.
A file is created using the name you entered plus a “.dspPartition” extension.
To import a GPRM configuration
1 Do one of the following:
• Click the Script Inspector’s Import button.
• Click the Import button in the Advanced tab of the Disc Inspector.
The Import dialog opens.
2 Select the file to import, then click Import.
Note: To avoid configuration conflicts, you should import the GPRM configuration before
creating any scripts.
Setting a GPRM’s Mode
Each 16-bit GPRM register can be set to function as a memory register or as a decrementing
counter.
Note: By default, all GPRM registers, including those less than 16-bits, are set to be memory
registers.
• Register: A value written to it remains there until a new value is written or the disc is
ejected.
• Counter: As a counter, the value counts up once per second, starting at the GPRM’s
current value. You can pause the count by changing the mode back to register.
You set a GPRM’s mode using the GPRM Mode command as part of a script. Once you
have set a GPRM’s mode, it stays that way until it is changed or the disc is ejected.
Scripting Examples
By their nature, scripts tend to be very project-specific. While the function of a particular
script might apply to a wide variety of projects, the specific tracks, streams, and menus
it works with vary.
The following examples provide you with step-by-step instructions that can help you
understand the process of creating a script, from the initial concept to the final product.
These scripts show just one way to accomplish their tasks—alternate ways to accomplish
the same results often exist.
Chapter 20 Creating Scripts 517
Note: These examples use menu and track names that are fictitious. You can create these
elements and add suitable assets to them, or adapt these examples to your existing assets.
You can even create these as empty elements, with no assets assigned. It is the names
of the elements that get used in these script examples, not the actual assets. Additionally,
these examples assume you have not partitioned the GPRMs.
Jumping to a Menu’s Loop Point
For this script, the project has a motion menu that has a loop point set, and you want to
be able to have other elements jump directly to the loop point, bypassing the first part
of the menu’s video.
For this script, you’ll call the menu Main Menu.
To create a Jump to Loop Point script
1 Do one of the following:
• Choose Project > Add to Project > Script, or press Command–Single Quote (’).
• Click Add Script in the toolbar.
2 Double-click the new script in the Outline or Graphical tab.
The Script Editor opens and the Script Inspector appears.
3 In the Inspector, name the script Jump to Loop Point.
4 In the Script Editor, select the first command line (Nop).
The Script Command Inspector appears.
5 In the Script Command Inspector, choose Jump as the command.
6 Choose Menus > Main Menu > [Menu] from the Jump To pop-up menu.
7 Select the Start At Loop Point checkbox.
You can use this script anyplace where you might normally jump to the Main Menu. For
example, you could set a track’s End Jump to run this script—when the track finishes
playing, it jumps to the Main Menu’s loop point.
Randomly Playing Tracks
For this script, the project has four tracks, and you want a script to randomly choose one
to play once a menu times out (has been inactive for a set amount of time).
For this script, you’ll call the tracks “Ocean,” “Beach,” “Trail,” and “Shopping.”
To create a Random Play script
1 Do one of the following:
• Choose Project > Add to Project > Script, or press Command–Single Quote (’).
• Click Add Script in the toolbar.
2 Double-click the new script in the Outline or Graphical tab.
518 Chapter 20 Creating Scripts
The Script Editor opens and the Script Inspector appears.
3 In the Inspector, name the script Random Play.
4 In the Script Editor, select the first command line (Nop).
The Script Command Inspector appears.
5 In the Script Command Inspector, choose Set GPRM as the command.
6 To configure the set GPRM command:
a Choose “ran” as the Operation.
b Choose Immediate as the Source Type.
c Enter 4 as the Source Value.
d Choose GPRM 0 as the Target.
The above settings generate a random number between 1 and 4 and place the value in
GPRM 0. It is this value that is looked at by the next commands in this script to determine
which track to play.
7 In the Script Editor, click the Add button.
The next command line is added to the script.
8 In the Script Command Inspector, choose Jump as the command.
9 To configure the jump command, choose Tracks and Stories > Ocean > Marker 1 from
the Jump To pop-up menu. This plays the first of the four tracks, depending on the result
of the compare function added next.
Note: Remember that the Ocean track is fictitious. Unless you created a track called Ocean,
you won’t see it in this pop-up menu.
10 Add a compare function to the jump command to test to see if this track has been selected
with the random generator.
a Select the Compare Command checkbox.
b Choose GPRM 0 as the “Execute if” element to be compared to.
c Choose equal (=) as the “is” compare operation type.
d Choose Immediate as the “to” element type to compare.
e Enter 1 as the “with value.”
If GPRM 0 has a 1 in it (generated by the random number generator command), this jump
command occurs. If not, the script moves to the next command.
Chapter 20 Creating Scripts 519
11 Add three additional jump command lines—one for each of the other three fictitious
tracks. The only differences are the Jump To settings which need to match each track
(Tracks and Stories > Beach > Marker 1; Tracks and Stories > Trail > Marker 1; and Tracks
and Stories > Shopping > Marker 1) and the immediate values in the compare function’s
“with value” field (use 2 for the Beach track, 3 for the Trail track, and 4 for the Shopping
track).
12 You need to configure the menu’s timeout setting by selecting the menu in the Outline
or Graphical tab, then clicking the General tab in the Menu Inspector. Choose Timeout
from the At End pop-up menu and enter a value (in seconds) for the timeout. Choose
this script (Random Play) from the Action pop-up menu.
Each time the menu sits idle for the specified amount of time, the script starts, generates
a random number, and then plays one of the four tracks. Once the track ends, it jumps
to the element specified by its End Jump setting.
Playing All Tracks
For this script, the project has four tracks, each with a button on the main menu to start
it playing. You want to add a Play All button that will play all four tracks in order, returning
to the main menu once they have finished. In this case, you will create five scripts—one
that starts the Play All progress and one for each track that determines whether a Play
All function is active.
The Play All script places a value in a GPRM that indicates to the other scripts that a Play
All function is in process. It then jumps to the first track and starts it playing.
The other scripts are linked to each track’s End Jump settings. These scripts test to see if
the Play All function is active. If it is, the script jumps to the next track. If not, the script
jumps back to the main menu.
For this script, you’ll call the tracks “Ocean,” “Beach,” “Trail,” and “Shopping.”
The Play All Script
This is the script you will link to the main menu’s Play All button.
520 Chapter 20 Creating Scripts
To create the Play All script
1 Do one of the following:
• Choose Project > Add to Project > Script, or press Command–Single Quote (’).
• Click Add Script in the toolbar.
2 Double-click the new script in the Outline or Graphical tab.
The Script Editor opens and the Script Inspector appears.
3 In the Script Inspector, name the script Play All.
4 In the Script Editor, select the first command line (Nop).
The Script Command Inspector appears.
5 In the Script Command Inspector, choose Set GPRM as the command.
6 To configure the set GPRM command:
a Choose “mov” as the Operation.
b Choose Immediate as the Source Type.
c Enter 1 as the Source Value.
d Choose GPRM 0 as the Target.
The above settings place the value 1 in GPRM 0. It is this value that is looked at by the
other scripts to determine whether a Play All function is in progress.
7 In the Script Editor, click the Add button.
A second command line is added to the script.
8 In the Script Command Inspector, choose Jump as the command.
9 To configure the jump command, choose Tracks and Stories > Ocean > Marker 1 from
the Jump To pop-up menu.
This plays the first of the four tracks.
Note: Remember that the Ocean track is fictitious. Unless you created a track called
“Ocean,” you won’t see it in this pop-up menu.
Chapter 20 Creating Scripts 521
Link this script to the main menu’s Play All button. See Setting a Button’s Connection for
more information.
The Track End Scripts for the First Three Tracks
The scripts you will link to the End Jump settings of the first three tracks are nearly
identical—the only difference is the track name they jump to if a Play All function is in
progress. The script used by the last track is a bit different, because it resets the GPRM
that indicates a Play All function is in progress and always jumps to the main menu.
Follow these steps to create the script for the first track (Ocean). The notes indicate any
changes you would enter for the other tracks (Beach and Trail). Remember these track
names are fictitious, and you won’t actually see them in the pop-up menu unless you
create them.
To create the script for the first three tracks
1 Create a script and select it.
2 Enter Ocean End as the script’s name.
Note: Enter Beach End and Trail End as the names when creating the scripts for the
other two tracks.
3 In the Script Editor, select the first command line (Nop).
4 In the Script Command Inspector, choose Jump as the command.
5 To configure the jump command, choose Tracks and Stories > Beach > Marker 1 from
the Jump To pop-up menu.
Note: Choose Tracks and Stories > Trail > Marker 1 and Tracks and Stories > Shopping >
Marker 1 when creating the scripts for the other two tracks.
6 Add a compare function to the jump command to test to see if a Play All function is in
process.
a Select the Compare Command checkbox.
b Choose GPRM 0 as the “Execute if” element to be compared to.
c Choose equal (=) as the “is” compare operation type.
d Choose Immediate as the “to” element type to compare.
e Enter 1 as the “with value.”
If GPRM 0 has a 1 in it (indicating the Play All function is in progress), this jump command
occurs. If not, the script moves to the next command line.
7 In the Script Editor, click the Add button.
The next command line (Nop) is added to the script.
8 In the Script Command Inspector, choose Jump as the command.
522 Chapter 20 Creating Scripts
9 To configure the jump command, choose Menus > Main Menu > Button 1 from the Jump
To pop-up menu.
Like the track names, Button 1 is fictitious, used to illustrate the example.
This jump only occurs if the compare function was not satisfied in the previous command.
This script jumps
to the Beach track once
the Ocean track finishes
playing.
This script jumps to the
Trail track once the Beach
track finishes playing.
This script jumps
to the Shopping track
once the Trail track
finishes playing.
Chapter 20 Creating Scripts 523
Once you have created all three scripts, link each to the appropriate track’s End Jump
setting (at the top of the Track Inspector for each track).
Track End Script for the Last Track
Follow these steps to create the script for the last track (Shopping). The main menu always
appears when this track finishes playing—the difference is that the GPRM value needs
to be set back to 0 so that a Play All process does not inadvertently get started later.
To create the Track End script for the last track
1 Create a script and select it.
2 Enter Shopping End as the script’s name.
3 In the Script Editor, select the first command line (Nop).
4 In the Script Command Inspector, choose Set GPRM as the command.
5 To configure the set GPRM command:
a Choose “mov” as the Operation.
b Choose Immediate as the Source Type.
c Enter 0 as the Source Value.
d Choose GPRM 0 as the Target.
The above settings place the value 0 in GPRM 0, ending the Play All process and ensuring
that if you play any of the tracks individually, they will jump back to the main menu when
finished playing.
6 In the Script Editor, click the Add button.
The next command line (Nop) is added to the script.
7 In the Script Command Inspector, choose Jump as the command.
8 To configure the jump command, choose Menus > Main Menu > Button 1 from the Jump
To pop-up menu.
This script always sets GPRM 0 to 0 and jumps back to the main menu. Link this script to
the Shopping track’s End Jump setting, located at the top of its Track Inspector.
524 Chapter 20 Creating Scripts
But What If...
When you create scripts that store a status in a GPRM, such as the Play All script, you need
to plan for Viewer actions that are outside of the script’s intentions. In this case, these
scripts will work exactly as intended most of the time. An exception is if the viewer decides
not to let the Play All process finish. The viewer might press the Menu button on the
remote control while the Play All process is active and then choose a specific track to
watch by selecting its button in the menu. Because the value in GPRM 0 is still “1,” once
that track finishes playing and runs its Track End script, it will see that GPRM 0 is “1” and
jump to the next track instead of back to the menu.
In other words, the only way to really stop the Play All process and reset GPRM 0 to “0”
with the previous scripts is to let the process play to the end. There are a couple of ways
to handle this:
• Force the viewer to watch to the end: You can disable the Menu and Title buttons on
the remote control. This may be appropriate for training videos with mandatory viewing.
See Remote Control Settings for more information.
• Add scripts to the other menu buttons that reset GPRM 0 to “0”: This way, if the viewer
chooses to play one of the tracks on its own, the Play All process will be canceled and,
once the track finishes playing, the DVD will jump back to the menu. See Canceling
the Play All Script for more information.
Canceling the Play All Script
The script required to cancel the Play All script is almost identical to the Play All script—the
differences are that you set GPRM 0 to “0” instead of “1,” and the jump target is set to
match what the button would have jumped to.
For example, if the menu with the Play All button also has buttons for each individual
track (“Ocean,” “Beach,” “Trail,” and “Shopping”), you will need to create a unique script
for each of these buttons that sets GPRM 0 to “0” and then jumps to the button’s track.
Use the steps in The Play All Script to create these scripts, with the following modifications:
• Name the scripts “Ocean Play,” “Beach Play,” and so on in step 3.
• Enter 0 as the Source Value in step 6.
• Configure the jump command in step 9 exactly as listed for the Ocean track. The scripts
for the other three tracks only need this step changed, with each configured to jump
their track.
Once the four scripts have been created, you link them to the menu buttons.
Language Code Table
This table lists all possible languages and their numeric equivalents. It is sorted
alphabetically by the language name.
Chapter 20 Creating Scripts 525
Language Code HEX Decimal
(Afan) Oromo om 6F6D 28525
Abkhazian ab 6162 24930
Afar aa 6161 24929
Afrikaans af 6166 24934
Albanian sq 7371 29553
Amharic am 616D 24941
Arabic ar 6172 24946
Armenian hy 6879 26745
Assamese as 6173 24947
Aymara ay 6179 24953
Azerbaijani az 617A 24954
Bashkir ba 6261 25185
Basque eu 6575 25973
Bengali; Bangla bn 626E 25198
Bhutani dz 647A 25722
Bihari bh 6268 25192
Bislama bi 6269 25193
Breton br 6272 25202
Bulgarian bg 6267 25191
Burmese my 6D79 28025
Byelorussian be 6265 25189
Cambodian km 6B6D 27501
Catalan ca 6361 25441
Chinese zh 7A68 31336
Corsican co 636F 25455
Croatian hr 6872 26738
Czech cs 6373 25459
Danish da 6461 25697
Dutch nl 6E6C 28268
English en 656E 25966
Esperanto eo 656F 25967
Estonian et 6574 25972
Faeroese fo 666F 26223
Fiji fj 666A 26218
526 Chapter 20 Creating Scripts
Language Code HEX Decimal
Finnish fi 6669 26217
French fr 6672 26226
Frisian fy 6679 26233
Galician gl 676C 26476
Georgian ka 6B61 27489
German de 6465 25701
Greek el 656C 25964
Greenlandic kl 6B6C 27500
Guarani gn 676E 26478
Gujarati gu 6775 26485
Hausa ha 6861 26721
Hebrew iw 6977 26999
Hindi hi 6869 26729
Hungarian hu 6875 26741
Icelandic is 6973 26995
Indonesian in 696E 26990
Interlingua ia 6961 26977
Interlingue ie 6965 26981
Inupiak ik 696B 26987
Irish ga 6761 26465
Italian it 6974 26996
Japanese ja 6A61 27233
Javanese jw 6A77 27255
Kannada kn 6B6E 27502
Kashmiri ks 6B73 27507
Kazakh kk 6B6B 27499
Kinyarwanda rw 7277 29303
Kirghiz ky 6B79 27513
Kirundi rn 726E 29294
Korean ko 6B6F 27503
Kurdish ku 6B75 27509
Laothian lo 6C6F 27759
Latin la 6C61 27745
Latvian, Lettish lv 6C76 27766
Chapter 20 Creating Scripts 527
Language Code HEX Decimal
Lingala ln 6C6E 27758
Lithuanian lt 6C74 27764
Macedonian mk 6D6B 28011
Malagasy mg 6D67 28007
Malay ms 6D73 28019
Malayalam ml 6D6C 28012
Maltese mt 6D74 28020
Maori mi 6D69 28009
Marathi mr 6D72 28018
Moldavian mo 6D6F 28015
Mongolian mn 6D6E 28014
Nauru na 6E61 28257
Nepali ne 6E65 28261
Norwegian no 6E6F 28271
Occitan oc 6F63 28515
Oriya or 6F72 28530
Pashto, Pushto ps 7073 28787
Persian fa 6661 26209
Polish pl 706C 28780
Portuguese pt 7074 28788
Punjabi pa 7061 28769
Quechua qu 7175 29045
Rhaeto-Romance rm 726D 29293
Romanian ro 726F 29295
Russian ru 7275 29301
Samoan sm 736D 29549
Sangro sg 7367 29543
Sanskrit sa 7361 29537
Scots Gaelic gd 6764 26468
Serbian sr 7372 29554
Serbo-Croatian sh 7368 29544
Sesotho st 7374 29556
Setswana tn 746E 29806
Shona sn 736E 29550
528 Chapter 20 Creating Scripts
Language Code HEX Decimal
Sindhi sd 7364 29540
Singhalese si 7369 29545
Siswati ss 7373 29555
Slovak sk 736B 29547
Slovenian sl 736C 29548
Somali so 736F 29551
Spanish es 6573 25971
Sundanese su 7375 29557
Swahili sw 7377 29559
Swedish sv 7376 29558
Tagalog tl 746C 29804
Tajik tg 7467 29799
Tamil ta 7461 29793
Tatar tt 7474 29812
Tegulu te 7465 29797
Thai th 7468 29800
Tibetan bo 626F 25199
Tigrinya ti 7469 29801
Tonga to 746F 29807
Tsonga ts 7473 29811
Turkish tr 7472 29810
Turkmen tk 746B 29803
Twi tw 7477 29815
Ukrainian uk 756B 30059
Urdu ur 7572 30066
Uzbek uz 757A 30074
Vietnamese vi 7669 30313
Volapuk vo 766F 30319
Welsh cy 6379 25465
Wolof wo 776F 30575
Xhosa xh 7868 30824
Yiddish ji 6A69 27241
Yoruba yo 796F 31087
Zulu zu 7A75 31349
Chapter 20 Creating Scripts 529
Your DVD title is a collection of elements you want your audience to view. The way you
set the connections between these elements determines the way the viewer experiences
your DVD title. You can use the Connections tab to determine how the viewer moves
from one element to another. You make links so the viewer jumps from a starting point,
or source, to a destination, or target.
This chapter covers the following:
• About Connections (p. 531)
• Connections Tab (p. 532)
• Connection Items (p. 533)
• Making Connections (p. 537)
• Connection Details (p. 540)
• Source Details (p. 540)
• Target Details (p. 547)
About Connections
There are a number of places within DVD Studio Pro where you can establish connections
between a project’s elements. Some are in Inspectors and some are in shortcut menus.
Some connections are automatically set when you import an asset directly to a menu or
track. The Connections tab provides a way to view and set all connections for a selected
element, such as a menu or track, at the same time. You can also use the Connections
tab to verify that you have not inadvertently left an item without a connection.
531
Establishing Connections 21
Connections Tab
Connections are listed in two sections in the Connections tab. The sources (the elements’
starting points) and their current connections are on the left and the targets (the
destinations) are on the right.
This project’s targets that
can be connected to the
selected source
Choose the Connections
tab layout to use.
The sources and current
connections for the
selected element in the
Outline or Graphical tab
(in this case, the disc)
Drag this separator bar
to set the size of the
two halves of the
Connections tab.
You can also display the two halves of the Connections tab with the sources on the top
and the targets on the bottom by either clicking the buttons in the upper-right corner
or pressing the Control key and clicking the separator bar.
532 Chapter 21 Establishing Connections
The pop-up menus along the top of the Connections tab allow you to choose the detail
level of the sources and whether to view only sources that do or do not have a connection
assigned.
Choose a connection
status to show.
Choose the source detail
level to show.
The element the
sources belong to
Connection Items
There are three items involved in making a connection:
• The project element that is the subject of the connection. This can be a menu, track,
slideshow, or the disc in general. The contents of the Connections tab change to match
those that apply to the currently selected element. See Project Elements for more
information.
• The source to be connected from. Every menu, track, slideshow, and disc has sources
that you can link from. The more complicated the element, the more sources it will
have (a menu with 12 buttons will have more source connections than a menu with 4
buttons). See Sources for more information.
• The target to be connected to. Targets include all possible connections for all elements
within your project. Most targets are available to each source. While a source can only
connect to one target, a target can be used by multiple sources. See Targets for more
information.
Project Elements
The project element you select in the Outline or Graphical tab determines the list of
sources displayed in the Connections tab. Selecting the disc displays all sources from all
elements, plus a few sources that do not appear in any of the other elements.
Chapter 21 Establishing Connections 533
Sources
Sources fall into five categories: the disc, menus, tracks, stories, and slideshows. The
number of choices you see in the list of sources depends on the selected element and
whether you have chosen Basic, Standard, or Advanced from the View pop-up menu
above the source list.
Disc
Menus
Tracks
Slideshows
Stories
The right half of the source list shows the current connections.
Drag this divider to adjust
the Source and Target
column widths.
The current connections
between the sources
and targets
• Basic: The most fundamental jumps you can make are in the basic list of sources. These
include the startup action for the disc and the jumps made when the viewer presses
the Title and Menu buttons on the remote control when the disc is inserted in the
player. The basic link for menus is where to jump when buttons are activated. The basic
links for tracks and slideshows are where to jump when playback is finished and where
to jump when the Menu button is selected while the track or slideshow is playing.
534 Chapter 21 Establishing Connections
• Standard: The most commonly used jumps are found in the standard list of sources.
In addition to those in the basic list, pre-scripts (scripts designed to run when the
element is chosen) are listed for menus, tracks, and slideshows. If a DVD menu has been
on the screen for a period of time specified in the General tab in the Menu Inspector,
the subsequent action is determined by the Menu Timeout Target link. Each marker in
a track and each slide in a slideshow displays its own end jump and menu button links.
• Advanced: The advanced list of sources contains all of the possible sources available
for the selected element. In addition to the basic and standard sources, the Return
button on the DVD player’s remote control is also listed.
Additionally, for tracks and slideshows you can set connections for the following buttons
found on some remote control devices: Audio, Subtitle, Angle, and Chapter menu buttons.
These links can make it convenient for viewers to access DVD menus that allow them to
select audio and subtitle options, an angle, or a chapter. However, be sure to design your
title with other ways to reach these DVD menus because very few remote controls offer
these buttons.
Important: It is important not to confuse these buttons with the Audio, Subtitle, and
Angle selection buttons commonly found on remote controls—these buttons do not
access a menu and instead directly change the selected stream.
See Source Details for a complete list of sources as well as methods (other than the
Connections tab) that you can use to link them.
Chapter 21 Establishing Connections 535
Next Jump and Prev Jump
Tracks and slideshows have two settings, Next and Previous Jump, that can only be set
in the Connections tab with the advanced sources displayed. These settings define what
happens when the viewer presses the Next and Previous buttons on the DVD player’s
remote control.
While a track or slideshow is playing, the Next and Previous buttons allow the viewer
to skip forward or backward between markers or stills. A setting in the Connections tab
defines what happens if the viewer presses the Next or Previous button when there is
no next or previous marker or slide. By default, with nothing assigned to these settings,
nothing happens. This is the normal action used for most projects.
If you establish a connection to either of these buttons, there are two issues that you
must be aware of:
• You will no longer be able to set the Menu button action for each marker—you will
only be able to set it for the first marker.
• The DVD player will no longer display a play time for the track or slideshow.
See Setting a Pause on the Last Slide for information on using the Next Jump setting
in a slideshow.
Targets
The list of targets includes all menus and their buttons, all tracks and their stories and
markers, all slideshow stills, and all scripts. There are four additional commands that can
appear at the top of the list, depending on the selected source: Resume, Stop, Same as
Disc, and Same as Track.
See Target Details for a complete list of targets.
Default Connections
There are two types of connections that DVD Studio Pro makes automatically: linking
each marker in a track to the next marker, and assigning the same menu button action
to all of a track’s markers. These connections are not shown in the Connections tab and
can be overridden by assigning different targets while in the Standard or Advanced source
view.
Chapter-to-Chapter Connections
DVD Studio Pro automatically links the end jump from one marker to the beginning of
the next marker. This allows a track to play seamlessly through the markers. The end jump
for the last marker is not linked to any targets—you must set this yourself using the End
Jump setting.
536 Chapter 21 Establishing Connections
Setting Chapter Marker End Jumps
In addition to the limit of 99 chapter markers per track, DVD Studio Pro has a combined
limit of 106 chapter markers and individual chapter end jump settings per track. This is
normally not an issue except in special cases where you decide to set an end jump for
each chapter marker.
If your track has 54 chapter markers, each configured with an end jump, the result is a
combined 108 markers and jump settings. This will cause an error message to appear
when you build the project. Because setting end jumps on chapter markers prevents
the track from playing seamlessly from start to end, you can instead divide the track
into two tracks, each containing a portion of the markers and thus avoid the 106 limit.
For example, you might use chapter markers with end jumps set to “edit” a track into
multiple small clips. If you configure a menu button to jump to a specific chapter marker,
the track starts playing from that point. Once the next marker is reached, the end jump
directs the DVD player back to the menu, resulting in only a small portion of the track
playing.
The advantage of this is that you can easily configure a track to play as short clips and
not worry about running into the 99 tracks, stories, and slideshows per project limit.
The disadvantage of this is that you cannot play the track from start to end—as soon
as the first marker that has its end jump set is reached, the player jumps to that setting.
You can accomplish a similar result by creating a story that plays only from one chapter
marker to the next. The disadvantage of doing this is that if you have a lot of these that
you want to configure, you will quickly run into the 99 tracks, stories, and slideshows
per project limit.
Menu Button Connections
Once you establish a connection to the Menu button of the DVD player’s remote control,
it is automatically applied to all markers in the track.
Making Connections
Making connections involves displaying the correct sources and then linking them to the
targets. While the Connections tab provides a complete list of all possible connections
between your project’s elements, many of these connections can also be configured
using other methods.
Connections can be made in a number of Inspectors, including those for menus, buttons,
tracks, slideshows, and the disc. For example, in the Button Inspector, you can set the
target for a button. Additionally, you can set connections to buttons in the Menu and
Subtitle Editors.
Chapter 21 Establishing Connections 537
See Source Details for a complete list of all sources and their alternative linking methods.
See Target Details for a complete list of all targets.
Changing the Displayed Sources
There are three groups of sources you can see in the source list: basic, standard, and
advanced. The most fundamental jumps for the selected element are shown in Basic
source view. The most commonly used jumps are shown in the Standard source list. The
Advanced list shows all possible jumps for the selected element.
To change the sources displayed
1 Select the element you want to work with in the Outline or Graphical tab. For a global
view of all the sources, select the disc in the Outline tab, or click an empty area in the
Graphical tab.
2 Choose Basic, Standard, or Advanced from the View pop-up menu located just above the
source list.
Choose which sources
are shown.
You can also display all sources, only sources with connections, or only sources without
connections, using the second View pop-up menu.
Use each source’s
connection status to
choose which sources
to display.
Establishing Connections in the Connections Tab
There are several methods you can use to establish connections in the Connections tab:
dragging targets to the sources, using shortcut menus, and using keyboard shortcuts.
To establish a connection in the Connections tab
1 Determine the source to which you want to assign a target.
538 Chapter 21 Establishing Connections
2 Do one of the following:
• Locate the item you want to link to in the Targets column on the right, and drag it to
the source on the left. A black box surrounds the selected source, making it clear that
you are linking to the correct one.
If you drag a target that is not supported by the source, the black box does not appear.
• Hold down the Control key and click in the Target column next to the source for which
you want to create a link. Choose a target from the shortcut menu.
• Click to select a source and a target, then click the Connect button at the top of the
Connections tab.
You can change an existing connection using these same methods.
To establish connections using keyboard shortcuts
1 Press the Up Arrow and Down Arrow keys to scroll through the currently active list (sources
or targets) until you select the element you want to connect.
2 Press the Control key while using the Up Arrow and Down Arrow keys to scroll through
the other list until you highlight the entry you want to connect.
3 Press Return to make the connection.
If you select a source that already has a connection, pressing Return disconnects it. You
can also press the Option key while using the Up Arrow and Down Arrow keys to jump
to the top or bottom of the list.
Chapter 21 Establishing Connections 539
If you want to connect to an element in the Targets list, you need to already have its
disclosure triangle set to show the element’s contents.
To delete a connection
1 Press the Up Arrow and Down Arrow keys to scroll through the currently active list (sources
or targets) until you select the element you want to connect.
2 Press the Delete key.
Connection Details
Many of the sources and targets are intuitive in their usage. However, some are not often
used or can cause unexpected issues with your title.
Note: The actual sources and targets you see depend on the elements in your project.
The names used in the following descriptions, Basic, Standard, and Advanced, are assigned
by default when the elements are created.
Source Details
The sources displayed depend on which group of sources you choose—basic, standard,
or advanced. The last two groups contain the sources from the previous level or levels,
plus additional ones.
The primary method of setting connections for all sources is to use the Connections tab.
Alternative methods are given in the far-right column below.
Basic
The following sources are available when viewing the basic source group. All these sources
should be linked before you build the title.
Disc Sources
Following are the disc-level basic sources.
Source Usage Alternative methods
First Play in the Disc Inspector.
Control-click disc in Outline tab.
Control-click empty area in
Graphical tab.
Use to specify what is displayed
when the disc first starts playing
after being inserted into the DVD
player (automatically set to
Menu 1).
First Play
Use to specify the action when Disc Inspector General tab
the viewer presses the Title
button on the DVD player’s
remote control.
Title
540 Chapter 21 Establishing Connections
Source Usage Alternative methods
Use to specify the action when Disc Inspector General tab
the viewer presses the Menu
button on the DVD player’s
remote control. This setting can
be overridden by similar settings
in tracks, markers, stories, and
slideshows.
Menu
Menu Sources
Following is the menu-level basic source.
Source Usage Alternative methods
Button Inspector.
Control-click button in the Menu
Editor.
Drag element directly to button.
Use to specify the action when
the button is activated.
Button1:Jump when activated
Track Sources
Following are the track-level basic sources.
Source Usage Alternative methods
End Jump in the Track Inspector
(automatically set in some cases)
Use to specify the action when
the track reaches its end during
playback.
End Jump
Use to specify the action when Track Inspector General tab
the viewer presses the Menu
button on the DVD player’s
remote control. This setting
overrides the disc setting. By
default, this is set to Same as
Disc.
Menu
Subtitle Inspector Button tab
Control-click button in the
Subtitle Editor.
Use to specify the action when
the button (part of a subtitle
stream) is activated.
Marker 1:Button 1:Jump when
activated
Story Sources
Following are the story-level basic sources.
Source Usage Alternative methods
End Jump in the Story Inspector
(automatically set to Same as
Track)
Use to specify the action when
the story reaches its end during
playback. By default, this is set
to Same as Track.
End Jump
Chapter 21 Establishing Connections 541
Source Usage Alternative methods
Story Inspector General tab
(automatically set to Same as
Track)
Use to specify the action when
the viewer presses the Menu
button on the DVD player’s
remote control. This setting
overrides the disc and track
settings. By default, this is set to
Same as Track.
Menu
Slideshow Sources
Following are the slideshow-level basic sources.
Source Usage Alternative methods
End Jump in the Slideshow
Inspector (automatically set in
some cases)
Use to specify the action when
the slideshow reaches its end
during playback.
End Jump
Use to specify the action when Slideshow Inspector General tab
the viewer presses the Menu
button on the DVD player’s
remote control. This setting
overrides the disc setting. By
default, this is set to Same as
Disc.
Menu
Standard
The following sources are available when viewing the standard source group. These
sources are in addition to those available at the basic level.
Menu Sources
Following are the menu-level standard sources in addition to the basic sources.
Source Usage Alternative methods
Use to assign a script to be run Menu Inspector Menu tab
prior to displaying this menu.
Pre-Script
Use to specify the action when Menu Inspector General tab
the menu’s inactivity timeout
setting expires.
Menu Timeout Target
Track Sources
Following are the track-level standard sources in addition to the basic sources.
Source Usage Alternative methods
Use to assign a script to be run Track Inspector General tab
prior to playing this track.
Pre-Script
542 Chapter 21 Establishing Connections
Source Usage Alternative methods
Use to specify the action when Marker Inspector General tab
the viewer presses the Menu
button on the DVD player’s
remote control. This setting
overrides the disc and track
settings.
Marker 1:Menu
End Jump in the Marker
Inspector
Use to specify the action when
the marker’s part of the track
finishes playing (the frame
before reaching the next
marker).
Marker 1:End Jump
Story Sources
Following are the story-level standard sources in addition to the basic sources.
Source Usage Alternative methods
Use to assign a script to be run Story Inspector General tab
prior to playing this story.
Pre-Script Target
Use to specify the action when Story Marker Inspector
this entry marker’s part of the
track finishes playing (the frame
before reaching the next
marker).
Marker 1 Entry:End Jump
Use to specify the action when Story Marker Inspector
the viewer presses the Menu
button on the DVD player’s
remote control. This setting
overrides the disc and track
settings.
Marker 1 Entry:Menu
Advanced
The following sources are available when viewing the advanced source group. These
sources are in addition to those available with the basic and standard levels.
Disc Sources
Following are the disc-level standard sources in addition to the basic and standard sources.
Source Usage Alternative methods
Use to specify the action when Disc Inspector Advanced tab
the viewer presses the Angle
menu button on the DVD
player’s remote control. This
setting can be overridden by
similar settings in tracks and
slideshows.
Angle
Chapter 21 Establishing Connections 543
Source Usage Alternative methods
Use to specify the action when Disc Inspector Advanced tab
the viewer presses the button
on the DVD player’s remote
control. This setting can be
overridden by similar settings in
tracks and slideshows.
Chapter
Use to specify the action when Disc Inspector Advanced tab
the viewer presses the Audio
menu button on the DVD
player’s remote control. This
setting can be overridden by
similar settings in tracks and
slideshows.
Audio
Use to specify the action when Disc Inspector Advanced tab
the viewer presses the Subtitle
menu button on the DVD
player’s remote control. This
setting can be overridden by
similar settings in tracks and
slideshows.
Subtitle
Use to specify the action when Disc Inspector General tab
the viewer presses the Return
button on the DVD player’s
remote control. This setting can
be overridden by a similar
setting in menus.
Return
Menu Sources
Following is the menu-level standard source added to the basic and standard sources.
Source Usage Alternative methods
Use to specify the action when Menu Inspector Menu tab
the viewer presses the Return
button on the DVD player’s
remote control. This setting
overrides the disc setting.
Return
Track Sources
Following are the track-level standard sources in addition to the basic and standard
sources.
544 Chapter 21 Establishing Connections
Source Usage Alternative methods
Track Inspector General tab
(automatically set to Same as
Disc)
Use to specify the action when
the viewer presses the Angle
menu button on the DVD
player’s remote control. This
setting overrides the disc setting.
By default, this is set to Same as
Disc.
Angle
Track Inspector General tab
(automatically set to Same as
Disc)
Use to specify the action when
the viewer presses the Chapter
menu button on the DVD
player’s remote control. This
setting overrides the disc setting.
By default, this is set to Same as
Disc.
Chapter
Track Inspector General tab
(automatically set to Same as
Disc)
Use to specify the action when
the viewer presses the Audio
menu button on the DVD
player’s remote control. This
setting overrides the disc setting.
By default, this is set to Same as
Disc.
Audio
Track Inspector General tab
(automatically set to Same as
Disc)
Use to specify the action when
the viewer presses the Subtitle
menu button on the DVD
player’s remote control. This
setting overrides the disc setting.
By default, this is set to Same as
Disc.
Subtitle
Track Inspector General tab
(automatically set to Same as
Disc)
Use to specify the action when
the viewer presses the Chapter
menu button on the DVD
player’s remote control. This
setting overrides the disc setting.
By default, this is set to Same as
Disc.
Chapter
Use to specify the action when None
the viewer presses the Next
button on the DVD player’s
remote control after the last
marker. See Next Jump and Prev
Jump for more information.
Next Jump
Use to specify the action when None
the viewer presses the Previous
button on the DVD player’s
remote control before the first
marker. See Next Jump and Prev
Jump for more information.
Prev Jump
Chapter 21 Establishing Connections 545
Slideshow Sources
Following are the slideshow-level standard sources in addition to the basic and standard
sources.
Source Usage Alternative methods
Slideshow Inspector
(automatically set to Same as
Disc)
Use to specify the action when
the viewer presses the Angle
menu button on the DVD
player’s remote control. This
setting overrides the disc setting.
By default, this is set to Same as
Disc.
Angle
Slideshow Inspector
(automatically set to Same as
Disc)
Use to specify the action when
the viewer presses the Audio
menu button on the DVD
player’s remote control. This
setting overrides the disc setting.
By default, this is set to Same as
Disc.
Audio
Slideshow Inspector
(automatically set to Same as
Disc)
Use to specify the action when
the viewer presses the Subtitle
menu button on the DVD
player’s remote control. This
setting overrides the disc setting.
By default, this is set to Same as
Disc.
Subtitle
Slideshow Inspector
(automatically set to Same as
Disc)
Use to specify the action when
the viewer presses the Chapter
menu button on the DVD
player’s remote control. This
setting overrides the disc setting.
By default, this is set to Same as
Disc.
Chapter
Use to specify the action when None
the viewer presses the Next
button on the DVD player’s
remote control during the last
slide. See Next Jump and Prev
Jump for more information.
Next Jump
Use to specify the action when None
the viewer presses the Previous
button on the DVD player’s
remote control during the first
slide. See Next Jump and Prev
Jump for more information.
Prev Jump
546 Chapter 21 Establishing Connections
Target Details
The list of targets is the same for all sources. Some targets only work with specific source
types; DVD Studio Pro only allows you to assign appropriate targets to the sources.
• Menus: Use to select the menu to link to a source. Select the menu to have the menu
appear with the default buttons highlighted and to have the pre-script (if assigned)
execute, or select a specific button to have the menu appear with that button
highlighted.
• Tracks and Stories: Use to select the track or story to link to a source. Select the track
or story to have it play from the beginning and to have the pre-script (if assigned)
execute, or select a specific marker or story entry to link to a specific place in the track
or story.
• Slideshows: Use to select a slideshow to link to a source. Select the slideshow to have
it play from the beginning and to have the pre-script (if assigned) execute, or select a
slide to link to.
• Scripts: Use to select a script to link to a source.
Note: The following only appear when a suitable source is selected.
• Resume: Can only be assigned to menu buttons. Use it to take viewers from a menu
back to a specific point in a track. For example, you can set up a track’s marker to jump
to a menu that provides information or a graphic that pertains to the track just jumped
from. The menu can have a single button set to Resume that, when activated, takes
viewers back to the track at the point they left off.
• Stop: Can only be assigned to the End Jump settings of markers and slides. Use it to
force the DVD player to stop playing once the marker or slide is reached.
• Same as Disc: Can only be assigned to sources that define actions for remote control
buttons (such as Menu or Audio). Use it to set a remote control button to act the same
as the disc’s setting.
• Same as Track: Can only be assigned to story sources that define actions for remote
control buttons. Use it to set a remote control button to act the same as the track’s
setting.
Chapter 21 Establishing Connections 547
Once you have created your project’s tracks, stories, slideshows, and menus, and set the
connections between them, you are ready to take the final steps to create the DVD.
This chapter covers the following:
• About the Final Steps of DVD Creation (p. 549)
• Should You Burn, Build, Format, or Build and Format? (p. 550)
• Options for Testing Your Project (p. 552)
• Simulating Your Project (p. 552)
• Setting Disc Properties (p. 559)
• Building Your Project (p. 566)
• Emulating Your Project Using DVD Player (p. 575)
• Setting Disc Format Properties (p. 577)
• About DVD-ROM Discs (p. 577)
• About Dual-Layer Discs (p. 580)
• About Two-Sided Discs (p. 584)
• Formatting Your Project (p. 584)
• Reading a DLT Drive (p. 590)
About the Final Steps of DVD Creation
Following is a list of the final steps in the DVD creation process:
• Testing your project with the Simulator: Using the Simulator allows you to verify most
of your connections and button navigation before building the title.
• Setting prebuild disc properties: This is the time to set any last-minute disc properties,
especially those that must be set before you build the title.
• Building your project: This process creates a VIDEO_TS (video zone for SD projects) or
HVDVD_TS (for HD projects) folder and compiles your project’s elements into a
DVD-compliant file structure.
549
Finishing a Project 22
• Emulating your project: You can use the Apple DVD Player to play the VIDEO_TS or
HVDVD_TS folder’s contents.
• Setting preformat properties: You can set various details, such as copy protection, region
coding, and various disc media attributes.
• Formatting your project: In this step, the VIDEO_TS and/or HVDVD_TS folder and any
other added DVD-ROM content are formatted and written to the selected output type.
Simulate Emulate
DVD disc
DLT
Hard disk
VIDEO_TS
or
HVDVD_TS
folder
Author
• Add assets
• Create elements
• Create connections
Format
• Set replication
properties
• Create output
Build
• Set disc properties
• Compile project to
a VIDEO_TS folder or
HVDVD_TS folder
Should You Burn, Build, Format, or Build and Format?
When your project is finished, you have the option of directly burning a DVD or stepping
through the process of building and formatting the project. The option you use depends
on your situation.
Burning a Project
Burning is a simple one-click step that creates a DVD from your project. You simply click
Burn in the toolbar or press Command-Option-B to start the process. Your system’s DVD
burning drive is checked to see if suitable recordable media is present—if not, a dialog
appears, prompting you to insert a blank disc. And that’s it. The process starts and there
are no more decisions to make. This is a good choice if you do not require special settings,
such as selecting the drive to write to.
Burning a project creates a VIDEO_TS or HVDVD_TS folder just as with the build process.
It is written to the location specified in the Destinations pane in DVD Studio Pro
Preferences. This makes it possible to burn additional discs (using Format) without needing
to recreate the VIDEO_TS or HVDVD_TS folder.
If your system has multiple drives that can burn DVDs, the burn process uses the first
general type drive it finds. If none are found, it then looks for an authoring drive. You
cannot use the burn process to write to a DLT or disk image.
If you want to make several DVDs of your project, you can use Burn to create the first
disc, and then save time by using Format to create the additional DVDs. This avoids having
DVD Studio Pro recreate the VIDEO_TS or HVDVD_TS folder for each disc.
550 Chapter 22 Finishing a Project
Building a Project
The build process only creates the VIDEO_TS or HVDVD_TS folder; it does not burn a disc.
You click Build in the toolbar or press Command-Option-C to start the process.
With the build process, you are able to choose the location where the VIDEO_TS or
HVDVD_TS folder is created. Using Build by itself is useful when you want to create the
VIDEO_TS or HVDVD_TS folder so that you can emulate the project using DVD Player, or
if you want to manually copy the VIDEO_TS or HVDVD_TS folder to a disc.
See Building Your Project for more information.
Formatting a Project
The format process requires you to have a VIDEO_TS and/or HVDVD_TS folder already
created. You click Format in the toolbar or press Command-F to start the process. Using
Format is especially useful when you want to make multiple discs from the same VIDEO_TS
or HVDVD_TS folder.
You would usually use the format process after you had emulated the VIDEO_TS or
HVDVD_TS folder and were ready to burn a disc or DLT. You can also combine the format
process and the build process (described next); however, an advantage to using the
format process separate from the build process is that you can choose the VIDEO_TS or
HVDVD_TS folder to format. This can be useful if you are working on a new project and
get a request for a DVD of an earlier project whose VIDEO_TS or HVDVD_TS folder is still
available.
See Setting Disc Format Properties for more information.
Building and Formatting a Project
When combined, the build and format processes act similarly to the burn process. The
difference is that you are presented with the same configuration options you get when
you use the build and format processes separately, which allows you to customize the
process. You click Build/Format in the toolbar or press Command-Option-F to start the
process.
After you configure the build and format options, you are then not required to do anything
more until the DVD or DLT has been created. An exception is dual-layer discs, because
the break point cannot be verified until the VIDEO_TS or HVDVD_TS folder has been
created.
See About the Build/Format Command for more information.
Chapter 22 Finishing a Project 551
Options for Testing Your Project
There are three methods you can use to test your project: using the DVD Studio Pro
preview and simulation features, and playing the title on a DVD player (emulating your
project).
• Previewing your project’s elements: The DVD Studio Pro preview feature provides a way
to view single elements, such as a track. Preview does not allow you to check how one
element works with others in the project. For example, you cannot use it to verify a
connection from a menu to a track. See Viewing a Track and Previewing a Slideshow
for more information.
• Simulating your project: The DVD Studio Pro simulation feature is a relatively
comprehensive way to test most aspects of a project, with the primary focus on verifying
connections. The Simulator works a lot like a DVD player that plays the project before
it’s built into a video title set. It allows you to test most connections, including First
Play, and provides the functions of a DVD player remote control. It also provides a
complete display of the contents of the System Parameter Register Memories (SPRMs)
and General Purpose Register Memories (GPRMs), making it possible to verify many
scripts.
You can also configure your system to simulate the project using an external video and
audio monitor. This makes it possible to see the project as most viewers will, with actual
pixel aspect ratios, colors, and if applicable, interlacing. See Simulating Your Project for
more information.
• Emulating your project: Emulating your project by playing it on a real DVD player is the
most sure test of it. To emulate your project with the Apple DVD Player, you must build
the VIDEO_TS or HVDVD_TS folder. To emulate your project using a standalone DVD
player, you must also format it and burn a disc that you can then play on any DVD
player. It’s important to test your project under varying conditions, especially if your
project relies heavily on scripts. See Emulating Your Project Using DVD Player for more
information.
Simulating Your Project
The DVD Studio Pro Simulator is a useful tool for verifying your project while you are still
creating it. There are a few things to be aware of before simulating your project:
• The Simulator behaves much as a standalone DVD player. This means you should have
the links set to allow you to navigate around the project. In particular, be sure to set
your First Play action to a suitable menu or track. If you do not yet have the assets that
will be the actual First Play element, you can temporarily link to an interim menu instead.
This ensures that an element is displayed if you start the Simulator by clicking Simulate
in the toolbar.
552 Chapter 22 Finishing a Project
There are also a variety of ways you can force the Simulator to start at a specific element.
For example, you can Control-click the element in the Outline or Graphical tab, then
choose Simulate from the shortcut menu. This allows you to test parts of the project
without having all of the elements in place.
• DVD Studio Pro Preferences contains a number of settings in the Simulator pane that
allow you to configure the Simulator much like you would a DVD player. For example,
you can set the Simulator’s region code, aspect ratios, language preferences, and
playback output options to test for different situations. See Simulator Preferences for
more information.
• Because the project has not been built yet, the Simulator must use assets as and where
they are. This may lead to issues with playback, such as stuttering or pauses. The severity
of these issues depends on the assets and the computer you are authoring on.
• The Log tab contains a simulation log that provides information on a simulation while
it is in progress. This information can be useful when you are trying to work out issues
with your project.
• The Simulator processes Pause After VOBU settings on markers set at slides in a track.
The Simulator does not process Pause After VOBU settings on markers set on full-motion
video clips (which it is not recommended to do in any case). The track plays as if the
settings were not active. See General Tab in the Marker Inspector for more information
on VOBUs.
Simulating with an External Video and Audio Monitor
When you author a DVD, it can be important to see the video and hear the audio with
devices that closely match those that the viewer is expected to use. Being able to do this
while simulating your project allows you to verify the video and audio prior to burning
a test DVD. In particular:
• You see the true color based on the DVD specification’s YUV values instead of a
computer monitor’s RGB values.
• You see the actual pixel aspect ratios. To display 4:3 or 16:9 video on a computer monitor
requires the pixels to be scaled, which can create or hide issues in the video.
See External Video and Audio Monitoring for information on connecting external monitors.
See Simulator Preferences for information on Simulator settings.
When using an external video monitor, keep the following in mind:
• The external video monitor is only used during simulation.
• When using an external video monitor, the Simulator window on your computer is
inactive.
• You cannot use the pointer to click buttons on the external monitor. You must control
the simulation by using the Simulator window’s controls.
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• Depending on your system and the video being simulated, frames may be skipped
during playback to maintain synchronized playback with the audio.
Starting and Stopping the Simulator
You can start the Simulator at any time while creating your project. You should have
sufficient connections set so that navigation is possible between the elements you want
to test. The most important item to have set is the First Play action. If you select the disc
in the Outline tab or click an empty area in the Graphical tab, you can set the First Play
action in the Connections tab or in the Disc Inspector. You can also set the First Play
action directly in the Outline and Graphical tabs. See Assigning the First Play Element for
more information.
To start and stop the Simulator from the First Play element
Do one of the following:
μ Click the disc item in the Outline tab, then choose File > Simulate Disc, or press
Command-Option-0 (zero).
μ Control-click the Graphical tab’s background, then choose Simulate Disc from the shortcut
menu.
μ Click Simulate in the toolbar.
The Simulator opens and displays the First Play element. An alert appears if none has
been assigned, and the Simulator starts at the first video stream of the first track.
Stop the simulation by clicking the close button in the upper-left corner of the window
or pressing Command-W.
You can also start the Simulator from a specific element or part of an element, including
tracks, stories and story entries, slideshows and specific slides, or menus and specific
buttons. This is useful when you only want to verify a specific element without going
through the normal project navigation to get to it.
To start the Simulator from a specific element
Do one of the following:
μ Choose File > Simulate, or press Command-Option-0 (zero). (If no element is selected,
the Simulator starts from the First Play element.)
μ Control-click the element in the Outline or Graphical tab, then choose Simulate from the
shortcut menu.
μ Control-click in the element’s editor, then choose Simulate from the shortcut menu.
The Simulator opens and displays the element.
Note: If the element you start the Simulator at has a pre-script assigned to it, the pre-script
is not executed.
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Simulator Window
The Simulator window appears in front of all other DVD Studio Pro windows.
Click the Info button
to open the information
drawer.
Choose the type of
display to simulate.
The timecode of the
current elegment
The area to the left of the video display contains the playback controls you can use to
navigate within your project. Most are similar to controls you would find on a DVD player’s
remote control. You can click the Info button to open a drawer that shows information
about the currently displayed element and the settings within the SPRMs and GPRMs.
You are also able to choose the resolution (SD, HD 720, or HD1080) and the display mode
(4:3 Pan-Scan, 4:3 Letterbox, or 16:9) to simulate when not using an external video monitor.
Note: You can set the default state of these in the Simulator pane of DVD Studio Pro
Preferences.
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Playback Controls
The playback controls are similar to those found on DVD player remote controls.
Play/Pause
Chapter Skip Forward
Menu
Navigation controls
Track Skip Forward
Track Skip Reverse
Chapter Skip Reverse
Stop
Title
• Menu: Jumps to the element assigned to the Menu button. The assignment can be
different for each track, story, marker, and slideshow.
• Title: Jumps to the element assigned to the Title button.
• Play/Pause: Alternately pauses, then plays the track or motion menu.
• Stop: Stops playback of the project. The jacket picture appears if you have assigned
one to your project. See About Jacket Pictures for more information. Click First Play to
restart playback.
• Track Skip Reverse and Track Skip Forward: To the left and right of the Play/Pause button
and Stop button, these buttons skip to the beginning or end of a track, allowing you
to test pre-scripts, display conditions, and End Jump settings.
• Navigation controls: Allow you to navigate through the menus as you would with the
arrow buttons on a remote control. (You can also use the pointer and click the menu
buttons directly.) Press the center button to activate the currently selected button.
• Chapter Skip Reverse and Chapter Skip Forward: Skip to the previous or next chapter
marker or still while playing a track or slideshow.
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Menu Controls
The menu controls let you test the project’s remote assignments.
Angle Menu
Subtitle Menu
Chapter Menu
Return
Audio Menu
First Play
Click the Info button
to open the information
drawer.
• Chapter Menu, Angle Menu, Audio Menu, and Subtitle Menu: Jump to the element assigned
to the Chapter, Angle, Audio, and Subtitle menu buttons (not to be confused with the
Angle, Audio, and Subtitle stream select buttons). The assignment can be different for
each track and slideshow.
• First Play: Restarts playback of the project by executing the First Play action.
• Return: Jumps to the element assigned to the Return button. The assignment can be
different for each menu.
Stream Selections
The stream selection pop-up menus operate like the Angle, Audio, and Subtitle buttons
found on most remote controls.
Subtitle Select
Subtitle Enable
Angle Select
Audio Select
• Angle Select, Audio Select, and Subtitle Select: When playing a track with multiple streams,
you can choose the streams to play. Each pop-up menu shows the stream number
currently playing. To change streams, open the pop-up menus and choose a new
stream.
• View checkbox: Controls whether the selected subtitle stream displays. Select the
checkbox to show subtitles and deselect it to hide them.
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Information Drawer
You can click the Info button or press Shift-I to open the information drawer. The drawer
can open on any side of the Simulator, depending on the Simulator’s position. (You can
press Shift-Option-I to have it open on a different edge.) The information drawer changes
to match the current element type (menu, track, story, and so on). The Item Properties
section shows information specific to that element; you cannot enter information into it.
The Registers section shows the status of either the SPRMs or GPRMs. You can choose
which to see by selecting the relevant checkbox. You can also choose to see the values
in hexadecimal. You can double-click a value to enter a new value into it if you want to
verify how your project operates under specific DVD player conditions. You can also enter
a new name for any of the GPRMs.
Simulation Log
The Log tab contains a Simulate view that provides details of a simulation while it is
running. These details include any changes in the SPRMs and GPRMs, any navigation
actions, and any jumps that are made.
To show the simulation log
1 Click the Log tab.
2 Choose Simulate from the View pop-up menu.
3 Simulate the project.
Note: The Log tab automatically appears once you start the Simulator.
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Setting Disc Properties
The Disc Inspector contains settings that affect your DVD title. Some settings, such as the
disc’s name, its First Play action, and the video standard, can be set early in the project
creation process. You do not have to make other settings until you are ready to burn a
DVD, write to a Digital Linear Tape (DLT) drive, or write to a hard disk.
The top of the Disc Inspector and its General and Advanced tabs contain settings that
affect the title’s playback. All of these settings (except the disc name and DVD-ROM
settings) must be set before you build your project. You must also set the Macrovision
setting in the Region/Copyright tab.
The remaining settings affect the format process. You can set them at any time, even
after you start the format process.
To open the Disc Inspector
μ Select the disc’s name in the Outline tab or click an empty area in the Graphical tab.
Settings at the Top of the Disc Inspector
There are three settings at the top of the Disc Inspector.
• Name: This is the name that appears when the DVD is played on a computer. It’s also
the name that appears in the Outline tab. The default name is Untitled Disc. You can
enter a name with a maximum of 32 characters. While you can enter any characters
you wish, the only permissible characters for the formatted disk image are the 26
uppercase English characters, numerals 0 through 9, and the underscore (“_”).
DVD Studio Pro automatically converts lowercase letters to uppercase and removes
unsupported characters when you use the format feature.
The disc name does not need to be set before building the project. You can set it during
the formatting process.
• Est. Size: This displays the amount of disc space that DVD Studio Pro estimates will be
required for the build, including any DVD-ROM files you may be adding. This size uses
the same convention as used by DVD media—one MB is equal to 1,000,000 bytes. See
Making Sure Your Content Will Fit for information on how much data a 4.7 GB disc can
actually hold.
• First Play: This specifies what appears when the disc is first inserted into a DVD player.
First Play can also be set in the Connections, Outline, and Graphical tabs. It is important
to set First Play prior to building the project to ensure that all DVD players will play the
disc correctly. You can choose from all menus, tracks, stories, slideshows, and scripts
within your project.
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See Setting the Project’s First Play for information on setting the First Play for different
types of projects. See Assigning the First Play Element for information on setting the
First Play using the Outline or Graphical tab.
General Tab in the Disc Inspector
All of the settings in the General tab except the DVD-ROM settings must be set before
building a project.
Standard Settings
• DVD Standard: Shows the DVD standard for this project.
• SD DVD: When set to SD DVD, you can convert the project to HD-based DVD by
clicking the HD DVD button.
• HD DVD: When set to HD DVD, however, you cannot change the project back to SD
DVD. See Setting the DVD Standard for more information.
• Video Standard: Select the type of video used in this project, NTSC or PAL. This must
be set before you import any video assets. See Setting the Video Standard for more
information.
Streams
• Audio: You can choose an audio stream that will serve as the initial active stream,
overriding the DVD player’s setting. The default setting is “not set,” which lets the DVD
player control the stream setting.
Note: The word Empty in parentheses after a stream number indicates that that stream
is currently empty.
• Angle: You can choose a video stream that will serve as the initial active stream,
overriding the DVD player’s setting. The default setting is “not set,” which lets the DVD
player control the stream setting.
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• Subtitle: You can choose a subtitle stream that will serve as the initial active stream,
overriding the DVD player’s setting. You can also force the subtitle stream to appear
by selecting its View checkbox. The default setting is “not set,” which lets the DVD
player control the stream setting.
Remote Control
• Title, Menu, and Return: You can set the Title, Menu, and Return remote control settings,
which correspond to a DVD player’s remote control buttons. See Remote Control
Settings for details on setting these buttons.
DVD-ROM
See About DVD-ROM Discs for details on using these settings and creating DVD-ROM
discs.
• Content: Specifies whether this is a DVD-Video or DVD-ROM title. Selecting Content
enables the DVD-ROM content settings (Location and Joliet Extension Support).
• Size: Shows the size of the files the folder chosen as the Location contains. This size
uses the same convention as used by DVD media—one MB is equal to 1,000,000 bytes.
The size is also shown in actual bytes.
• Location: This setting is active only when you select Content. The Location setting lets
you choose the folder to include as the DVD-ROM contents for the disc. All files and
folders at this location (but not the actual folder specified with the Location setting)
are added to the root of the DVD.
For example, if you want several PDF files to be in a folder named PDFExtras at the root
of the DVD, you would have to create the PDFExtras folder, place the PDF files in it,
then place that folder in the folder you specify as the Location (DVDROMContent in
the example below).
• Joliet Extension Support: This setting is active only when you select Content. Selecting
Joliet Extension Support affects the filenames allowed in the DVD-ROM content when
using red laser media. See Joliet Volume for more information.
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Disc/Volume Tab in the Disc Inspector
These settings do not need to be set until you format your project. However, choosing
the disc media, size, and layer options will ensure the toolbar’s disc meter is correct.
• Disc Media: Available for HD projects only (SD projects can only use red laser media).
Choose the type of media your project will be distributed on. Red Laser refers to the
media used with SD projects, although HD projects can also use it. Blue Laser refers to
media used with HD projects.
Important: This setting affects the scale of the toolbar’s disc meter and the type of disc
(red laser or blue laser) the replicator will create if you are using DDP or CMF when
formatting your project. It does not affect what happens when burning a general media
disc on your system.
• Layer Options: Choose either single- or dual-layer for the media.
• Track Direction: Use this control to select either PTP (Parallel Track Path, in which the
second disc layer plays from the inner track to the outer track as the first layer does)
or OTP (Opposite Track Path, in which the second layer plays from the outer track to
the inner track, the opposite of the first layer). The advantage of the OTP method is
that it minimizes the amount of time the DVD player spends seeking the next track
when switching layers. See About Dual-Layer Discs for more information and tips on
creating dual-layer discs.
• Break Point: Use this pop-up menu to choose the dual-layer break point. The Break
Point setting controls where the division is between the first and second layer of the
disc. You can select any marker on any track, although depending on how full the disc
is, there may only be a limited number of usable options. When left as Auto,
DVD Studio Pro automatically chooses the break point. See About Dual-Layer Discs for
more information on creating dual-layer discs.
• Seamless: Select Seamless to configure the dual-layer break point as seamless.
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Important: An alert appears when you select Seamless. Do not select Seamless unless
your project specifically requires it. See Choosing Seamless or Non-Seamless Layer
Changes for more information.
• Number of sides: Choose whether this is a one- or two-sided disc.
Note: A two-sided disc requires two separate projects—one for each side.
• Disc Side: Choose Side A or Side B for this project. This is for the replication facility.
• Disc Size: Choose either the standard 12 cm or the smaller 8 cm disc size.
• Maximum Size: Based on the above settings, shows the maximum amount of disc space
available.
Region/Copyright Tab in the Disc Inspector
The only setting in the Region/Copyright tab that you must set before building a project
is the Macrovision setting.
• Playable Region Codes: Select the checkbox next to the regions in which you want to
be able to play the disc (all are enabled by default). All DVD players (standalone and
computer) must be assigned a region code. This code divides the world into six regions,
with an additional region for discs played on airplanes. These region codes allow you
to have some control over where a disc can be played.
So that you can easily emulate on any DVD player the VIDEO_TS or HVDVD_TS folder
created by the build process, the folder defaults to having all regions enabled (except
“7-Reserved”). Region code settings are applied during the formatting process.
Important: If you change the region code settings and burn a DVD using general media,
some DVD players that should be prevented from playing it will play the disc. This issue
does not occur with replicated discs originating from either general or authoring media.
Additionally, you must have at least one playable region selected.
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• Copyright Management: Select the checkbox to enable either digital-based or
analog-based (Macrovision) copyright protection of the disc. Selecting this checkbox
enables the Copy Generation setting.
Note: This setting affects the number of bytes in each sector of the disc. With copyright
management disabled, each sector has 2048 bytes. With copyright management
enabled, each sector has 2054 bytes.
• Copyright Generation: This pop-up menu specifies whether copies are allowed.
• Copying Permitted: The disc is not protected against copying. The Format for CSS
checkbox and Macrovision pop-up menu are disabled. The only difference between
this setting and leaving the Copyright Management checkbox unselected is the
number of bytes in the sectors.
• One Copy Permitted: Allows users to make a copy of the disc, but no additional copies
from that copied disc (the Copy Generation status of the copied disc switches to No
Copy Permitted). You can make as many copies as you want from the original disc;
you just can’t make more copies from the copies of the original. The Format for CSS
checkbox and Macrovision pop-up menu are disabled.
• No Copy Permitted: Enables the Format for CSS checkbox and Macrovision pop-up
menu so that you can choose the type of copy protection to use.
• Format for CSS: Available in SD DVD projects only. Only available when Copy Generation
is set to No Copy Permitted. The Content Scrambling System (CSS) provides digital-based
copyright protection. Selecting Format for CSS alerts the replication facility to apply
CSS encryption to the disc (if it is licensed and authorized to do so).
• Macrovision: Available in SD DVD projects only. This must be set before you create the
VIDEO_TS folder in the build process. Macrovision provides analog-based copyright
protection. See About the Macrovision Settings for more information.
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Advanced Tab in the Disc Inspector
All of the settings in the Disc Inspector’s Advanced tab must be set before you build a
project. These settings apply to specialized features used on advanced projects.
• Embed Text Data: This checkbox is automatically selected if you use the DVD@CCESS
feature within your project. You can also select it if you want to add the names you
assigned to the tracks, slideshows, and menus to the DVD disc. This text can be displayed
on DVD players designed to support the Text Display extensions of the DVD-Video
specification (version 1.1).
• Language: If the Embed Text Data checkbox is selected, you can identify the language
in which the text names will appear. Choose Not Specified to have the text appear
regardless of the DVD player’s language setting.
• Additional Remote Controls: You can set the Angle, Chapter, Audio, and Subtitle menu
remote control settings, which correspond to a DVD player’s remote control buttons.
These links can make it convenient for viewers to access DVD menus that allow them
to select audio and subtitle options, an angle, or a chapter. However, be sure to design
your title with other ways to reach these DVD menus, because very few remote controls
offer these buttons.
Important: Do not confuse these buttons with the Audio, Subtitle, and Angle selection
buttons commonly found on remote controls—these buttons do not access a menu,
and instead directly change the settings.
See Remote Control Settings for details on setting these buttons.
• GPRM Variable Names: You can configure the partitions and enter names for the eight
GPRMs used when creating scripts. Once you create a script, you can also enter these
names in the Script Inspector or the Simulator. See General Purpose Register Memories
for information on using GPRMs in your scripts.
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• Jacket Picture: You can choose a graphic to use as the jacket picture for this DVD. See
About Jacket Pictures for more information.
Building Your Project
Building a project compiles all of the elements into files that conform to the DVD-Video
specification (SD projects). Before you build your project, you must make sure you have
set your prebuild disc properties.
Prebuild Disc Properties
The prebuild disc properties include the following items from the Disc Inspector. See
Setting Disc Properties for details on these properties. You must set these properties
before you can build your project.
• First Play: Located at the top of the Disc Inspector.
• Video Standard: Located in the General tab.
• Streams: Located in the General tab.
• Remote Control: Located in the General tab.
• Macrovision: (SD projects only) Located in the Region/Copyright tab.
• Embed Text Data: Located in the Advanced tab.
• Additional Remote Controls: Located in the Advanced tab.
• GPRM Variable Names: Located in the Advanced tab.
• Jacket Picture Asset: Located in the Advanced tab.
About the Macrovision Settings
If your SD project is to be coded for Macrovision Analog Protection System (APS) copy
protection, you must choose the Macrovision type before you build the project.
Important: The Macrovision APS is not available for HD projects.
The Macrovision APS is an analog copy protection system that alters the video signal in
such a way as to discourage viewers from making copies of your DVD-Video disc onto a
videocassette recorder.
Macrovision Licensing
Use of analog copy protection for DVD applications is subject to the proprietary
intellectual property rights of Macrovision Corporation, of Sunnyvale, California, and
users must complete a usage agreement with Macrovision Corporation before the
analog protection system activation bits are set to “on.” For further information, see the
Macrovision website at http://www.macrovision.com.
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To enable Macrovision APS
1 Open the Disc Inspector by selecting the disc in the Outline tab or clicking an empty area
in the Graphical tab.
2 Click the Region/Copyright tab.
3 Select the Copyright Management checkbox.
4 Choose No Copy Permitted from the Copy Generation pop-up menu.
5 Choose the type of Macrovision protection to use (Type 1, Type 2, or Type 3) from the
Macrovision pop-up menu.
Note: The Format for CSS checkbox has no bearing on the Macrovision setting.
The Macrovision coding is applied to the entire disc. Once you have chosen No Copy
Permitted from the Copy Generation pop-up menu, you can also apply or change
Macrovision coding on specific tracks and markers using the Other tab in each track’s
Inspector and the General tab in each marker’s Inspector.
Note: If you configure Macrovision on a track or marker before you configure it for the
disc in the Disc Inspector, the settings in the Disc Inspector automatically update to match
the track or marker settings.
Three Macrovision types are supported by the DVD-Video specification:
• Type 1: Uses the Automatic Gain Control (AGC) process. The AGC process places pulses
in the vertical interval of the video stream that televisions do not detect. When a copy
is attempted, these pulses confuse a VCR’s AGC circuitry, causing copies to exhibit
characteristics such as dim and noisy pictures, loss of color, loss of video, and picture
tearing.
• Type 2: Uses both the AGC process and a two-line colorstripe. The colorstripe process,
which is only effective with NTSC video streams, consists of changes to colorburst
information that are transparent on original viewing, but that produce horizontal lines
across the picture when playing an unauthorized copy. The 2-line version of colorstripe
has bands of altered chrominance 2 horizontal lines long.
• Type 3: Uses both the AGC process and a four-line colorstripe. The 4-line version of the
colorstripe process has bands of altered chrominance 4 horizontal lines long. This is
also only effective with NTSC video streams.
About Jacket Pictures
Jacket pictures are an optional part of the DVD-Video specification and are intended to
allow a DVD player to display a graphic representing a DVD. Jacket pictures are most
commonly displayed on multi-disc players.
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Based on the DVD specification, Jacket Picture graphics should be supplied in three
different resolutions (small, medium, and large) for display on different platforms and
display devices. DVD Studio Pro automatically generates the required graphics and the
folder that holds them, JACKET_P, when you build your project.
To add a jacket picture to your project
1 Import the graphic to use for the jacket picture into the Assets tab.
2 Choose the jacket picture graphic from the Asset pop-up menu in the Disc Inspector’s
Advanced tab.
The jacket picture will appear in the Simulator when you stop playback.
Building the Project
Once you have set the prebuild disc properties, you can build your project. Depending
on the size of your project and the speed of your computer and disk drives, this process
can take several hours to finish.
To build your project
1 Do one of the following:
• Click Build in the toolbar.
Note: To format the project immediately after building it, click Build/Format. See About
the Build/Format Command for more information.
• Press Command-Option-C.
2 Select the drive and folder to build to in the dialog that appears, then click Open.
The build process begins and a progress bar appears that shows the element names
currently being compiled. If the selected folder already has a folder of the same type it
is generating (VIDEO_TS or HVDVD_TS), see Incremental Builds for details on the dialog
that appears.
Note: You cannot build an SD project in a folder that already contains an HVDVD_TS
folder, and you cannot build an HD project in a folder that already contains a VIDEO_TS
folder.
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The Log tab also appears, automatically switching to display the build results. The tab
shows details on the build’s progress, as well as messages about any errors that occur.
Incremental Builds
While creating your project, you may find it useful to perform builds several times before
you are actually finished with it. These incremental builds can be useful to verify that
certain aspects of the project are functioning properly, such as a set of scripts or a menu’s
button navigation.
To help with this process, DVD Studio Pro includes the ability to reuse unchanged elements
from a previous build. This can greatly speed up the build process when you perform
incremental builds.
Once you select a folder to build into, DVD Studio Pro checks to see whether a folder of
the same type it needs to create (VIDEO_TS or HVDVD_TS) is already present. If the folder
already contains a folder of the same type, with a .layout file that has the same name as
the project, a dialog appears for you to specify what should happen.
• Cancel: Closes this dialog and the build process without saving anything.
• Delete: Deletes the current contents of the VIDEO_TS or HVDVD_TS folder and begins
saving the new build information.
• Reuse: Attempts to reuse as much of the current VIDEO_TS or HVDVD_TS folder contents
as possible.
If you decide to reuse the VIDEO_TS or HVDVD_TS folder, DVD Studio Pro looks at its
contents and, for each VTS block, checks to see if anything has changed from the last
build. If the VTS block has not changed, the message “VOB up to date. Muxing skipped”
appears in the Log tab and the build moves on to the next VTS block. See Non-Standard
SD DVD Video Zone Files for more information about .layout files.
General Build Information
Depending on your system and the size of your project, the build process might take
several hours. Following is some information on speeding up the process.
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Using Multiple Hard Disks
One way to speed up the build process is to have the project’s assets on a disk completely
different from the one you are building to (not just a second partition of the same disk).
Using different disks for your assets and your build allows each disk to focus on either
reading or writing data, rather than jumping from one function to the other.
About the Build/Format Command
Because the build and format processes take a lot of time, it is common to want to start
them and let the processes run unattended. How well this will work depends on the type
of project you are creating.
When you choose the Build/Format command, a dialog appears in which you can set
your build location and the format properties.
Once you have set the source and destination settings, including the preformat settings
in the Disc/Volume and Region/Copyright tabs, click the Build & Format button to start
the process. If you have chosen a DVD or DLT drive as the output device, you are prompted
to insert a blank disc or tape. See Output Type Settings for information on setting the
destination, and Setting Disc Format Properties for more information on these settings.
The following issues make dual-layer projects more difficult to run unattended:
• During the format part of the process, you will have to load a second blank disc or tape
once the first layer is written.
• There may be problems with the break point. If you chose the Automatic mode for
setting the break point, it is possible that a suitable marker may not exist. Additionally,
if you chose a specific marker to use as the break point, it may not be suitable.
DVD Studio Pro is unable to confirm either of these issues until the build part of the
process finishes. If there is a problem, an error dialog appears and the format process
is not started. Once you correct the problem by adding or selecting a different marker,
you will have to start the build/format process over again.
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See About Dual-Layer Discs for more information on setting a break point.
The Build Files for SD Projects
Once the build for your SD project starts, DVD Studio Pro creates two folders at the location
you specified: an AUDIO_TS folder and a VIDEO_TS folder. Additionally, a third folder,
JACKET_P, is created if you have assigned a jacket picture graphic.
The AUDIO_TS folder is used by systems authoring DVD-Audio titles. To meet the DVD
specification requirements, DVD Studio Pro creates the folder and leaves it empty. The
empty folder is included in the format process.
The JACKET_P folder contains three resolutions of the graphic assigned as the jacket
picture. See About Jacket Pictures for more information.
The VIDEO_TS folder contains all of the DVD-Video files for your project, and is placed in
the video zone. The naming and structure contents of the VIDEO_TS folder are tightly
regulated. All SD DVD titles use the same filenames and structure their contents in the
same way.
Video manager files
Track 1 content group
Non-standard file used
for formatting
Non-standard file used
for formatting
Standard SD DVD Video Zone Files
The following groups of files are present in the video zone of all SD DVD-Video titles.
Video Manager Group
The video manager files contain much of the navigation information for the title.
• VIDEO_TS.IFO: Contains the major information for the disc, such as its capacity and
video zone structure.
• VIDEO_TS.BUP: This is a backup of the .IFO file that can be used by the DVD player if
the .IFO file cannot be read.
• VIDEO_TS.VOB: This is the video objects file for the video manager.
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Track Content Group
A set of at least four files is created for each track and slideshow in the project. “VTS_01”
in the following filename examples refers to the first VTS block. Files for the second VTS
block would start with “VTS_02.” You can have up to 99 tracks, stories, and slideshows in
a project.
Note: While stories do not get placed in their own VTS block, they still count against the
99 VTS limit.
Video object files (VOB) contain the actual video, audio, and subtitle content for the menus
and tracks. The maximum size of each VOB file is 1 GB. Within each track content group
there are at least two VOB files—one that is dedicated to menu content and another (up
to eight more) with the track’s contents.
• VTS_01_0.IFO: Contains the major information for the first track, such as the number
and types of streams and menus.
• VTS_01_0.BUP: This is the backup for the .IFO file.
• VTS_01_0.VOB: Contains the video and audio content for the menus. The properties
of the audio and video used in the menus within a VOB must be the same. If your
project has menus using different properties, they are placed in other VTS blocks
(VTS_02_0.VOB, for example). See VTS Editor for more information on menus and VTS
blocks.
• VTS_01_1.VOB: Contains the video and audio content for the track. If the content is
greater than 1 GB, a second file (VTS_01_2.VOB) is created for that additional content.
Up to seven additional files can be created if required to hold the track’s contents.
Non-Standard SD DVD Video Zone Files
As part of the build process, DVD Studio Pro creates two additional files in the VIDEO_TS
folder. The format process does not include these files in its final output.
• A .layout file: This file uses the disc name and a “.layout” extension. The file contains
project information used by the format process, including the marker information used
when creating dual-layer discs.
• A VOB_DATA.LAY file: This file is used for incremental builds when you choose to reuse
files in the VIDEO_TS folder left from a previous build for a new build.
Note: The .layout filename must match the disc name for an incremental build to work.
See Incremental Builds for more information.
If you intend to manually copy the VIDEO_TS folder to a disc (bypassing the DVD Studio Pro
format process), you should be sure not to copy the above files to the disc. Most DVD
players ignore them if they are present in the VIDEO_TS folder on the final disc, but some
are unable to play the disc.
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Additionally, if you have not saved your project before you build it, a folder is added to
the VIDEO_TS folder named Render Data. This folder contains rendered versions of any
motion menus in your project, and is normally in your project’s bundle file. See Menu
Preferences for more information on rendered menu files.
The Build Files for HD Projects
Once the build for your HD project starts, DVD Studio Pro creates an HVDVD_TS folder at
the location you specified. A second folder, JACKET_P, is created if you have assigned a
jacket picture graphic.
The JACKET_P folder contains three resolutions of the graphic assigned as the jacket
picture. See About Jacket Pictures for more information.
The HVDVD_TS folder contains all of the DVD-Video files for your project, and is placed
in the video zone. The naming and structure contents of the HVDVD_TS folder are tightly
regulated. All HD DVD titles use the same filenames and structure their contents in the
same way.
Non-standard file used
for formatting
Non-standard file used
for formatting
Standard files for
an HD project with
two tracks
Optional jacket
picture files
Standard HD DVD Video Zone Files
The following groups of files are present in all HD DVD-Video titles.
Video Manager Group
The video manager files contain much of the navigation information for the title.
• HV000I01.IFO: Contains the major information for the disc, such as its capacity and
video zone structure.
Chapter 22 Finishing a Project 573
• HV000I01.BUP: This is a backup of the .IFO file that can be used by the DVD player if
the .IFO file cannot be read.
• HV000M02.EVO: This is the enhanced video objects file for the video manager.
Note: The file HV000M01.EVO is not used by DVD Studio Pro.
Track Content Group
A set of at least four files is created for each track and slideshow in the project. “HV001I,”
“HV001M,” and “HV001T” in the following filename examples refer to the first VTS block.
Files for the second VTS block would start with “HV002I,” “HV002M,” and “HV002T.” You
can have up to 99 tracks, stories, and slideshows in a project.
Note: While stories do not get placed in their own VTS block, they still count against the
99 VTS limit.
Enhanced video object (EVO) files contain the actual video, audio, and subtitle content
for the menus and tracks. Within each track content group there are at least two EVO
files—one that is dedicated to menu content and another (up to 99 more) with the track’s
contents.
• HV001I01.IFO: Contains the major information for the first track, such as the number
and types of streams and menus.
• HV001I01.BUP: This is the backup for the .IFO file.
• HV001M01.EVO: Contains the video and audio content for the menus. The properties
of the audio and video used in the menus within an EVO must be the same. If your
project has menus using different properties, they are placed in other VTS blocks
(HV002M01.EVO, for example). See VTS Editor for more information on menus and VTS
blocks.
• HV001T01.EVO: Contains the video and audio content for the track. If the content is
greater than 1 GB, a second file is created for that additional content. Up to 99 additional
files can be created if required to hold the track’s contents. The last two digits of the
filename increment as additional files are created. For example, the first 1 GB would be
in HV001T01.EVO, the second 1 GB would be in HV001T02.EVO, and so on.
Non-Standard HD DVD Video Zone Files
As part of the build process, DVD Studio Pro creates two additional files in the HVDVD_TS
folder. The format process does not include these files in its final output.
• A .layout file: This file uses the disc name and a “.layout” extension. The file contains
project information used by the format process, including the marker information used
when creating dual-layer discs.
• A VOB_DATA.LAY file: This file is used for incremental builds when you choose to reuse
files in the HVDVD_TS folder left from a previous build for a new build.
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Note: The .layout filename must match the disc name for an incremental build to work.
See Incremental Builds for more information.
If you intend to manually copy the HVDVD_TS folder to a disc (bypassing the
DVD Studio Pro format process), you should be sure not to copy the above files to the
disc. Most DVD players ignore them if they are present in the HVDVD_TS folder on the
final disc, but some are unable to play the disc.
Additionally, if you have not saved your project before you build it, a folder is added to
the HVDVD_TS folder named Render Data. This folder contains rendered versions of any
motion menus in your project and is normally in your project’s bundle file. See Menu
Preferences for more information on rendered menu files.
Emulating Your Project Using DVD Player
Once you have successfully built your project and have a VIDEO_TS or HVDVD_TS folder,
you can test it using the Apple DVD Player. This process allows you to verify your project
using the actual compiled files.
An advantage of using the Apple DVD Player is that it can play directly from a VIDEO_TS
or HVDVD_TS folder. It also allows you to select which VIDEO_TS or HVDVD_TS folder to
play, if there are multiple folders on your system.
Important: You must use DVD Player v4.6.6 or later with Mac OS X v10.4 Tiger to play the
HVDVD_TS folder.
In addition to testing with DVD Player, it is also recommended that you try your project
on other DVD players. Some computer DVD players will play from the VIDEO_TS or
HVDVD_TS folder, but may require the folder to be at the root level of your disk. To test
on a standalone DVD player, you must go through the format process and create a DVD
disc. This is the most comprehensive test you can perform on your project and is highly
recommended.
The Apple DVD Player works well as an emulation tool. It is provided with Mac OS X on
computers with a DVD drive. It can play from a disc or from a specified VIDEO_TS or
HVDVD_TS folder. It also processes any DVD@CCESS links you have added to your project.
Note: To avoid conflicts, be sure to quit DVD Studio Pro before opening DVD Player. Once
you have finished with DVD Player, be sure to quit it before opening DVD Studio Pro.
To emulate your project with DVD Player
1 Quit DVD Studio Pro.
2 Open DVD Player by double-clicking its icon in the Applications folder.
Chapter 22 Finishing a Project 575
3 To select a VIDEO_TS or HVDVD_TS folder, choose either File > Open DVD Video Folder
or File > Open VIDEO_TS Folder (depending on your version of DVD Player), or press
Command-O.
4 Use the navigation dialog to locate the VIDEO_TS or HVDVD_TS folder, then click Choose.
5 To play the VIDEO_TS or HVDVD_TS folder, do one of the following:
• Click the Play button.
• Press the Space bar.
The title starts playing, based on its First Play action.
Emulating DVD@CCESS Links
DVD Player can process your DVD@CCESS links. You must first enable its DVD@CCESS
capability.
To emulate DVD@CCESS links with DVD Player
1 Choose DVD Player > Preferences.
2 Click the Disc tab.
3 Select the Enable DVD@CCESS Web Links checkbox.
4 Click OK.
There are two types of DVD@CCESS links: those that use network access (such as
connecting to a URL or sending an email) and those that open a file. When emulating a
VIDEO_TS or HVDVD_TS folder, you can’t process links that open a file because the path
you entered when setting the link most likely does not match the file’s current path
(especially if the file is intended to be included on the DVD disc). To verify DVD@CCESS
links that open a file, you must actually burn a DVD disc and emulate directly from the
disc.
See DVD@CCESS for details on using the DVD@CCESS feature.
Emulating Dual-Layer Projects
The build process for dual-layer projects is the same as for single-layer projects—it creates
a single large VIDEO_TS or HVDVD_TS folder and compiles the files. You can emulate the
project using DVD Player, but you will not be able to emulate the action at the dual-layer
break point because it has not yet been set. (That happens in the format process.)
Note: You can burn your dual-layer project to a double-layer disc to test the break point
action.
576 Chapter 22 Finishing a Project
Setting Disc Format Properties
Before formatting and writing your DVD disc, DLT, or hard disk files, you must configure
your disc’s format properties. Most of these settings can be made at any time in the
authoring process. Additionally, you are given the opportunity to set these after you start
the format process.
The preformat disc properties include the following items from the Disc Inspector. See
Setting Disc Properties for details on these settings. These same settings are in the format
dialog that appears when you start the format process. In all cases, the items appear in
the same tab in both the Disc Inspector and the format dialog. Any differences are listed
below.
• Disc Name: Located at the top of the Disc Inspector and in the General tab in the format
dialog.
• DVD-ROM: Located in the General tabs. The size of the DVD-ROM content appears in
the format dialog.
• Disc Information: Located in the Disc/Volume tab.
• Volume Information: Located in the Disc/Volume tab of the format dialog. Shows the
volume creation date.
• Playable Region Codes: Located in the Region/Copyright tab.
• Copyright Management: Located in the Region/Copyright tab. The Macrovision settings
are disabled in the format dialog because these must have been set prior to building
the project.
• Destination: Located only in the format dialog’s General tab. See Output Type Settings
for more information.
About DVD-ROM Discs
You can create either DVD-Video or DVD-ROM discs with DVD Studio Pro.
• DVD-Video discs: Contain the VIDEO_TS or HVDVD_TS and AUDIO_TS folders only.
• DVD-ROM discs: Contain the VIDEO_TS or HVDVD_TS and AUDIO_TS folders, as well as
other files you specify.
• ROM-only DVD discs: Do not contain the VIDEO_TS, HVDVD_TS, or AUDIO_TS
folders—they contain only other files you specify.
DVD-ROM discs, also known as hybrid discs, play on standalone DVD players the same
way DVD-Video discs do. When played on a computer, however, the additional files on
the disc can be accessed, either directly or as part of a DVD@CCESS link. See DVD@CCESS
for more information on DVD@CCESS.
Chapter 22 Finishing a Project 577
Note: The type of DVD project you are creating, SD or HD, determines the type of volumes
that are created. SD projects create a UDF 1.02 volume and HD projects create a UDF 2.50
volume, regardless of the disc type actually being burned. UDF 2.50 volumes will not play
in current SD DVD players and are not supported by older computers, including those
running Mac OS X v10.3 Panther or earlier.
Filenaming Issues with Red Laser Media
A DVD-Video disc can contain several folders: VIDEO_TS, HVDVD_TS, AUDIO_TS, and
JACKET_P. The filenaming structure within these folders is very strict and tightly defined,
and conforms to the “8.3” specification. That is, only eight characters maximum are
allowed, followed by a three-character extension. The only allowed characters are
uppercase letters, numbers, and the underscore.
The names of files on a red laser disc are kept track of in two volumes—a UDF 1.02
(Universal Disc Format version 1.02) volume and an ISO 9660 volume, which together are
known as the UDF Bridge Format. The advantage of having the two volumes is that it
makes the DVD disc usable on a wider variety of playback devices. A potential disadvantage
is that each volume has its own filenaming rules. In the case of a DVD-Video disc, because
the only files present are those within the VIDEO_TS and AUDIO_TS folders, the names
in both volumes are identical.
A DVD-ROM disc also contains the VIDEO_TS and AUDIO_TS folders, and each must follow
the same strict filenaming rules that apply to a DVD-Video disc. The difference is that the
disc also contains folders and files outside of these normal DVD-Video folders. In addition,
a third volume, the Joliet volume, may be created.
As soon as you choose the DVD-ROM Content checkbox, the Joliet Extension Support
checkbox becomes active. Use this to control the filenaming conventions applied to those
nontraditional files.
The following sections describe the filenaming conventions that apply to the different
types of volumes on a DVD.
UDF 1.02 Volume
All SD DVDs using red laser media have a UDF 1.02 volume. The UDF volume always
supports long (up to 255 characters) Unicode filenames. Unicode is a double-byte system
allowing far more characters than the standard ASCII (single-byte) system. This is very
useful when you want to use Japanese characters, for example. It also supports folders
with extensions. Note that some operating systems prohibit the use of certain characters
( \ / ? : “ < > | ) in filenames. Standalone DVD players use the UDF volume to begin playing
a disc, but only to locate the first files. They never go beyond the VIDEO_TS and AUDIO_TS
directories. Macintosh computers using Mac OS 9 and Mac OS X use the UDF volume.
578 Chapter 22 Finishing a Project
ISO 9660 Volume
All DVDs also have an ISO 9660 volume. This volume only supports filenames with
single-byte ASCII characters. The ISO 9660 volume must conform to the “26.3” specification,
similar to the “8.3” specification mentioned earlier (26 characters maximum followed by
a 3-character extension; the only allowed characters are uppercase letters, numbers, and
the underscore). In addition, folders cannot have extensions in their names. Filenames
are automatically truncated and invalid characters replaced with an underscore. Filenames
using double-byte characters exclusively are renamed as FILE_1, FILE_2, and so on.
Joliet Volume
Once you have selected the DVD-ROM Content checkbox, the Joliet Extension Support
checkbox becomes active.
Important: The Joliet Extension Support checkbox is only applicable when writing to red
laser media. It has no effect when writing to blue laser media.
Selecting the Joliet Extension Support checkbox forces the creation of the Joliet volume.
This volume supports long Unicode filenames, just like the UDF volume, but has a limit
of 110 characters. Folders with extensions are also supported. Filenames longer than 110
characters are automatically truncated. When not selected, the Joliet volume is not created.
Note: In rare cases, enabling the Joliet Extension Support checkbox and adding a number
of files with extended character set names to the disc may create playback problems on
some older DVD players. Select it only if you need to include such files and can test the
disc on your intended players.
Filenaming Issues with Blue Laser Media
Blue laser media contains only one volume—a UDF 2.5 volume. For the purposes of
filenaming, a UDF 2.5 volume has the same rules as the UDF 1.02 volume found on red
laser DVDs. See UDF 1.02 Volume for more information.
Important: Older computer operating systems, including Mac OS X v10.3 Panther and
earlier, and DVD players do not support UDF 2.5 volumes whether on red or blue laser
discs.
Creating ROM-Only DVD Discs
You can use DVD Studio Pro to create DVD discs that contain only ROM data. The
advantage of using DVD Studio Pro to do this (as opposed to using the Finder) is that,
depending on whether you are using red laser or blue laser media, the volumes that are
created are compatible with the DVD specification.
To create a ROM-only DVD disc
1 Do one of the following:
• Select the project’s name (next to the disc icon) in the Outline tab.
Chapter 22 Finishing a Project 579
• Click an empty area in the Graphical tab.
The Disc Inspector appears.
2 Click the General tab in the Disc Inspector.
3 Select the SD DVD setting for DVD Standard to write to red laser media, or the HD DVD
setting to write to blue laser media.
4 Do one of the following:
• Choose File > Advanced Burn > Format (or press Command-F).
• Click Format in the toolbar.
The format dialog appears.
By default, DVD Studio Pro assumes you want to format the project that was built last.
The settings in the format dialog are set to match the last build.
5 Verify the settings in the Disc/Volume and Region/Copyright tabs are correct.
This includes making sure the correct media type (red or blue laser) is selected as well as
the layer options (single or dual).
6 In the General tab’s Source section, do one of the following:
• Use the Current Source pop-up menu (labeled “Choose”) to navigate to a folder without
a VIDEO_TS or HVDVD_TS folder.
• Highlight and delete the text displayed in the Location text entry area.
An alert appears warning you that no DVD content could be found in that location.
7 Configure the DVD-ROM Data section.
8 Configure the Destination section in the General tab in the format dialog. This is where
you select and configure the output type. See Output Type Settings for more information.
9 Click Burn to start formatting the project if you are writing to DVD or DLT, or Format if
you are writing to a hard disk.
About Dual-Layer Discs
Dual-layer discs present several challenges:
• You can only fully test the break point if your system can burn to double-layer media: When
you burn a dual-layer project to a double-layer disc using DVD Studio Pro, the break
point, where the DVD player switches from one layer to the other, is placed as it would
be with a replicated disc. See Emulating Dual-Layer Projects for more information.
Note: DVD Studio Pro also allows you to burn a dual-layer project to a single-layer disc.
In this case, all of the first layer and as much of the second layer as possible is written
to the disc, with the marker that is used as the break point set to be non-seamless
(unless you have chosen the seamless layer change setting).
580 Chapter 22 Finishing a Project
• The second layer’s direction must be selected: You need to decide whether to use the
Parallel Track Path (PTP) or Opposite Track Path (OTP) direction. See Setting the
Dual-Layer Direction for more information.
• A break point must be chosen: The point where the first layer ends and the second
begins can be chosen automatically by DVD Studio Pro, or you can select the track
marker that serves as the break point. See About Choosing a Dual-Layer Break Point
for more information.
Dual-layer discs allow you to place nearly twice as much content on a single disc side,
but there is a downside to this method: At some point, the DVD player must switch from
reading the first layer to reading the second layer. Switching between layers requires the
player’s laser to refocus and then locate the sector at which to start playing. During this
time, the video image freezes, which may confuse viewers or make them think the disc
is defective.
There are two things you can do to minimize the effect of this switch time: Use the OTP
direction to minimize how long it takes, and choose a break point where a freeze is not
as noticeable. Alternatively, you can choose to use a seamless layer change.
Choosing Seamless or Non-Seamless Layer Changes
DVD Studio Pro includes a setting that allows you to choose between a seamless layer
change or a non-seamless layer change.
With the seamless layer change, the switch between the first and second layer is less
detectable. With the non-seamless layer change, there is a short pause when the DVD
player switches between the layers.
While the seamless layer change would appear to be the best choice, some DVD players
do not support the seamless feature, and may stop playing the disc once the switch point
is reached. For that reason, it is strongly suggested that you use the default non-seamless
layer change setting.
To change the layer change setting
1 Click the Disc/Volume tab in the Disc Inspector.
2 Do one of the following:
• To use the normal layer change setting: Leave the Seamless checkbox deselected.
• To force a non-standard seamless layer change setting: Select the Seamless checkbox.
Setting the Dual-Layer Direction
The disc’s first layer always starts on the inside edge, near the disc’s spindle hole. The disc
plays from this point toward the outer edge.
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It is the second layer’s direction that you have to choose. With the Parallel Track Path
(PTP) setting, the second layer is configured exactly like the first layer—it begins on the
inside and plays toward the outside. With the Opposite Track Path (OTP) setting, the
second layer begins on the outside edge and plays toward the inside.
Note: Double-layer discs require you to use the OTP setting.
With the PTP setting, the DVD player will need more time when switching between layers
because the laser must be repositioned from one end of the disc to the other. Using the
OTP setting minimizes the time needed to reposition the laser because the end of the
first layer is near the beginning of the second layer.
Important: When using the OTP setting, the first layer must be larger than the second
layer.
About Choosing a Dual-Layer Break Point
Several factors need to be taken into account when you choose where to place the
dual-layer break point:
• Break points must be on track markers: When you choose the break point, you get a list
of track markers to choose from. In some circumstances, you may need to place a
marker on a track just for this purpose. See Setting the Dual-Layer Break Point for more
information.
Note: In some special cases, you can set your dual-layer break point in the DVD-ROM
area. See Setting the Break Point with Large DVD-ROM Contents for more information.
• Break points need to be placed so that the first layer is mostly filled: A red laser dual-layer
disc can hold 7.95 binary gigabytes and a blue laser dual-layer disc can hold 27.94
binary gigabytes. (See Making Sure Your Content Will Fit for information on disc sizes
and DVDs.) Each red laser disc layer can hold approximately 3.9 binary gigabytes, and
each blue laser disc layer can hold approximately 13.9 binary gigabytes. The closer your
project comes to filling the disc, the more critical it is that you get as much content as
possible on the first layer, and place the break point accordingly. Additionally, using
the OTP direction setting requires the first layer to be larger than the second layer. See
Manually Determining the Break Point Position for information on determining at which
track the first layer will be filled.
• Break points are best when they are not noticed: A layer switch that occurs during a tense
action-packed scene can disrupt the viewer’s attention. When possible, it is best to
place the break point in a scene with little action, or even better, at a scene transition,
such as a fade to black.
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Setting the Break Point with Large DVD-ROM Contents
Authoring a project that contains a small amount of DVD-Video data with a large amount
of DVD-ROM data requires special handling for placing the break point. For example, you
might author a project for a dual-layer red laser disc that contains 2 GB of DVD-Video
data and 6 GB of DVD-ROM data. In this case, you will not be able to set a break point at
a track’s marker because the DVD-ROM data will not fit on a single layer.
In these cases, setting the break point to Automatic places the break point in the DVD-ROM
data.
Setting the Dual-Layer Break Point
There are several methods you can use to set a dual-layer break point:
• The automatic method: By default, once you configure the disc as dual-layer, Automatic
is selected as the break point in the Disc/Volume tab in the Disc Inspector. With this
setting, DVD Studio Pro chooses the last marker that fits in the first layer. In cases where
there is a large amount of ROM data, the automatic method can also place the break
point in the ROM data. See Setting the Break Point with Large DVD-ROM Contents for
more information.
If you are using the Build/Format command, the automatic method has the greatest
chance of success, because it will be able to choose the break point marker once the
build process is finished without having to pause for you to choose the marker to use.
It is possible that your project does not have a suitable marker for use as the dual-layer
break point. In that case, the format is canceled and you must add a suitable marker
to a track in your project. (Another option might be to rearrange the order of the tracks
in the VTS Editor. See Moving Elements from One VTS to Another for more information.)
See Manually Determining the Break Point Position.
• Assign a break point marker in the Track Editor: This method allows you to choose the
marker to use as the break point while working with your tracks. The disadvantage of
this method is that, until you build your project, it can be difficult to choose a suitable
marker as the break point. This is especially true if your project has a lot of transitions
or you are using assets that have not yet been MPEG-2 encoded.
If you choose an inappropriate marker, the format process will automatically cancel,
with a dialog advising you of the problem it encountered.
• Choose the break point marker when you start the format process: After you have built
your project, the Dual-Layer Break Point pop-up menu in the Disc/Volume tab in the
format dialog shows all suitable markers that you can choose from, with those that are
inappropriate dimmed. This option has the advantage of letting you choose the marker
to use from a list of known suitable markers. The disadvantage is that you have to build
your project first.
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As with the automatic method, it is possible that there are no suitable markers, with
no markers appearing in the pop-up menu. This means that you will have to add a
suitable marker to a track in your project, or try rearranging the tracks in the VTS Editor.
See Manually Determining the Break Point Position.
Manually Determining the Break Point Position
You can usually determine which track will be playing at the point where the break point
is set by looking at the contents of the VIDEO_TS or HVDVD_TS folder. DVD Studio Pro
writes the tracks to disc in their order in the Outline tab’s By VTS display. For SD projects,
the first track listed becomes VTS_01_1.VOB, VTS_01_2.VOB, VTS_01_3.VOB, and so on
(depending on the size of the track’s assets, with each VOB file being a maximum of 1 GB).
The second track becomes VTS_02_1.VOB, and so on.
For HD projects, the first track listed becomes HV001T01.EVO, HV001T02.EVO, and so on,
with each EVO file being a maximum of 1 GB. The second track becomes HV002T01.EVO.
See Standard SD DVD Video Zone Files and Standard HD DVD Video Zone Files for more
information on identifying the files and on determining which files contain the menus,
which will allow you to take them into account.
For example, when authoring for a red laser disc, by adding the file sizes together, starting
with VTS_01, you can determine at which track the first layer’s 3.9 GB limit will be reached,
and even get a rough idea of where in that track this will happen. You may decide to
reorder the tracks with the VTS Editor to ensure the break happens in a noncrucial track.
About Two-Sided Discs
A two-sided disc is a disc with separate projects on each side. Within DVD Studio Pro, you
must create an independent project for each side. Some replication facilities allow you
to have a single-layer project on one side and a dual-layer project on the other.
Formatting Your Project
Once you have built your project and set the preformat properties, you are ready to
format it. The format process creates an output formatted for your output type:
• A DVD burning drive
• A DLT drive
• A hard disk
Each output type has its own settings that need to be configured before the actual format
process begins.
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In addition to the VIDEO_TS or HVDVD_TS folder, there are other items that can be part
of the format process:
• A folder specified by the DVD-ROM content setting
• DVD@CCESS Installers
You can change or set the folder to use for DVD-ROM content either when specifying the
preformat settings or while configuring the format process. The DVD@CCESS Installers
are included if the project used DVD@CCESS links and the Embed Text Data checkbox in
the Disc Inspector is selected. See DVD@CCESS for more information on DVD@CCESS.
You can also choose to read content from a DLT drive and format that content. See
Reading a DLT Drive for more information.
Starting a Format Process
You can set the format process to start automatically after a build or you can manually
start the format. In either case, a window appears at the beginning of the format process;
you can set the format properties here, if you have not already set them in the Disc
Inspector.
To format your project
1 Do one of the following:
• Choose File > Advanced Burn > Format (or press Command-F) to perform a format
only.
• Click Format in the toolbar to perform a format only.
• Choose File > Advanced Burn > Build and Format (or press Command-Option-F) to
perform both a build and a format. See About the Build/Format Command for more
information.
• Click Build/Format in the toolbar to perform both a build and a format.
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The format dialog appears.
By default, DVD Studio Pro assumes you want to format the project that was built last.
The settings in the format dialog are set to match the last build. It is a good idea to verify
that the settings in the General, Disc/Volume, and Region/Copyright tabs are correct.
You can use the Choose button next to Current Build to select a folder that contains the
VIDEO_TS or HVDVD_TS folder you want to format.
Important: DVD Studio Pro attempts to find the .layout and .LAY files in the VIDEO_TS or
HVDVD_TS folder you choose. An error message appears if they are not found, and in
this case, you must manually configure the settings in the General, Disc/Volume, and
Region/Copyright tabs. Additionally, if the VIDEO_TS or HVDVD_TS folder contains a
dual-layer project, you are not able to specify the break point and must use the automatic
method. See Non-Standard SD DVD Video Zone Files and Non-Standard HD DVD Video
Zone Files for more information.
2 Configure the Destination section in the General tab in the format dialog. This is where
you select and configure the output type. See Output Type Settings for more information.
3 Click Burn to start formatting the project if you are writing to DVD or DLT, Format if you
are writing to a hard disk, or Build & Burn if you used the Build/Format command.
The format process begins and a progress bar appears that shows the format steps
currently being performed.
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Output Type Settings
Once you start the format process, you can configure the output type you want to format
to. The Destination section in the General tab in the format dialog contains the output
type settings.
• Output Device: Use this pop-up menu to choose the actual device to format to. It displays
a list of your system’s suitable output devices, including DVD-R drives, DLT drives, and
the system’s hard disk drive. The other Destination settings change depending on the
device you select. See Output Devices for details on the devices available.
• DVD-R Simulation Mode: This is active only when writing to a DVD-R drive. When selected,
the format goes through the motions of writing to the DVD-R drive, but does not
actually write to the disc.
Note: This mode can only be used with DVD-R media. It cannot be used with DVD+R
media.
This is useful when you want to ensure that your system is able to support writing to
a disc without any buffer underrun issues. Buffer issues indicate that data is not flowing
smoothly and continuously from the source disk to the DVD-R drive. This can be caused
by a slow device (for example, a networked hard disk) or a system that is too busy doing
additional tasks. (A buffer underrun error that occurs while data is actually being written
to a disc results in an unusable disc.)
Once you finish the simulation with no problems, you can deselect the DVD-R Simulation
Mode checkbox and feel comfortable that you can safely burn a DVD.
• Lossless Linking: This checkbox is active only when writing to a DVD-R drive that supports
this feature. When selected, it adds protection against buffer underrun conditions by
allowing the drive to pause during the writing process, and then pick up where it left
off once additional data becomes available.
For normal DVD burning, especially on systems that may be prone to having buffer
underrun conditions, it is suggested to select Lossless Linking.
While Lossless Linking usually results in a flawless write process, there is a slight potential
for an error to be introduced. If you are burning a disc for use by a replication facility,
you may want to deselect Lossless Linking so that you can ensure that your disc is
written without interruption.
Chapter 22 Finishing a Project 587
• Output Format: Depending on the selected output device, there may be multiple
formats available. Use this pop-up menu to select the specific format to use. See Output
Devices for details on the formats available for each device.
Output Devices
There are three output device types that you can format your project for: DVD drives, DLT
drives, and your system’s hard disk.
DVD-R Drives
With respect to formatting, DVD drives can be one of two types:
• Authoring: These drives use authoring media and are capable of writing Cutting Master
Format (CMF) discs, which provide advanced features when working with a replicator.
The most common authoring drive used is the Pioneer S201. With an authoring drive,
you can set the Output Format to either Standard or CMF. See The Cutting Master
Format for more information on CMF discs.
• General: These drives use general media and cannot write CMF discs. The Apple
SuperDrive is the most common drive used for writing general media discs. Depending
on your system, the SuperDrive is listed in the Output Device pop-up menu as a Pioneer
DVR-103, a Pioneer DVR-104, a Pioneer DVR-105, or a Matshita UJ-815.
Note: The list of drives used as SuperDrives will continue to change as newer drives
become available.
DLT Drives
You have three output format options when formatting an SD project to a DLT drive:
• DDP 2.0: Writes to the tape using the Data Description Protocol using DDP version 2.0.
• DDP 2.1: Writes to the tape using the Data Description Protocol using DDP version 2.1.
• CMF 1.0: Writes to the tape using the CMF format version 1.0.
If this is a dual-layer project, you will be required to write two tapes—one for each layer.
Important: You cannot use the DLT format to deliver your HD DVD projects to a replicator.
Hard Disk
In most cases, when you use the format process you will be writing directly to a DVD or
DLT drive. Writing to the hard disk can be useful if you do not have a DVD or DLT drive
available.
For example, if you have a project that needs copyright management and you don’t have
an authoring DVD-R drive or a DLT drive to get the project to your replicator, you can
use a DDP or CMF output option and write the files to your hard disk. You can then copy
the files as data to a general DVD disc or a FireWire drive for transport to your replicator.
You may even be able to electronically copy the files to your replicator’s server over the
Internet.
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Important: Be sure to verify with your replicator that they are able to work with files given
to them this way. Additionally, be sure to find out which output option (DDP 2.0, DDP
2.1, or CMF 1.0 for SD projects and DDP 3.0 or CMF 2.0 for HD projects) they need you to
use.
You have six output format options when writing to your hard disk:
• DDP 3.0: HD projects only. Use this (Data Description Protocol) option to create a file
compatible with DLT drives using DDP version 3.0. This DDP option is required for HD
projects when you need to use a DDP format.
• DDP 2.0: SD projects only. Use this (Data Description Protocol) option to create a file
compatible with DLT drives using DDP version 2.0.
• DDP 2.1: SD projects only. Use this (Data Description Protocol) option to create a file
compatible with DLT drives using DDP version 2.1.
• CMF 2.0: HD projects only. Writes to the tape using the CMF format version 2.0. This
CMF option is required for HD projects when you need to use a CMF format.
• CMF 1.0: SD projects only. Use this option to create a file compatible with authoring
DLT and DVD-R drives using CMF format version 1.0.
• .img: Use this option to create a disk image. With a dual-layer project, a single “.img”
file contains the entire project, without any break point information.
If you select your hard disk drive as your output device, you will be asked where you want
the format to be written to.
Important: The format files will require the same amount of space as the build’s VIDEO_TS
or HVDVD_TS folder plus any DVD-ROM content you have included. Be sure you have
enough free hard disk space before clicking Format.
If you are formatting a dual-layer project and use either DDP or CMF as the output format,
two folders are created—one for each layer. Each folder contains all the information
required by a replicator. If you use .img as the output format, one file is created, even for
dual-layer projects.
The Cutting Master Format
There are some features of the DVD specification that you cannot include on red laser
DVD-R discs that you burn with your system. These features, which must be added by a
replication facility, include:
• Copyright management (including CSS and Macrovision)
• Double-sided disc information
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Traditionally, the only way to include these features on your replicated disc was to use a
DLT drive. The Cutting Master Format (CMF) has been adapted to the DVD-R format so
that now you can burn a DVD-R disc on your system and a replication facility can use that
disc and include these features on the discs they make. CMF for DVD-R is only supported
by authoring drives and media.
Not all replication facilities support CMF discs; be sure to check with them ahead of time.
Also, discs formatted as CMF may not play correctly on all DVD players. Only use CMF
when supplying a disc to a replication facility.
Important: Only a replicator can create DVDs with copyright management features. Using
CMF discs allows you to format the data properly so that the replicator can add the
copyright information.
Reading a DLT Drive
With DVD Studio Pro, you can copy the contents of a DLT drive to your hard disk as a disk
image file. If the disk image is a single-layer project, you can then use the format feature
to write the file to a second tape or to a DVD-R disc. By opening the disk image, you can
access the VIDEO_TS or HVDVD_TS folder.
This technique can be useful if you want to verify the DLT tape’s contents, make a backup
of a DLT tape, or burn a DVD of a previous project without having to load the project and
all its assets onto your system.
To read a DLT drive
1 Make sure the DLT drive is connected and the tape is inserted.
2 Click Read DLT in the toolbar.
3 Select the location for the tape’s contents to be written to in the dialog that appears.
4 Click Open to start the process.
If the tapes are from a dual-layer project, you are prompted to insert the second tape
once the first has been read. The contents of the second tape are appended to the first
tape’s contents.
Important: When you read from a DLT drive, the “.layout” file that DVD Studio Pro uses
to track the copy protection settings, position of the dual-layer break point, and other
format related settings is not available. This means that, for single-layer projects, you have
to verify the settings in the format dialog before you burn a DVD or write a new DLT from
the file. It also means that you cannot burn a DVD or write a new DLT of a dual-layer
project.
590 Chapter 22 Finishing a Project
DVD Studio Pro contains a number of advanced features that are used mostly in specialized
projects: VTS Editor, DVD@CCESS, user operations, display conditions, remote control
settings, and Line 21 settings. In most cases, these features are available in several
elements, such as menus and tracks.
This chapter covers the following:
• VTS Editor (p. 591)
• DVD@CCESS (p. 598)
• User Operations (p. 602)
• Display Condition (p. 607)
• Remote Control Settings (p. 612)
• Line 21 Settings for Closed Captions (p. 614)
VTS Editor
The VTS Editor allows you to verify and control the VTS (Video Title Set) structure of your
project. Using the VTS Editor, you are able to manually assign elements to VTS blocks.
This makes it possible for you to optimize the final DVD’s layout so that when it’s played
there are minimum pauses due to the player having to move between elements in
different parts of the disc.
For most projects, the VTS assignments automatically made by DVD Studio Pro while you
build your project will work fine. However, complicated or specialized projects using
many scripts and menus can have their playback performance improved by manually
moving elements between the VTS blocks.
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Using Advanced Features 23
About VTS Blocks
The contents of a video DVD are contained in one or more VTS blocks. In DVD Studio Pro,
each track and slideshow must reside in its own VTS. Additionally, each VTS has a structure
to support one or more menus and one or more scripts. Also, all DVDs have a video
manager that knows the VTS structure of the disc.
Video Title Set (VTS) blocks
(up to VTS_99)
VTS_01 VTS_02 VTS_03
Main content space
(8 GB maximum)
Menu space
(1 GB maximum)
Script space
VTS block detail
Video manager
Menus and VTS Blocks
All menus in a VTS must use the same video and audio settings, including formats, aspect
ratios, resolutions, and in the case of audio, sample size. For example, if you have some
menus using AIFF audio and others using AC-3, they must be placed in different VTS
blocks. DVD Studio Pro automatically places menus into VTS blocks as needed by their
assets.
Each VTS in an SD project is limited to a single file to hold the menu content, with a
maximum file size of 1 GB. If you have a lot of motion menus, you may exceed this limit
and need to split the menus between multiple VTS blocks.
Note: A single VTS in an HD project can contain up to 99 1 GB files for menus.
DVD Playback and VTS Blocks
When you play a DVD and a jump must occur, such as when a menu button is selected
that jumps to a track’s chapter marker, there is a slight pause while the DVD player’s laser
locates where to jump to on the disc.
• If the track is in a different VTS block than the menu: The laser must first jump to the video
manager files, and from there on to the track’s VTS.
• If the track is in the same VTS block as the menu: The laser is able to go directly to the
track.
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You can improve a disc’s playback performance by keeping related elements together
whenever possible. For example, you should place the scripts used with a specific track
in the same VTS as the track.
Because menus often link to multiple tracks or slideshows, you will not be able to keep
them together with everything they can jump to. However, you can minimize the time
a DVD player spends jumping from the menu to the video manager files by keeping the
menus in the first VTS, which is physically located close to the video manager files.
See Standard SD DVD Video Zone Files for more information.
Showing the VTS Editor
The VTS Editor is located in the Outline tab. By default, the VTS Editor is hidden in the
Outline tab.
Indicates that the
project’s elements are
listed by their type, with
no VTS information.
Alternate View button
swaps view between
By Type and By VTS.
Adds a new empty VTS
(active only when the
By VTS display is visible).
Drag this edge to split
the tab and show both
By Type and By VTS.
To show the VTS Editor
Do one of the following:
μ Click the Alternate View button.
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The Outline tab changes from the current display, either By Type or By VTS, to the alternate
display. If the display is in a split-view mode (showing both By Type and By VTS), clicking
the Alternate View button swaps sides between the two views.
μ Drag the partition toward the tab’s center.
The partition edge can be on the left or right—it is the side that has the handle indication.
Comparing the By VTS and By Type Displays
The elements in the By VTS and By Type displays are very similar and can be used to do
many of the same things. For example, double-clicking an element in either display opens
it in its editor and inspector. (Selecting an element in one display also selects that same
element in the other.)
594 Chapter 23 Using Advanced Features
The primary difference is in how they are organized.
• By VTS: Lists the elements based on the VTS they belong to. A VTS can have only one
track (which can also have stories) or one slideshow, but it can have multiple menus
and scripts.
• By Type: Lists the elements based on their type (menus, tracks, slideshows, and scripts).
See Using the Outline Tab for more information on using the By Type display.
Note: The Languages section in the By Type display does not represent actual elements—it
represents languages that can be used for the menus. It does not appear in the By VTS
display because it is not specific to a VTS.
Moving Elements from One VTS to Another
You can move elements from one VTS to another by dragging. This is most often done
to place scripts and menus in the same VTS blocks as the tracks or slideshows they most
closely relate to.
To move an element to a different VTS
μ Select the element and drag it to the destination VTS block’s name.
As you drag the element, a black box surrounds the VTS name that it will be moved to
as you pass over it. Releasing the element places it in that VTS. The element has a “pin”
added to its icon to indicate it has been manually placed in that VTS.
Once you start dragging the element, all incompatible VTS blocks (containing pinned
incompatible menus) have their names struck through and yellow warning triangles
placed in front of them. If you move a menu into an incompatible VTS, a warning appears,
and the incompatible menus have a line through their names. See About Pinning Elements
in the By VTS Display for more information.
Important: It is possible to manually move incompatible menus to the same VTS. The
project will not build, however.
Chapter 23 Using Advanced Features 595
About Pinning Elements in the By VTS Display
As you create elements for your DVD project, DVD Studio Pro automatically places them
in appropriate VTS blocks. For example, if you create a menu that uses a different audio
format than the others, it is automatically placed in a separate VTS.
If you manually move an element from one VTS to another, the VTS Editor indicates it
with a pin on the element’s icon.
The pin indicates that
the element was either
manually placed in
this VTS or has been
“pinned” to it.
You can also pin an element to a VTS to prevent DVD Studio Pro from moving it to another
VTS.
To pin an element to a VTS
μ Control-click the element in the By VTS display, then choose Pin Element Type to Video
Title Set from the shortcut menu, with Element Type being the type of element being
pinned (menu, script, and so on).
To unpin an element from a VTS
μ Control-click the element in the By VTS display, then choose Pin Element Type to Video
Title Set from the shortcut menu, with Element Type being the type of element being
pinned (menu, script, and so on). (Because the element was pinned, it has a checkmark
next to this entry in the shortcut menu.)
Once it is unpinned, the element is moved to the VTS where DVD Studio Pro would
normally automatically place it.
Adding Additional VTS Blocks
You can add additional VTS blocks to your project as needed.
To add a VTS to your project
1 Ensure the By VTS display is visible by doing one of the following:
• Click the Alternate View button.
596 Chapter 23 Using Advanced Features
• Drag the partition toward the center of the Outline tab.
2 Do one of the following:
• Control-click in the By VTS display, then choose Add Video Title Set from the shortcut
menu.
• Click the Add VTS button along the top of the Outline tab.
A project can have up to 99 VTS blocks. The actual number of VTS blocks you can have
depends on the number of stories in your project. Even though stories do not get placed
in their own actual VTS blocks (they share the VTS block that contains the track they are
related to), they use virtual VTS blocks. For example, a project with five stories can have
a maximum of 94 actual VTS blocks.
If any VTS blocks are empty when you build the project, you are asked if you want them
to be deleted. While it does not violate compatibility with the DVD specification to have
empty VTS blocks in the build, they do use a small amount of disc space. Additionally,
each VTS block that does not contain a track or slideshow reduces by one the total number
of tracks, slideshows, and stories your project can have.
VTS Inspector
You can see the properties of a VTS block by clicking its name in the VTS Editor.
The VTS Inspector shows the name of the VTS block and its audio and video properties.
The properties are defined by the menus assigned to the VTS. If there are no menus in
the VTS, these properties are left blank. It is these properties that determine whether or
not any new menus that are added are compatible.
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DVD@CCESS
The DVD@CCESS feature allows you to add additional interactivity to your DVD title when
it is played on a computer. For example, you can set a marker so that when it is reached,
the computer’s web browser opens and is directed to the specified URL, which can be a
website on the Internet or an HTML file on the DVD.
DVD@CCESS is compatible with both Macintosh computers and most Windows-based
computers. See Configuring Computers for DVD@CCESS Playback for details on configuring
both types of computers.
While the most common use of DVD@CCESS is to link to a website, you can also use it to
open a program to view other types of files, such as PDF, PICT, or JPEG files. You can use
DVD@CCESS links for:
• Internet access: You can enter a URL that links to a specific page on the Internet.
• Opening a file: You can enter a filename. As long as the file type can be recognized by
the computer’s operating system and a suitable application for that file type is available,
the application opens and displays the file. Most often you will want to link to a file
that you have included on the DVD.
• Email: You can enter an email address. The computer’s default email application opens,
creates a new email, and enters the address you specify as the recipient.
Creating DVD@CCESS Links in Your Project
There are three elements within DVD Studio Pro that can include DVD@CCESS links:
• Menus: Each menu can have a DVD@CCESS link. The link is activated as soon as the
menu is displayed. While you cannot assign a DVD@CCESS link directly to a button,
you can assign the link to a menu that appears only when you click that button.
• Markers: Each marker within a track can have a DVD@CCESS link. The link is activated
as soon as you reach the marker while playing the track.
• Slideshow slides: Each slideshow slide can have a DVD@CCESS link. The link is activated
as soon as the slide starts playing.
The DVD@CCESS settings appear in the Inspector of each element.
To enter a DVD@CCESS link
1 Select the item to add the link to.
Its Inspector appears.
2 Select the DVD@CCESS checkbox to enable the link for the item.
598 Chapter 23 Using Advanced Features
3 In the Name field, enter text to help you remember what the DVD@CCESS link is for. This
text is not seen by the viewer and is only for your use while authoring the title. It can be
helpful because the link text is often difficult to interpret directly.
4 Enter the link text in the URL field. This is the text that gets processed during playback.
See Rules for Entering DVD@CCESS Links for guidelines on entering the links.
Note: The Embed Text Data checkbox in the Advanced tab in the Disc Inspector is
automatically selected when you add DVD@CCESS links to your project.
Configuring a DVD@CCESS link to a file included on the DVD requires some additional
steps.
To enter a DVD@CCESS link to a file on the DVD
1 Select the item to add the link to.
Its Inspector appears.
2 Select the DVD@CCESS checkbox to enable the link for the item.
3 In the Name field, enter text to help you remember what the DVD@CCESS link is for.
4 Enter the link text in the URL field. This is the text that gets processed during playback.
To link to a file located on the DVD, you would enter:
file:///DVDName/FolderName/FileName
where DVDName is the name of the disc entered in the Disc Inspector, FolderName is
the folder the file will be in on the DVD, and FileName is the file (the name must include
an extension such as .pdf or .jpg).
5 Do one of the following to open the Disc Inspector:
• Click an empty area in the Graphical tab.
• Click the disc icon in the Outline tab.
6 Click the General tab in the Disc Inspector.
7 Select the Content checkbox.
8 Choose the folder that contains the folders and files you want to include on the DVD.
Note: The actual folder you choose is not included on the DVD—only the folders and
files contained within it are added to the root level of the DVD.
Rules for Entering DVD@CCESS Links
Enter your links in the following format:
Note: The entry cannot contain any spaces.
• Internet links: Enter the entire link. For example:
http://www.apple.com
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• File links: To view a file you have placed in a folder on the DVD, enter:
file:///DVDName/FolderName/FileName
where DVDName is the name of the disc entered in the Disc Inspector, FolderName is
the folder the file will be in on the DVD, and FileName is the file (the name may include
an extension such as .pdf or .jpg).
The file path information is case-sensitive. Be sure you enter it exactly right. Additionally,
what you enter for FolderName is not the same folder you enter as the DVD-ROM
Location in the General tab of the Disc Inspector—it is actually the name of the folder
that is placed at the root of the disc. See DVD-ROM for more information.
Important: Filenames and paths using double-byte characters may not work correctly
on systems configured for single-byte characters.
• Email links: Enter the email link as:
mailto:yourname@yourplace.com
Testing DVD@CCESS Links
It is important to test the DVD@CCESS links you add to your project before committing
the title to replication. The Simulator and the Apple DVD Player application can test most
DVD@CCESS functionality.
Using the Simulator
You can use the Simulator to test DVD@CCESS links that rely on Internet access or email;
you can also see the text of each link when it is reached during playback in the Simulator’s
information drawer.
The Simulator pane in DVD Studio Pro Preferences contains a setting that allows the
Simulator to process DVD@CCESS links. See Simulator Preferences for more information.
Using the Apple DVD Player
You can use the Apple DVD Player application to test DVD@CCESS links that rely on
Internet access or email. You must first build your project, creating the VIDEO_TS folder
that DVD Player can open and play.
Note: Be sure to select Enable DVD@CCESS Web Links in the Disc tab of DVD Player
Preferences.
Testing DVD@CCESS Links to Files with the Apple DVD Player
Because the files you intend to include on the DVD for access by DVD@CCESS links are
not in their actual locations until you create the DVD, you cannot test these links as easily
as the others with the Apple DVD Player.
To test DVD@CCESS links that rely on opening files located on the DVD, you can either:
• Build and format the title and burn it to a disc: You can then test the disc on a variety of
computers to verify that the links work as expected.
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• Build and format the title and write it as a disk image to your hard disk: The disk image
contains the specified DVD-ROM content in addition to the VIDEO_TS and AUDIO_TS
folders. Using the Apple DVD Player, you can play the disk image as if it were a burned
DVD, and the DVD@CCESS links that rely on the DVD-ROM files can be tested.
Configuring Computers for DVD@CCESS Playback
Any DVD discs burned by DVD Studio Pro that include DVD@CCESS links also include an
Installer for a small program that allows Windows computers to process the links. This
program needs to be installed only once on a computer—it is not specific to that DVD
title and will work with all DVD titles that use DVD@CCESS.
The Installer is located on the DVD in the DVD@CCESS folder, along with installation
instructions.
Macintosh Computers
In the Apple DVD Player version 2.4 and later, DVD@CCESS playback functionality is built
in.
When using version 2.4 or later of the Apple DVD Player, you need to configure it to
process the links. Select Enable DVD@CCESS Web Links in the Disc tab in DVD Player
Preferences.
Windows Computers
The DVD@CCESS Installer for Windows installs a program that works with most DVD player
applications and Windows computers to process the DVD@CCESS links in the DVD title.
See DVD Studio Pro Late-Breaking News, accessible through DVD Studio Pro Help, for
specific information on known issues.
Including the DVD@CCESS Installer with a DVD
The DVD@CCESS Installer is automatically added to a DVD when you burn it directly from
DVD Studio Pro.
When you need to burn your DVD using another method, the Installer is not automatically
added. You can manually add the Installer to the disc by copying it from the
DVD Studio Pro application package.
Important: Be very careful when working within the DVD Studio Pro package. You can
easily corrupt the data, lose custom settings, and be forced to reinstall DVD Studio Pro.
This procedure should only be followed if you understand the concept of opening an
application’s package and working within it.
To copy the DVD@CCESS Installer manually
1 Locate the DVD Studio Pro application icon in your computer’s Applications folder. (This
is the default location; the application may be located elsewhere depending on how it
was installed.)
Chapter 23 Using Advanced Features 601
2 Control-click the icon, then choose Show Package Contents from the shortcut menu.
The package opens in a Finder window.
3 Open the Contents folder, then the Resources folder. The DVDccess folder is in the
Resources folder.
4 Copy the DVDccess folder to your desktop by holding down the Option key and dragging.
This leaves the original in place and makes a copy you can add to your DVD.
5 Close the package’s Finder window.
User Operations
You can disable various viewer operations in menus, tracks, stories, and markers. For
example, you may want to prevent the viewer from skipping through the FBI warning.
By providing this ability for individual menus, tracks, stories, and markers, DVD Studio Pro
allows you to be very specific about which elements have disabled operations.
Setting User Operations
To disable specific viewer controls for a menu, track, story, or marker, use the user
operations settings.
Note: Selecting an item in the User Operations tab disables that item. Selecting an item
does not enable it.
To set user operations
1 Select the element you want to work with to display its properties in the Inspector.
2 Click the User Operations tab in the Track, Marker, or Story Inspector or the Advanced
tab in the Menu Inspector.
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3 Select each item you want to disable. See User Operations Properties for a description of
all the items.
Click the triangles
to show or hide each
group’s items.
Indicates some items in
the group are selected.
Select to disable all items
in a group.
You can also click Disable All to disable all items. You can then deselect any items to
enable them. The Enable All button enables all items.
When working with markers, you can also select Same as Track. This allows you to
customize just those markers that require it.
User Operations Properties
The user operations are broken into four groups: Playback Control, Stream Selection,
Menu Call, and Button. The following sections describe what happens when you select
each item.
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Playback Control
The Playback Control group contains the following settings.
• Title Play: Available only in tracks, menus, and stories. Prevents jumping to a different
title by entering a title number using a DVD player remote control.
• PPT Search/PTT Play: Available only in tracks. Prevents jumping to or playing from a
new chapter marker by using a remote control’s numeric keypad. PTT stands forpart
of titleand corresponds to track sections defined by markers.
• Time Search/Time Play: Available only in tracks. Prevents jumping to or playing from a
new time by using a remote control’s numeric keypad.
• Stop: Available in tracks, menus, stories, and markers. Prevents stopping movie playback
before the end of the movie while a selected menu is displayed or until the next track,
marker, or story is reached.
• Resume: Available only in menus. Prevents resuming movie playback while a selected
menu is displayed or until the next track, marker, or story is reached.
• Time/PTT Search: Available only in tracks and markers. Prevents locating specific points
in a video stream by entering an exact time.
• Still Off: Available in tracks, menus, stories, and markers. By default, disabled in menus.
Disables the ability to prevent a still image from stopping in a slideshow. In other words,
allows a still image to be paused.
• Pause On/Off: Available in tracks, menus, stories, and markers. By default, disabled in
menus. Disables the pause on/off function during track playback until the next track,
marker, or story is reached.
• Forward Scan: Available in tracks, menus, stories, and markers. By default, disabled in
menus. Prevents scanning forward through the disc.
604 Chapter 23 Using Advanced Features
• Backward Scan: Available in tracks, menus, stories, and markers. By default, disabled in
menus. Prevents scanning backward through the disc.
• Next Program: Available in tracks, menus, stories, and markers. By default, disabled in
menus. Prevents skipping forward through chapters.
• Previous Program: Available in tracks, menus, stories, and markers. By default, disabled
in menus. Prevents skipping backward through chapters.
• Go Up: Available only in menus. Prevents using the Return button on a remote control.
Stream Selection
All items available in tracks, menus, stories, and markers.
• Audio Stream Change: Prevents changing to an alternate audio track during movie
playback until the next track, marker, or story is reached.
• Subpicture Stream Change: Prevents viewing an alternate subpicture stream (another
name for the subtitle stream).
• Angle Change: Prevents viewing different camera angles of the same material.
• Video Presentation Mode Change: Prevents switching between 4:3 and 16:9 aspect ratios
or switching between pan-scan and letterbox presentations.
Menu Call
All items available in tracks, menus, stories, and markers.
• Root Menu (DVD Menu): Prevents using the Menu button on a remote control to access
a DVD menu that you have previously set up in the Connections tab.
• Title Menu: Prevents using the Title button on a remote control to access a DVD menu
that you have previously set up in the Connections tab.
• Subpicture Menu: Prevents accessing the subtitle menu during movie playback.
• Audio Menu: Prevents accessing the audio menu during movie playback.
• Angle Menu: Prevents accessing the angle menu during movie playback.
• Chapter Menu: Prevents accessing the chapter menu during movie playback.
Chapter 23 Using Advanced Features 605
Button
There is only one item in the Button group.
• Selection/Activation: Available only in tracks, menus, and stories. Prevents selecting and
activating button highlight areas.
Getting Consistent Previous and Next Button Behavior
The action that happens when a viewer uses the Previous or Next button to skip through
chapter markers on a track and reaches the first or last marker can vary, depending on
the DVD player. For example, if the viewer is at the last marker in a track and presses the
Next button one more time, different DVD players will do different things. There are two
common approaches that DVD players take:
• The viewer is constrained to that track: Additionally, the Previous or Next button
(depending on whether you have reached the first or last marker, respectively) is
disabled.
• The viewer is not constrained to that track: Additionally, the DVD player jumps to the
previous or next track (which could also be a story or slideshow) and allows the viewer
to continue skipping through that track’s markers.
You can use user operations to force consistent behavior in these situations, ensuring
that the viewer has the same experience regardless of which player they are using.
To ensure consistent Previous and Next button behavior
1 Select a track in either the Outline or Graphical tab, or in the Track Editor.
2 Select the first marker in the Track Editor.
The Marker Inspector appears, displaying that marker’s properties.
3 Click the User Operations tab.
4 Select the Previous Program checkbox.
This disables the remote control’s Previous button for this marker, which prevents the
viewer from skipping to a marker on a different track.
5 Select the last marker in the track.
The Marker Inspector now displays that marker’s properties.
6 Click the User Operations tab.
7 Select the Next Program checkbox.
This disables the remote control’s Next button for this marker, which prevents the viewer
from skipping to a marker on a different track.
606 Chapter 23 Using Advanced Features
Note: The same issue can occur with slideshows; however, you cannot correct it unless
you convert the slideshow to a track.
Display Condition
The menus, tracks, and stories within DVD Studio Pro can have a display condition applied
to them that determines whether they appear, and if not, what should appear instead.
For example, based on the DVD player’s aspect ratio setting, the condition can determine
whether to play the current track or a track that is better suited to the aspect ratio setting.
Or, you can choose to show or not show a menu based on the language setting.
By assigning a pre-script to the element or running a script before it is selected, you can
include settings in the General Purpose Register Memories (GPRMs) as part of the condition.
See Scripting Overview for information on setting up scripts.
Comparing Display Conditions and Pre-Scripts
All three elements (menus, tracks, and stories) that can have display conditions can also
have pre-scripts. Pre-scripts are scripts that are assigned to an element. They can do
everything a display condition can do and more. There are some specific differences to
be aware of:
• When an element has both a pre-script and a display condition, the pre-script executes
first.
• Pre-scripts only execute if you have jumped to the root of the element they are assigned
to, either by choosing the element’s name in the Connections tab or the name in square
brackets in the shortcut menus. If you connect directly to a marker, slide, or menu
button, the pre-script does not run. Display conditions, however, run any time the
element it is assigned to is jumped to, whether you jump to its root or to a specific
marker, slide, or button.
• On the DVD, pre-scripts are automatically placed with all other scripts in the VTS 1 file
group. This can cause slight delays when executing them because the DVD player may
have to jump significant distances to get to and from the script. Display conditions
reside in the same file groups as the element they are assigned to, which makes them
more efficient when playing.
Note: You can use the VTS Editor to manually place pre-scripts in the same VTS block
as the element it is assigned to. See VTS Editor for more information.
Chapter 23 Using Advanced Features 607
Display Condition Parameters
There are four parameters you need to configure when setting up a display condition:
Choose the conditional
state.
Choose the alternative
element.
Choose the conditional
element.
Choose the conditional
relationship.
Select to enable display
conditions for this
element.
• The conditional element: You choose what is to be evaluated to determine whether the
menu, track, or story should be displayed. Examples of what you can choose include
the DVD player’s region code, aspect ratio, or the contents of a GPRM.
Note: Display conditions can only use full 16-bit GPRMs.
• The conditional relationship: You choose the operation to use to determine the
relationship between the conditional element and the conditional state. Example
settings include smaller, greater, and equal.
• The conditional state selection: You choose the state of the conditional element. The
choices depend on the conditional element. For example, the states for the player
region code element are the eight regions (1 USA, 2 Europe, Japan, 3 Indonesia, Taiwan,
and so on).
• The alternative target selection: You choose the project element (menu, track, story, and
so on) that should be displayed if the condition is not satisfied.
Important: You must set all four parameters or else errors will occur during the build
process.
When setting display conditions for a track, there is an additional checkbox named Apply
to Stories. Select it to have the display condition apply to the stories associated with this
track.
Setting Up a Display Condition
You need to set four parameters to create a display condition.
To set up a display condition
1 Choose the element (menu, track, or story) to set up a display condition for.
2 Do one of the following:
• If you are setting up a menu: Click the Advanced tab in the Menu Inspector.
• If you are setting up a track or story: Click the General tab in the Track or Story Inspector.
608 Chapter 23 Using Advanced Features
3 Select the Display Condition checkbox.
4 Choose the conditional element (the first parameter—defines what the condition is to
be based on). For a list of conditional elements you can use, see Conditional Elements
and States.
5 Choose the conditional relationship (the second parameter—determines how the
conditional element is to be compared with the conditional state, set in the next step).
For a list of conditional relationships, see Conditional Relationships.
6 Choose the conditional element’s state (the third parameter—defines the state that the
conditional element is to be compared to). See Conditional Elements and States for the
states you can choose for each element.
7 Choose the Alternate Target element (the fourth parameter—defines what happens if
the condition is not met).
To turn off the display condition, select the Display Condition checkbox to remove the
checkmark.
Stories can have their own display conditions, or you can use the track’s settings by
selecting Apply to Stories in the Track Inspector’s General tab.
Example: Setting a Video Configuration Display Condition
For this example, you have a project with two versions of a track; one has the buttons
over video optimized for pan-scan and the other has them optimized for letterbox. This
display condition will use the video configuration information (SPRM 14) to choose which
version to play.
To configure a video configuration display condition for a track
1 Choose the track containing the pan-scan optimized video.
2 Click the General tab in the Track Inspector.
3 Select the Display Condition checkbox.
4 Choose Video Player Config from the conditional element pop-up menu.
5 Choose = (equal) from the conditional relationship pop-up menu.
6 Enter 256 as the conditional state.
This is the value for SPRM 14 that indicates the DVD player is set for pan-scan. See SPRM
14: Player Video Configuration for more information.
7 Choose the track, optimized for letterbox, that you want to use as the alternative to this
track from the Alternate Target pop-up menu.
With this display condition, the video configuration of the DVD player is checked to see
if it is set at pan-scan. If it is, the track plays. If not, the player jumps to the letterbox track
and it is played.
Chapter 23 Using Advanced Features 609
Conditional Elements and States
The conditional elements are based on settings read from the System Parameter Register
Memories (SPRMs) or the General Purpose Register Memories (GPRMs).
The conditional states are determined by the element. For example, the menu language
element has all supported languages as the possible states. If the state is a numeric entry,
you need to enter a decimal-based number (binary and hex numbers are not supported).
• Menu Language: Use to set up a condition based on the DVD player’s menu language
setting (SPRM 0). The states include all supported languages.
• Audio Language: Use to set up a condition based on the DVD player’s audio language
setting (SPRM 16). The states include all supported languages.
• Subtitle Language: Use to set up a condition based on the DVD player’s subtitle language
setting (SPRM 18). The states include all supported languages.
• Audio Stream Number: Use to set up a condition based on the currently selected audio
stream (SPRM 1). The states include audio stream numbers 1 through 8. “Not set”
appears next to any streams that currently have no assets assigned.
• Subtitle Stream Number: Use to set up a condition based on the currently selected
subtitle stream (SPRM 2). The states include subtitle stream numbers 1 through 32.
“Not set” appears next to any streams that currently have no subtitles assigned.
• Player Aspect Ratio: Use to set up a condition based on the DVD player’s aspect ratio
setting (4:3 or 16:9—bits 8 and 9 of SPRM 14). The states include 4:3, 16:9 Pan-Scan,
16:9 Letterbox, and 16:9 Pan-Scan and Letterbox.
• Last Track Played: Use to set up a condition based on the most recently played track
(SPRM 4). The states include all track numbers in the project.
• Last Chapter Played: Use to set up a condition based on the most recently played chapter
(SPRM 7). The states include all chapter marker numbers in the track.
• Last Button Selected: Use to set up a condition based on the most recently selected
button (SPRM 8). The states include numbers 1 through 36.
• Player Region Code: Use to set up a condition based on the DVD player’s region setting
(SPRM 20). The states include all eight regions.
• Parental Level: Use to set up a condition based on the DVD player’s parental level setting
(SPRM 13). The states include all eight parental levels plus a Not Rated setting.
Important: DVD players will always set SPRM 13 to Not Rated when playing DVDs
authored with DVD Studio Pro.
• Video Player Config: Use to set up a condition based on the DVD player’s aspect ratio
setting (4:3 or 16:9) and display mode (letterbox or pan-scan) (SPRM 14). The state
requires a decimal number entry.
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• Audio Player Config: Use to set up a condition based on the DVD player’s audio
configuration—PCM, AC-3, and MPEG (SPRM 15). The state requires a decimal number
entry.
• GPRM 0 - 7: Use to set up a condition based on the values stored in one of the eight
GPRM locations. The values must first be placed into the GPRM by a separate script
that you have run. The state requires a decimal number entry.
Note: Display conditions can only use full 16-bit GPRMs.
See Scripting Overview for details on scripts, GPRMs, and SPRMs.
Conditional Relationships
There are seven conditional relationships for you to choose from when setting up your
display condition.
• = (equal): The element and state are exactly equal. For example, if you choose the
Player Region Code element, a state of 1-USA, and the “equal” relationship, you can
only play the track if the DVD player is set for region 1-USA.
• != (not equal): The element and state are not exactly equal. For example, if you choose
the Audio Language element, a state of French, and the “not equal” relationship, you
can play the track as long as the DVD player is not set for French.
• > = (greater or equal): The element is either greater than the state, or they are equal.
For example, if you choose the Parental Level element, a state of PG-13, and “greater
or equal,” you can play the track as long as the DVD player is set to PG-13 or higher (R
or NC-17).
• > (greater): The element is greater than the state. For example, if you choose the Audio
Stream Number element, a state of 2, and “greater,” you can play the track as long as
one of the two first audio streams is not selected.
• <= (smaller or equal): The element is either less than the state, or they are equal. For
example, if you choose the Last Track Played element, set the state to 12, and “smaller
or equal,” you can play this track as long as the previous track is from 1 to 12.
• < (smaller): The element is less than the state. For example, if you choose the Subtitle
Stream Number element, set the state to 4, and “smaller,” you can play this track as
long as subtitle streams 1 through 3 are selected.
Chapter 23 Using Advanced Features 611
• & (and): Provides a binary bit-wise “and” function. Several of the elements contain
multiple settings. You can use the “and” relationship to extract one setting from the
element. For example, if you choose the Audio Player Config element (which contains
several settings related to the DVD player’s audio capabilities), a state of 2048-DTS, and
the “and” relationship, you can only play the track if bit 11 of the 16-bit byte is one,
indicating that the DVD player supports DTS audio. See Using Bit-Wise Operations for
details on using a bit-wise “and” function.
Issues with Display Conditions
There are several issues with using display conditions that you should be aware of:
• The Last Chapter Played setting is reliable only when assigned to menus: When using the
Last Chapter Played setting for display conditions assigned to a track or story, you get
unreliable playback on some DVD players. The Last Chapter Played setting can be used
reliably with display conditions assigned to menus.
• Display Conditions using the subtitle stream number only work with the subtitle stream set
to View: When you configure a display condition for a track or story that uses the subtitle
stream number option, the display condition works correctly only if the subtitle stream
is set to be viewed. For example, if you configure a menu’s button to use subtitle stream
S1 and a track has a display condition configured for subtitle stream S1, the display
condition only works correctly if you also select the subtitle stream’s View checkbox in
the Button Inspector.
• Some DVD players do not allow parental level in display conditions: Some DVD players
do not process the parental level option correctly when used in a display condition,
allowing content to play that should be disallowed.
Important: DVD players always set SPRM 13 to Not Rated when playing DVDs authored
with DVD Studio Pro.
Remote Control Settings
An important part of authoring a DVD title is to assign functions to the DVD player’s
remote control buttons. For most projects, you set these functions for the entire disc.
However, you can override several of the disc settings for individual tracks, stories, markers,
slideshows, and menus.
If an individual element has more than one remote control setting:
• Track, slideshow, story, and menu settings take precedence over disc settings while
they play.
• Marker settings override all other settings while that part of the track or story plays.
Note: All of these settings can also all be made in the Connections tab.
612 Chapter 23 Using Advanced Features
Remote Control Buttons
The disc’s remote control settings support seven buttons. Remote control settings for
tracks, stories, markers, slideshows, and menus support only certain ones:
• Title: Supported by the disc settings only. This button is typically linked to the primary
menu so that, no matter where the viewers are in the title, when they press the Title
button they will always go to the same place.
• Menu: Supported by all elements that can set remote control settings (disc, track, story,
marker, and slideshow) except menus. You should generally link this button to the last
menu viewed.
• Angle: Supported by the disc, track, and slideshow elements. You can link this button
to a menu that allows the viewer to select the angle to view.
• Chapter: Supported by the disc, track, and slideshow elements. Typically found only
on specialized DVD players, you can link this button to a menu that allows the viewer
to select the chapter to view.
• Audio: Supported by the disc, track, and slideshow elements. You can link the Audio
button to a menu that allows the viewer to select the audio stream to listen to.
• Subtitle: Supported by the disc, track, and slideshow elements. You can link this button
to a menu that allows the viewer to select whether subtitles appear and the subtitle
stream to view.
• Return: Supported by the disc and menu settings only. The Return button is usually
used to provide an easy way for the viewer to navigate back through nested menus.
Beware of Similar-Sounding Buttons
The remote controls of most DVD players include stream select buttons labeled Angle,
Audio, and Subtitle. These are not the same as the remote control buttons you can
assign menus to. These three buttons allow the viewer to directly select the angle, audio,
and subtitle stream without going to a menu first.
The Angle, Chapter, Audio, and Subtitle remote control buttons that you can assign
menus to are in addition to these three stream select buttons, and are found only on a
few remote controls, typically grouped in a “Menus” section of the remote control.
It is important to include alternative methods for viewers to get to these menus. You
cannot count on all remote controls to have these buttons.
Configuring the Remote Control Buttons
You can configure the remote control buttons either in the Inspector or in the Connections
tab.
Chapter 23 Using Advanced Features 613
To set the remote control buttons using the Inspector
1 Select the element whose remote control buttons you want to set. You can select the
element in the Outline tab, the Graphical tab, or use the pop-up menu in the appropriate
editor.
2 In the Inspector, open the pop-up menu for the button to be set, then choose the function
to link to. All elements currently set in the project are available to be linked to.
The remote control settings are in different Inspector locations for different elements:
• Disc Inspector: The commonly used remote control settings (Title, Menu, and Return)
are in the General tab. The Advanced tab contains the settings that are not often used
(Angle, Chapter, Audio, and Subtitle).
• Track, Story, and Marker Inspectors: All remote control settings are in their General tabs.
• Slideshow and Story Marker Inspectors: All remote control settings are in its main area
(there are no tabs).
• Menu Inspector: Its only remote control setting (Return) is in its Menu tab.
To set the remote control buttons using the Connections tab
1 Click the Connections tab. You can see all source elements in the project together, or see
one element at a time:
• To see the remote control buttons for all project elements at once: Select the disc in the
Outline tab or click an empty area in the Graphical tab.
• To see the remote control buttons for a single element: Select that element in the Outline
tab, the Graphical tab, or use the pop-up menu in the appropriate editor.
2 Use the View pop-up menu in the Connections tab to control which of the remote buttons
are visible:
• Basic: Shows the disc’s title button, and the track’s, story’s, and slideshow’s menu
buttons.
• Standard: Shows all basic buttons plus menu buttons for a track’s markers.
• Advanced: Shows all possible remote buttons.
3 Set the link for the remote button by either dragging the target to the source element
or Control-clicking the button’s setting in the Target column, and choosing the element
to link to from the shortcut menu.
Line 21 Settings for Closed Captions
To add text to a video on a DVD, most users use the subtitle feature. To meet accessibility
requirements, however, you may also need to consider closed captions.
Note: The closed caption settings apply only to NTSC SD DVD projects.
614 Chapter 23 Using Advanced Features
About Subtitles and Closed Captions
Subtitles have several advantages: You can create them within DVD Studio Pro or using
a third-party subtitle authoring application, you can set their font and color, and they can
be displayed by any DVD player. Closed captions offer other advantages.
Subtitles generally provide a text version of the dialogue only—they do not describe any
other sounds that may be in the title (such as a dog barking or a phone ringing). Closed
captions typically include descriptive text along with the dialogue, which makes them
better suited for viewers with impaired hearing.
You can add descriptive text to subtitles and make them more similar to the content of
closed captions, and there are third-party programs that will convert closed captions to
a suitable subtitle format.
Closed captions require a decoder for playback. The decoder can be built in to the
television or it can be a standalone box. Computers typically do not have closed caption
decoders, so they cannot display captions. The font used by closed captions is determined
by the decoder.
Adding Closed Captions to a DVD
With DVD Studio Pro, you can import closed caption files as part of a track. This is the
most reliable way to include closed captions with your title.
Do not assume that just because the closed-captioning information was present in the
video during the MPEG encode that it will be available when the disc is played by the
viewer. Be sure to perform a test before relying on this method of adding closed captions
to your title.
Some MPEG encoders can create separate closed caption files that DVD Studio Pro can
use to add the function to your disc.
DVD Studio Pro supports closed caption files in the “.cc” and “.scc” formats.
Chapter 23 Using Advanced Features 615
About the Field 1 and Field 2 Settings
The closed caption standard provides for encoding up to four caption streams in Line
21. The two most commonly used streams (C1 and C2) use field 1, and the other two
streams (C3 and C4) use field 2.
A closed caption file assigned to a track in DVD Studio Pro can have captions only in
field 1 (C1 and C2) or in both fields (support for all four streams). It is important for you
to configure the track’s Line 21 settings to match the file’s configuration.
Note: Because the C3 and C4 streams are rarely used, you may assume the closed caption
file contains only the C1 and C2 streams, and only supports field 1. Be sure to verify this
with a test disc and a DVD player connected to a television monitor before sending your
disc to a replicator.
To assign a closed caption file to a track
1 Select the track so that it appears in the Track Editor and its properties appear in the
Inspector.
2 Click the Other tab in the Track Inspector.
3 To choose the closed caption file, do one of the following:
• In the Closed Caption (Line 21) area, click Choose. In the navigation dialog, locate and
select the closed caption file to assign to this track. Click Choose.
• Control-click in the Track Editor’s video stream, then choose Import Line 21 File from
the shortcut menu. Locate the closed caption file in the navigation dialog and click
Import.
4 Select the Field 1 and Field 2 boxes to match the configuration of the caption file.
Note: Most often you should select Field 1 and leave Field 2 unselected.
You can only assign one file to a track.
616 Chapter 23 Using Advanced Features
Keyboard shortcuts let you perform commands in DVD Studio Pro using the keyboard
instead of by pointing and clicking. The following are keyboard shortcuts available in
DVD Studio Pro, grouped by function.
Note: Some keyboard shortcuts are always active, whether or not you are working in the
group that they are listed in. Other keyboard shortcuts are only active under special
circumstances.
This appendix covers the following:
• General Interface and Application Controls (p. 618)
• General Project Controls (p. 619)
• Adding Project Elements (p. 620)
• Scrolling Through Lists (p. 621)
• Assets Tab (p. 622)
• Connections Tab (p. 622)
• Graphical Tab (p. 623)
• Log Tab (p. 624)
• Menu Tab (Menu Editor) (p. 624)
• Outline Tab (p. 626)
• Palette (p. 627)
• Script Tab (Script Editor) (p. 627)
• Simulator (p. 627)
• Slideshow Tab (Slideshow Editor) (p. 628)
• Story Tab (Story Editor) (p. 628)
• Subtitle Editor (p. 628)
• Track Tab (Track Editor) (p. 629)
• Viewer Tab (p. 631)
617
Keyboard Shortcuts
Appendix
A
General Interface and Application Controls
Keyboard shortcut Function
Opens the first 15 interface configurations, with F1 assigned to the
basic configuration, F2 assigned to the extended configuration, and
F3 assigned to the advanced configuration. F4 through F15 can be
assigned to your custom configurations. (Note that F9, F10, and F11
may be used by Mac OS X for the Exposé feature, and F14 and F15
may be used to control the monitor’s brightness.)
Function keys F1 through F15.
Accesses the Viewer tab.
0
This tab is brought to the front of its quadrant or, if in its own
window, it’s brought to the front of the application. If the tab is
closed, it’s opened as a window at its last position.
Accesses the Assets tab.
1
This tab is brought to the front of its quadrant or, if in its own
window, it’s brought to the front of the application. If the tab is
closed, it’s opened as a window at its last position.
Accesses the Connections tab.
2
This tab is brought to the front of its quadrant or, if in its own
window, it’s brought to the front of the application. If the tab is
closed, it’s opened as a window at its last position.
Accesses the Log tab.
3
This tab is brought to the front of its quadrant or, if in its own
window, it’s brought to the front of the application. If the tab is
closed, it’s opened as a window at its last position.
Accesses the Menu tab.
4
This tab is brought to the front of its quadrant or, if in its own
window, it’s brought to the front of the application. If the tab is
closed, it’s opened as a window at its last position.
Accesses the Outline tab.
5
This tab is brought to the front of its quadrant or, if in its own
window, it’s brought to the front of the application. If the tab is
closed, it’s opened as a window at its last position.
Accesses the Graphical tab.
option 5
This tab is brought to the front of its quadrant or, if in its own
window, it’s brought to the front of the application. If the tab is
closed, it’s opened as a window at its last position.
Accesses the Script tab.
6
This tab is brought to the front of its quadrant or, if in its own
window, it’s brought to the front of the application. If the tab is
closed, it’s opened as a window at its last position.
618 Appendix A Keyboard Shortcuts
Keyboard shortcut Function
Accesses the Slideshow tab.
7
This tab is brought to the front of its quadrant or, if in its own
window, it’s brought to the front of the application. If the tab is
closed, it’s opened as a window at its last position.
Accesses the Story tab.
8
This tab is brought to the front of its quadrant or, if in its own
window, it’s brought to the front of the application. If the tab is
closed, it’s opened as a window at its last position.
Accesses the Track tab.
9
This tab is brought to the front of its quadrant or, if in its own
window, it’s brought to the front of the application. If the tab is
closed, it’s opened as a window at its last position.
Toggles the currently selected tab between full window and normal.
Additionally, holding down the Shift and Space bar keys toggles
the tab only until you release them.
shift space
Toggles the currently selected tab between full window and normal.
Additionally, holding down the Shift and Space bar keys toggles
the tab only until you release them.
option
Shows or hides the Palette.
option P
Shows or hides the Inspector.
option I
Opens or closes the Fonts window.
T
Opens or closes the Colors window.
shift C
, Opens Preferences.
Opens DVD Studio Pro Help.
shift ?
Quits DVD Studio Pro.
Q
Minimizes DVD Studio Pro.
M
Hides DVD Studio Pro.
H
General Project Controls
Keyboard shortcut Function
Undoes the last change.
Z
Appendix A Keyboard Shortcuts 619
Keyboard shortcut Function
Redoes a change you just undid.
shift Z
Creates a new project.
N
Opens an existing project.
O
Closes the project.
W
Saves the project.
S
Saves a project as a new project.
shift S
Copies the selected text, menu item, script command line, or subtitle
button to the Clipboard.
C
This shortcut works with both text in your menus and subtitles and
element names.
Copies the selected text, menu item, script command line, or subtitle
button to the Clipboard and deletes it from selection.
X
This shortcut works with both text in your menus and subtitles and
element names.
Pastes the Clipboard contents.
V
This shortcut works with both text in your menus and subtitles and
element names.
Duplicates the selected item.
D
Simulates a project from the current element or, if none are selected,
from the project’s First Play setting.
option 0
Burns the project.
option B
Builds the project.
option C
Formats the project.
F
Builds and formats the project.
option F
Adding Project Elements
Keyboard shortcut Function
Adds a track.
control T
Adds a story.
shift T
620 Appendix A Keyboard Shortcuts
Keyboard shortcut Function
Adds a standard menu.
Y
Adds a layered menu.
shift Y
Adds a slideshow.
K
Adds a script.
Adds a menu language.
/
Scrolling Through Lists
Lists in DVD Studio Pro are found in the Assets, Log, Outline, Connections, Slideshow,
Script, and Story tabs.
Keyboard shortcut Function
Drag scroller. Scrolls through the list.
Press Option and drag scroller. Scrolls slowly through the list (useful for large lists).
Selects the previous line in the list.
Selects the next line in the list.
Selects the previous line in the list, leaving the current line selected.
shift
Selects the next line in the list, leaving the current line selected.
shift
Goes to the top of the list.
option
Goes to the bottom of the list.
option
page Scrolls up one page in the list.
up
Press Option and click scroller’s Scrolls up one page in the list.
up arrow.
page Scrolls down one page in the list.
down
Press Option and click scroller’s Scrolls down one page in the list.
down arrow.
Appendix A Keyboard Shortcuts 621
Assets Tab
Keyboard shortcut Function
Double-click empty area. Imports an asset.
Imports an asset.
shift I
Double-click asset name. Previews the selected asset.
Previews the selected asset.
space
Selects all assets and folders.
A
Deselects all assets and folders.
shift A
Removes the selected asset.
delete
Creates a new folder.
shift N
Shows the encoder settings for the selected QuickTime movie.
E
Does the opposite of the “Find matching audio when dragging”
preference, used when you drag a video asset to a project element.
You must start dragging the video asset before pressing the
Command key.
Press Command and drag.
Connections Tab
Keyboard shortcut Function
Scrolls up through items in the list not currently selected.
control
Scrolls down through items in the list not currently selected.
control
Double-click. Connects or disconnects the currently selected items.
Connects or disconnects the currently selected items.
return
Disconnects the selected source’s connection.
delete
Connects the selected source to the selected target and moves
down to the next source or target (whichever was last selected).
enter
Drag source’s target setting. Copies a source’s target setting to another source.
Press Control and click separator. Switches between horizontal and vertical views.
622 Appendix A Keyboard Shortcuts
Graphical Tab
Keyboard shortcut Function
Fits the tiles to the current window size.
shift Z
Zooms one step in while maintaining the current center.
=
Zooms one step out while maintaining the current center.
Press Z and click in window. Zooms one step into the area you click.
Press Option-Z and click in Zooms out one step from the area you click.
window.
Press Z and drag. Zooms into the selected area.
Press Space bar and drag. Repositions the tile area in the window.
Toggles macro view on and off. Additionally, you can hold down
the key to temporarily show the macro view.
M
Toggles a tile’s flag on and off.
F
After a short pause, a ghost image of the tile appears that you can
drag to the Menu Editor to link to an existing button or to create a
new button linking to this tile.
Click tile and hold it.
Click tile. Selects the tile. Deselects any currently selected tiles first.
Press Shift and click tile. Selects the tile. Retains any currently selected tiles.
Press Command and click tile. Selects the tile. Retains any currently selected tiles.
Selects all tiles.
A
Deselects all tiles.
shift A
Moves the selected tiles up.
Moves the selected tiles down.
Moves the selected tiles left.
Moves the selected tiles right.
Drag tile, then press Z. Temporarily zooms out to show more of the tile area.
Toggles the tile position lock on and off.
L
Prints the Graphical tab.
P
Appendix A Keyboard Shortcuts 623
Log Tab
Keyboard shortcut Function
Copies the selected text.
C
Selects all text.
A
Menu Tab (Menu Editor)
Keyboard shortcut Function
Press Option and drag. Creates a duplicate of the selected item.
Creates a duplicate of the selected item.
D
Drag. Creates a button.
Press Option and drag. Creates a drop zone.
Press Command and drag. Selects multiple items. Deselects any currently selected items first.
Press Command-Shift and drag. Selects multiple items. Retains any currently selected items.
Selects all menu items.
A
Deselects all menu items.
shift A
Double-click. Creates a text object.
Press Command-Option and Creates a text object.
drag.
Applies a bold attribute to the selected text.
B
Applies an italic attribute to the selected text.
I
Adds an underline to the selected text.
U
Left aligns the selected text.
shift {
Center aligns the selected text.
shift
Right aligns the selected text.
shift }
Press Return while typing text. Creates a new line. Applies to button text and text objects.
While typing text into the Menu Editor, exits text entry mode. While
typing text in the Button or Text Object Inspector, creates a new
line.
Press Enter while typing text.
624 Appendix A Keyboard Shortcuts
Keyboard shortcut Function
Deletes the selected item.
delete
Press Shift-Option and drag. Repositions an asset in a drop zone or button (if possible).
Forces a button or drop zone to match its asset’s aspect ratio, and
maintains that aspect ratio while being resized.
Press Shift and drag.
Moves the selected item up 1 pixel.
Moves the selected item down 1 pixel.
Moves the selected item left 1 pixel.
Moves the selected item right 1 pixel.
Moves the selected item up 10 pixels.
shift
Moves the selected item down 10 pixels.
shift
Moves the selected item left 10 pixels.
shift
Moves the selected item right 10 pixels.
shift
Moves the selected item up 20 pixels.
shift option
Moves the selected item down 20 pixels.
shift option
Moves the selected item left 20 pixels.
shift option
Moves the selected item right 20 pixels.
shift option
Creates a submenu and adds a button to link to it.
option Y
Creates a slideshow and adds a button to link to it.
option K
Creates a track and adds a button to link to it.
option T
Sets button navigation when you drag from a button’s edge to
another button.
Press Command-Option and
drag button’s edge.
Performs a one-time Auto Assign button navigation pass.
shift D
Sends the selected item to the back.
shift B
Sends the selected item backward one step in priority. [
Brings the selected item forward one step in priority. ]
Appendix A Keyboard Shortcuts 625
Keyboard shortcut Function
Brings the selected item to the front.
shift F
Constrains the movement of an item to the vertical or horizontal
direction only.
Press Shift and drag.
Duplicates the selected item and constrains its movement to the
vertical or horizontal direction only. You must wait to press Shift
until you have started dragging the item.
Press Shift-Option and drag.
Moves the selected item without snapping or showing the dynamic
guides.
Press Command and drag item.
Changes the item size based on its center. (You must wait to press
the Option key until after you start dragging.)
Drag button’s edge to resize and
press Option.
Shows or hides rulers.
R
Shows or hides alignment guides. ;
Toggles the button state through normal, selected, and activated.
W
Toggles the background view through background only, overlay
only, and composite.
Q
Toggles the pixel display between square and rectangular.
P
Shows and hides the title safe area.
shift E
Shows the action safe area.
option E
Toggles menu motion on and off.
space
Toggles menu motion on and off.
J
Outline Tab
Keyboard shortcut Function
Press Option and click track Opens all disclosure triangles in the track area.
disclosure triangle.
Selects all items.
A
Deselects all items.
shift A
Duplicates the selected item.
D
626 Appendix A Keyboard Shortcuts
Palette
Keyboard shortcut Function
In a media tab, removes the selected folder from the list.
delete
In a Template, Style, or Shape tab, deletes the selected item from
your system’s hard disk.
delete
Selects all items in the current view.
A
Deselects all items in the current view.
shift A
Applies the selected item to the menu (templates, styles, and shapes,
if applicable).
return
Applies the selected item to the menu (templates, styles, and shapes,
if applicable).
Double-click.
Does the opposite of the “Find matching audio when dragging”
preference, used when you drag a video asset to a project element.
You must start dragging the video asset before pressing the
Command key.
Press Command and drag.
Script Tab (Script Editor)
Keyboard shortcut Function
Inserts a new command line.
shift
+
Adds a new command line to the end of the script.
=
Deletes the current command line.
delete
Selects all command lines.
A
Simulator
Keyboard shortcut Function
Provides the up navigation arrow function.
Provides the down navigation arrow function.
Provides the left navigation arrow function.
Provides the right navigation arrow function.
Appendix A Keyboard Shortcuts 627
Keyboard shortcut Function
Activates the selected button.
return
Shows or hides the information drawer on the left/right edges.
shift ?
Shows or hides the information drawer on the top/bottom edges.
shift option ?
Closes the Simulator.
W
Slideshow Tab (Slideshow Editor)
Keyboard shortcut Function
Shows large thumbnails.
=
Shows small thumbnails.
Selects all slides.
A
Plays slideshow in Viewer tab or, if playing, stops and returns to the
slide it started from.
space
Plays slideshow in Viewer tab or, if playing, stops and returns to the
slide it started from.
K
Plays slideshow in Viewer tab, or if playing, pauses playback.
L
Story Tab (Story Editor)
Keyboard shortcut Function
Selects all markers in the list.
A
Plays story in Viewer tab or, if playing, stops and returns to the story
entry it started from.
space
Plays story in Viewer tab or, if playing, stops and returns to the story
entry it started from.
K
Plays story in Viewer tab, or if playing, pauses playback.
L
Subtitle Editor
Keyboard shortcut Function
Press Return while typing text. Creates a new line.
628 Appendix A Keyboard Shortcuts
Keyboard shortcut Function
While typing text into the Subtitle Editor, exits subtitle text entry
mode. While typing text in the Subtitle Inspector, creates a new
line.
Press Enter while typing text.
Drag. Creates a button.
Press Option and drag. Duplicates the selected button.
Duplicates the selected button.
option D
Press Command and drag. Selects multiple buttons.
Selects the next subtitle.
Selects the previous subtitle.
Sets button navigation when you drag from a button’s edge to
another button.
Press Command-Option and
drag button’s edge.
Changes the button size based on its center. (You must wait to
press the Option key until after you start dragging.)
Press Option and drag button’s
edge to resize.
Press Command-A while editing Selects all of the text.
text.
Applies a bold attribute to the selected text.
B
Applies an italic attribute to the selected text.
I
Adds an underline to the selected text.
U
Left aligns the selected text.
shift {
Center aligns the selected text.
shift
Right aligns the selected text.
shift }
Track Tab (Track Editor)
Keyboard shortcut Function
Plays track in Viewer tab or, if playing, stops or pauses playback
(depending on the “Space bar toggles between play/pause” setting
in DVD Studio Pro Preferences).
space
If you hold down the Space bar, playing automatically stops or
pauses when you release it.
Plays track in Viewer tab or, if playing, pauses playback.
L
Appendix A Keyboard Shortcuts 629
Keyboard shortcut Function
Stops playback and moves the playhead to where it started.
K
Moves the playhead to the beginning of the timeline.
home
Moves the playhead to the beginning of the selected clip.
Moves the playhead to the beginning of the selected clip.
option E
Moves the playhead forward one frame.
Moves the playhead backward one frame.
Moves the playhead to the end of the timeline.
end
Moves the playhead to the end of the selected clip.
Moves the playhead to the end of the selected clip.
shift E
Moves the playhead one second earlier.
shift
Moves the playhead one second later.
shift
Moves the playhead to the previous marker.
control
Moves the playhead to the previous marker.
option M
Moves the playhead to the next marker.
control
Moves the playhead to the next marker.
shift M
Moves the playhead to the previous GOP.
option
Moves the playhead to the next GOP.
option
Selects all clips in a stream.
A
Drag. Moves the clip in the stream or to another stream.
Creates a duplicate of the clip that can be placed in this or another
stream.
Press Option and drag.
Creates a duplicate of the clip that can only be placed in another
stream at exactly the same time or in any suitable place on the
current stream.
Press Shift-Option and drag.
Jumps playhead forward to next timeline event (marker, clip edge,
and so on).
630 Appendix A Keyboard Shortcuts
Keyboard shortcut Function
Jumps playhead backward to next timeline event (marker, clip edge,
and so on).
Zooms the Track Editor timeline out to its maximum.
shift Z
Fits current clip to the Track Editor.
shift option Z
Toggles through stream height settings.
shift T
Zooms the timeline in on the Track Editor, scrolling to show the
playhead if necessary.
=
Zooms the timeline out on the Track Editor, scrolling to show the
playhead if necessary.
Zooms the timeline in on the Track Editor, ignoring the playhead
position.
shift
+
Zooms the timeline out on the Track Editor, ignoring the playhead
position.
shift
Locks or unlocks all streams.
shift F4
Creates a marker.
M
Single-click above timeline. Creates a marker.
Press M while playing. Creates a marker on the fly.
Removes the selected clip from the timeline.
delete
Double-click in subtitle stream. Adds a subtitle clip.
Adds a subtitle at the playhead.
shift
Viewer Tab
The Viewer tab keyboard shortcuts apply to those tabs in which an asset can play. These
include the Assets, Track, Story, and Slideshow tabs.
Keyboard shortcut Function
Plays the video asset or, if playing, stops or pauses playback
(depending on the “Space bar toggles between play/pause” setting
in DVD Studio Pro Preferences).
space
If you hold down the Space bar, playing automatically stops or
pauses when you release it.
Plays the video asset or, if playing, pauses playback.
L
Appendix A Keyboard Shortcuts 631
Keyboard shortcut Function
Stop.
K
Frame step forward, or with slideshows, advance to the next slide.
Step one second forward (not applicable with slideshows).
shift
Frame step backward, or with slideshows, go back to the previous
slide.
Step one second backward (not applicable with slideshows).
shift
632 Appendix A Keyboard Shortcuts
Using DVD Studio Pro 4, you can import projects created with earlier versions of
DVD Studio Pro.
This appendix covers the following:
• Importing DVD Studio Pro 2 and DVD Studio Pro 3 Projects into DVD Studio Pro 4 (p.
633)
Importing DVD Studio Pro 2 and DVD Studio Pro 3 Projects into
DVD Studio Pro 4
There are several issues you should be aware of if you are importing projects created in
DVD Studio Pro 2 and DVD Studio Pro 3 into DVD Studio Pro 4. These issues are discussed
in the following sections:
• Opening Old Projects
• Importing Item Descriptions
• Menu and Subtitle Text May Change
• DVD Studio Pro 3 Projects Using Custom Transitions That Have Been Moved May Not
Work
Note: DVD Studio Pro 4 cannot import projects from DVD Studio Pro 1.
Opening Old Projects
When you open a project created in DVD Studio Pro 2 or DVD Studio Pro 3 in
DVD Studio Pro 4, a warning appears saying that when you save the project, you will no
longer be able to open it in DVD Studio Pro 2 or DVD Studio Pro 3.
DVD Studio Pro 4 has improved the way text items in menus are handled, which may
cause some menus to look slightly different.
633
Importing Other Projects
Appendix
B
Importing Item Descriptions
You cannot import item descriptions saved with any earlier version of DVD Studio Pro (1,
2, or 3) into DVD Studio Pro 4. Because an item description is a text file describing an
element such as a menu or track, you can create a new item description by importing a
project that contains the element into DVD Studio Pro 4, then saving an item description
of it.
Menu and Subtitle Text May Change
When you open a project created in DVD Studio Pro 2 or DVD Studio Pro 3 that contains
text typed onto a menu or subtitle within DVD Studio Pro, that text may appear different.
DVD Studio Pro 4 correctly processes the text for both 4:3 and 16:9 aspect ratios, and for
both NTSC and PAL resolutions.
Additionally, if the project contains rotated menu text items, the rotated items may appear
different. DVD Studio Pro 4 now correctly rotates menu text items without distorting
them.
DVD Studio Pro 3 Projects Using Custom Transitions That Have Been
Moved May Not Work
Projects created with DVD Studio Pro 3 that use custom Alpha Transitions may not build
correctly if the transitions have been moved. (When you play the VIDEO_TS files, the
transition is skipped.) You can correct this by choosing a different transition, then choosing
the correct transition again everywhere the transition is used.
634 Appendix B Importing Other Projects
A major concern when authoring your DVD project is knowing whether it will fit on the
disc size you intend to use. The following describes in detail how to determine the amount
of disc space your project requires, and provides a way to determine a safe bit rate to
encode your video assets with.
Note: The following example is specific to an SD project on a red laser disc. The same
process applies to HD projects on blue laser discs.
Also see Making Sure Your Content Will Fit for additional information on fitting your
content to the disc.
This appendix covers the following:
• Calculating a Project’s Disc Space Requirements (p. 635)
• Using the Calculated Bit Rate (p. 640)
Calculating a Project’s Disc Space Requirements
While the video bit rate is the single biggest factor in controlling the size of your project,
a number of other factors determine how much disc space will be required to hold your
project:
• The number of and types of audio assets
• The number of slideshows and their audio
• The number of subtitles
• Any DVD-ROM content to be included
The steps below guide you through the process of estimating your project’s disc space
requirements. For this example, the project has:
• Video asset 1 with a duration of 01:26:13:12 and two audio streams: an AC-3 5.1 surround
and an AC-3 stereo
• Video asset 2 with a duration of 00:45:34:07 and one PCM 16-bit 48 kHz audio stream
635
Calculating Disc Space
Requirements
Appendix
C
• Motion menu video with a duration of 00:00:16:20 and one AC-3 stereo audio stream
• Stage 1: Calculating the Total Video Play Time
• Stage 2: Calculating Disc Capacities
• Stage 3: Calculating the Bit Rates for Each Disc Size
• Stage 4: Calculating the Audio Allowances
• Stage 5: Calculating the Effect of Audio on the Video Bit Rate
• Stage 6: Calculating DVD-ROM Allowances
• Stage 7: Calculating Other Allowances
Stage 1: Calculating the Total Video Play Time
You first need to determine the total play time of all video assets and motion menus in
your project. To make calculations easier, you need to convert the time from hours,
minutes, and seconds to the total number of seconds. For frames, round up to the next
second when there are frames left over.
In the example above, video asset 1 is 5174 seconds long, video asset 2 is 2735 seconds
long, and the motion menu contains 17 seconds of assets, for a total of 7926 seconds.
Note: Slideshows do not count as video play time, and are discussed later.
Stage 2: Calculating Disc Capacities
To calculate the appropriate bit rate for your content, you need to know each disc type’s
capacity in bits. The capacity of a DVD-5 disc is 4.7 GB (or 4.37 binary gigabytes). For the
purposes of this calculation, you should use the 4.7 GB value because it does not have
to be corrected to account for the difference that counting in binary adds. To make the
calculation, you multiply the byte capacity by 8 (the number of bits in a byte).
DVD name Byte capacity Bit capacity
DVD-1 1.46 GB 11.68 gigabits (Gbit)
DVD-2 2.66 GB 21.28 Gbit
DVD-3 2.92 GB 23.36 Gbit
DVD-4 5.32 GB 42.56 Gbit
DVD-5 4.7 GB 37.6 Gbit
DVD-9 8.54 GB 68.32 Gbit
DVD-10 9.4 GB 75.2 Gbit
DVD-14 13.24 GB 105.92 Gbit
DVD-18 17.08 GB 136.64 Gbit
636 Appendix C Calculating Disc Space Requirements
Stage 3: Calculating the Bit Rates for Each Disc Size
Once you know the play time in seconds and the bit capacity of the different disc sizes,
you can calculate a basic bit rate for each disc size. To do this, divide the disc size by the
play time (7926 seconds in this example).
DVD name Bit capacity Bit rate
DVD-1 11.68 gigabits (Gbit) 1.47 megabits per second (Mbps)
DVD-2 21.28 Gbit 2.68 Mbps
DVD-3 23.36 Gbit 2.95 Mbps
DVD-4 42.56 Gbit 5.37 Mbps
DVD-5 37.6 Gbit 4.74 Mbps
DVD-9 68.32 Gbit 8.62 Mbps
DVD-10 75.2 Gbit 9.49 Mbps
DVD-14 105.92 Gbit 13.36 Mbps
DVD-18 136.64 Gbit 17.24 Mbps
These bit rate values should not be considered final at this point because you still have
to take into consideration the audio and DVD-ROM content. However, these values do
provide an indication as to which DVD disc size you will need to use. If your project uses
compressed audio, such as the Dolby Digital AC-3 format, and has little or no DVD-ROM
content, you would need to decide whether encoding at 4.74 Mbps (or slightly less to
ensure the video and audio all fit on the disc) would provide satisfactory results. If so, a
DVD-5 disc should work for this project. If the project includes multiple soundtracks, a
lot of slides or subtitles, and some DVD-ROM content, you may decide it is best to use a
DVD-9 disc size so that everything you want to include will fit on the disc.
Another point to keep in mind is that video assets are not required to use the same bit
rate. For some assets, you may decide that quality is not as important as it is for others,
and choose to use a lower bit rate for them, allowing more disc space for the other video
assets.
Choosing a bit rate that provides satisfactory results depends on the video content and
the encoder you use. In general, bit rates below 4.0 Mbps are marginally acceptable. For
bit rates between 4 and 6 Mbps, you should get good results when using a good variable
bit rate (VBR) encoder, such as the integrated MPEG encoder, or, for more options,
Compressor directly. For rates between 6 and 8 Mbps, you should have no trouble getting
good results even when using a constant bit rate (CBR) encoder. Eight Mbps is usually
considered the highest usable bit rate—the DVD specification allows up to 9.8 Mbps, but
this can cause playback problems on some DVD players and limit your audio options.
For more information on encoding, see Encoding Video Materials for DVD.
Appendix C Calculating Disc Space Requirements 637
Stage 4: Calculating the Audio Allowances
Depending on your project, the audio may have a relatively minor effect on disc space.
It can also be challenging to determine the audio allowances because each video asset
can have up to eight audio streams, and each stream can be a different type and length.
The following table lists the typical bit rates for the common audio formats.
Audio format Bit rate
AC-3 stereo 192 kilobits per second (kbps) to 224 kbps
AC-3 5.1 surround 384 to 448 kbps
DTS 5.1 surround 754.5 kbps or 1509.75 kbps
PCM stereo 16 bits at 48 kHz 1536 kbps
PCM stereo 24 bits at 96 kHz 4608 kbps
In the earlier example, video asset 1 has two audio streams, each 5174 seconds long. The
first stream is AC-3 5.1 surround, and the second is AC-3 stereo. The video asset 2 has
one audio stream 2735 seconds long, using 16-bit 48 kHz PCM audio. The motion menu
has an AC-3 stereo audio stream 17 seconds long. If your slideshow includes audio, you
also need to include that in the formula.
To calculate the storage required, you determine each video asset’s total audio bit rate
and multiply that by the duration.
Section Duration Bit rate Disc space
Video 1, AC-3 5.1 5174 seconds 448 kbps 2.32 gigabits (Gbit)
Video 1, AC-3 stereo 5174 seconds 224 kbps 1.16 Gbit
Video 2, 16-bit 48 kHz 2735 seconds 1536 kbps 4.20 Gbit
PCM
Menu, AC-3 stereo 17 seconds 224 kbps 0.004 Gbit
Total: 7.684 Gbit
As you can see, using PCM audio requires substantially more disc space than using a
compressed format like AC-3. See Preparing Audio Assets for more information on the
different audio formats.
Stage 5: Calculating the Effect of Audio on the Video Bit Rate
Now that you know how much disc space is required for the audio, you can more
accurately determine the video bit rate you can use. Because the DVD-5 and DVD-9 discs
were the only practical ones based on the previous calculations, you will continue
experimenting with them in this example.
638 Appendix C Calculating Disc Space Requirements
For the DVD-5 disc, you need to subtract the total audio amount from the total disc size:
37.6 gigabits – 7.684 gigabits = 29.916 gigabits for the video. Dividing the available space
by the video duration provides a new bit rate: 29.916 gigabits ÷ 7926 = 3.77 Mbps. You
can see that the audio has considerably affected the original bit rate for the DVD-5 disc
(4.74 Mbps). The use of PCM audio for the second video asset in this example has forced
the video bit rate to drop below 4 Mbps, making the use of a DVD-5 disc questionable
because a bit rate that low may not provide suitable quality.
For the DVD-9 disc, you end up with 60.636 gigabits available for the video (68.32 gigabits
– 7.684 gigabits). The adjusted video bit rate is now 7.65 Mbps (60.636 gigabits ÷
7926 seconds)—easily high enough to provide good quality.
Stage 6: Calculating DVD-ROM Allowances
If you intend to include DVD-ROM content on the disc, you need to subtract it from the
disc space before coming up with your video bit rate.
Because the size of your DVD-ROM content is expressed in binary megabytes, you must
convert it to the same standard as used for the DVD disc size. In this example, there is a
total of 36 MB of data. Each computer MB is equal to 1,048,576 actual bytes. To convert
the DVD-ROM content, you need to multiply its size (36 MB) by 1,048,576 to get the actual
size of 37,748,736.
The next step is to convert this number into bits by multiplying it by 8, providing a final
size of approximately 0.3 gigabits. While this is not a large amount of space, you should
take it into account if you are trying to maximize usage of the disc’s available space.
Stage 7: Calculating Other Allowances
There are several other factors that should be taken into account when determining
available disc space.
• Slideshows: Each still in a slideshow requires approximately 200 kilobytes (KB) of disc
space. A full slideshow with 99 stills requires about 20 MB of disc space. If the slideshow
contains audio, you will find that the audio can require as much or more disc space
than the stills. If your disc contains many stills, you will need to take them into account.
• Still menus: Each standard still menu requires about 300 KB of space, depending on
the number of buttons.
Layered menus can require a lot more space than standard menus because a new menu
is created for each button in each of its separately specified states (normal, selected,
and activated). This can mean as many as 12 menus are created to support 4 buttons.
See Creating Menus Using the Layered Method for more information on layered menus.
Note: Menus that use button shapes with motion assets assigned are considered to
be motion menus, and need to count as a video asset.
Appendix C Calculating Disc Space Requirements 639
• Subtitles: The amount of space required by subtitles can vary widely, depending on
how many of the 32 streams you use, the type of content you use (simple text characters
or full-screen graphics), and how often you change them (several times a second, or
more typically, once every four or five seconds).
Simple subtitles average about 10 kbps—roughly 2 megabits of space per hour, which
is negligible on most titles. If you intend to use subtitles more as an animation tool,
with full-screen graphics that change often, you must make significant allowances for
them. (The maximum bit rate allowed for a subtitle stream is 3.36 Mbps—almost as
much as the video stream.)
• Transitions: The amount of disc space required by each transition varies depending on
the transition’s length and type. In general, for SD projects, which use a bit rate of
6 Mbps for transitions, you should allow 750 KB of disc space for every second of
transition time in the project. For HD projects, which use a bit rate of 20 Mbps for
transitions, you should allow 2.5 MB of disc space per second.
Note: Keep in mind that adding a transition to a menu results in a separate transition
clip for each button—a menu with 18 buttons can require 18 transition clips.
Unless you are using an exceptional number of stills, menus, or subtitles, you can usually
account for the amount of space required by these items by allowing a five percent
overhead. The easy way to apply this overhead amount is to multiply the bit rate you
have figured out by 0.95. In the earlier example, the DVD-5 disc bit rate drops from
3.77 Mbps to 3.58 Mbps; the DVD-9 bit rate drops from 7.65 Mbps to 7.27 Mbps.
Important: It is much better to be conservative and find yourself with some disc space
left over than to get to the end of the project and find it will not fit on the disc.
Using the Calculated Bit Rate
The bit rates you calculate can be used as the bit rate entry of your encoder, regardless
of the encoding method you intend to use (one pass, one-pass variable bit rate [VBR], or
two-pass VBR). See MPEG Encoding Methods for more information.
640 Appendix C Calculating Disc Space Requirements
Most of the parameters of the standard transitions supplied with DVD Studio Pro are
self-explanatory. However, some parameters are not as obvious. This appendix explains
the parameters for each of the transitions. For details on using transitions with menus,
see Using the Menu Transition Feature. For details on using transitions with tracks, see
Adding Transitions to Still Clips. For details on using transitions with slideshows, see Using
Slideshow Transitions.
This appendix covers the following:
• Transition Duration (p. 641)
• Video Transition (p. 641)
• Alpha Transitions (p. 642)
• Standard Transitions (p. 642)
Transition Duration
All transitions have a duration setting. The duration can be set from a minimum defined
for each transition (usually one second) to a maximum based on the source length or
10 seconds maximum, whichever is smaller. For example, a slide with a duration of 5:00
can have a maximum transition duration of 4:15 because the minimum duration for a
slide is 15 frames. (This is in an NTSC project—in a PAL project, the maximum transition
duration would be 4:13 because the minimum duration for a slide is 12 frames.)
Video Transition
Menus and buttons have an additional transition to choose called Video Transition. With
Video Transition, you choose a video asset to play as the transition when a button is
pressed.
641
Transition Parameters
Appendix
D
Alpha Transitions
DVD Studio Pro includes several Alpha Transitions. These transitions use short video clips
to produce a transition from the current picture to the new picture. These transitions,
indicated with the Greek letter alpha in front of their name, have no settings other than
a duration, and are not listed with the standard transitions.
Additionally, you can even create and import your own Alpha Transitions. See Preparing
Alpha Transitions for details on the process.
Standard Transitions
The following sections contain details about the standard transitions available in menus,
tracks, and slideshows.
Blur
Blurs the current picture while it fades, revealing the new picture underneath.
Parameter name Range Notes
You can enter a duration or drag the slider to set
the duration.
Duration 1 to 10 seconds
Defines the amount of blur shown before the
transition finishes.
Blur Soft or Intense
Cube
Rotates the current picture off the screen while revealing the new picture as if on an
adjacent side of a rotating cube.
Parameter name Range Notes
You can enter a duration or drag the slider to set
the duration.
Duration 1 to 10 seconds
Right, left, up, and Defines the direction the cube rotates in.
down
Direction
Defines the amount of perspective, with 0 being
maximum and 10 being minimum.
Field of View 0–10
Defines the color that appears in areas the pictures
do not cover.
Background Color
Dissolve
Dissolves between the current and new pictures.
Parameter name Range Notes
You can enter a duration or drag the slider to set
the duration.
Duration 1 to 10 seconds
642 Appendix D Transition Parameters
Drop
Slides in the new picture over the current one, with a bounce as it “hits” the side. Use
Move In to have the slide without the bounce.
Parameter name Range Notes
You can enter a duration or drag the slider to set
the duration.
Duration 1 to 10 seconds
Right, left, up, and Defines the direction the new picture moves in.
down
Direction
Droplet
The current picture ripples from its center and fades away, revealing the new picture.
Parameter name Range Notes
You can enter a duration or drag the slider to set
the duration.
Duration 1 to 10 seconds
Defines the severity of the ripple before the
transition finishes; 0 is subtle while 10 is extreme.
Amplitude 0–10
Fade Through Color
Dissolves from the current picture to a color, then to the new picture.
Parameter name Range Notes
You can enter a duration or drag the slider to set
the duration.
Duration 1 to 10 seconds
Color Color Defines the color dissolved to.
Flip
Rotates the current picture in 3D space, revealing the new picture on its back.
Parameter name Range Notes
You can enter a duration or drag the slider to set
the duration.
Duration 1 to 10 seconds
Defines the direction the current image rotates
toward.
Right, left, up, and
down
Direction
Defines the color that appears in areas the pictures
do not cover.
Background Color
Defines the amount of perspective, with 0 being
maximum and 10 being minimum.
Field of View 0–10
Melt
“Melts” the current picture while it fades, revealing the new picture.
Appendix D Transition Parameters 643
Parameter name Range Notes
You can enter a duration or drag the slider to set
the duration.
Duration 1 to 10 seconds
Defines how far the picture melts before the
transition finishes.
Viscosity 0-10
Mosaic
Divides the picture into panels that each flip independently to reveal the new picture on
their back.
Parameter name Range Notes
You can enter a duration or drag the slider to set
the duration.
Duration 1 to 10 seconds
Defines the direction the current image panels
rotate toward.
Right, left, up, and
down
Direction
Defines the number of rows the picture is broken
into.
Rows 1–16
Defines the number of columns the picture is
broken into.
Columns 1–16
Defines the amount of perspective, with 0 being
maximum and 10 being minimum.
Field of View 0–10
Motion Dissolve
Current picture zooms out while it dissolves to the next picture.
Parameter name Range Notes
You can enter a duration or drag the slider to set
the duration.
Duration 1 to 10 seconds
Move In
Slides in the new picture over the current picture. Use Drop to have the slide with a
bounce as it “hits” the side.
Parameter name Range Notes
You can enter a duration or drag the slider to set
the duration.
Duration 1 to 10 seconds
Right, left, up, and Defines the direction the new picture moves in.
down
Direction
Page Flip
Creates a page turn effect to remove the current picture, revealing the new picture
underneath.
644 Appendix D Transition Parameters
Parameter name Range Notes
You can enter a duration or drag the slider to set
the duration.
Duration 1 to 10 seconds
Right, left, up, and Defines the direction the page is turned to.
down
Direction
Defines the amount the page flip’s fold rotates
during the transition.
Angle 0–359 degrees
Defines the tightness of the fold, with 0 being
minimum and 10 being maximum.
Field of View 0–10
Push
Current picture slides off as the new picture slides in.
Parameter name Range Notes
You can enter a duration or drag the slider to set
the duration.
Duration 1 to 10 seconds
Right, left, up, and Defines the direction the new picture moves in.
down
Direction
Radial Blur
Current picture blurs and zooms out while fading to reveal the new picture.
Parameter name Range Notes
You can enter a duration or drag the slider to set
the duration.
Duration 1 to 10 seconds
Defines the amount of blur and zoom before the
transition finishes, with 0 being minimum and 10
being maximum.
Depth 0–10
Reveal
Current picture slides off, revealing the new picture sitting underneath it.
Parameter name Range Notes
You can enter a duration or drag the slider to set
the duration.
Duration 1 to 10 seconds
Defines the direction the current picture moves
in.
Right, left, up, and
down
Direction
Rotate
Spins the current picture about its Z-axis while zooming out and fading to reveal the new
picture underneath.
Appendix D Transition Parameters 645
Parameter name Range Notes
You can enter a duration or drag the slider to set
the duration.
Duration 1 to 10 seconds
Defines the amount of rotation and zoom before
the transition finishes, with 0 being minimum and
10 being maximum.
Depth 0–10
Rotation Blur
Spins the current picture about its Z-axis while blurring, zooming out, and fading to reveal
the new picture underneath.
Parameter name Range Notes
You can enter a duration or drag the slider to set
the duration.
Duration 1 to 10 seconds
Controls how far the current picture rotates during
the transition.
Angle 0–359 degrees
Wipe
Current picture is wiped off and the new picture wiped on using a straight edge soft
wipe.
Parameter name Range Notes
You can enter a duration or drag the slider to set
the duration.
Duration 1 to 10 seconds
Right, left, up, and Defines the direction the wipe moves in.
down
Direction
Defines the softness of the wipe edge, with 0
being minimum and 10 being maximum.
Thickness 0–10
Zoom
Current picture zooms out and fades to reveal the new picture.
Parameter name Range Notes
You can enter a duration or drag the slider to set
the duration.
Duration 1 to 10 seconds
Defines the amount of zooming before the
transition finishes, with 0 being minimum and 10
being maximum.
Depth 0–10
646 Appendix D Transition Parameters
4:3 The most common video aspect ratio, used for NTSC and PAL video standards. Also
known as the 1.33 aspect ratio. See also aspect ratio.
16:9 The widescreen aspect ratio supported by the DVD-Video specification. Also known
as the 1.78 aspect ratio. See also anamorphic, aspect ratio.
AC-3 audio A compressed audio format developed by Dolby Laboratories. Also known
as Dolby Digital audio. Supports single-channel through 5.1 surround sound configurations.
The AC-3 encoder in Compressor outputs AC-3 format audio.
active area The rectangular area that defines the part of the overlay graphic used for a
button. Also defines a buttons hot spot that can be clicked when viewing the title on a
computer. See also button.
anamorphic A type of widescreen video in which the video uses the same frame size as
standard 4:3 video, but with a horizontally compressed image, giving it a distorted
appearance. Widescreen SD-based DVDs require you to use anamorphic 16:9 video.
aspect ratio A video frames width-to-height ratio on your viewing screen. The most
common aspect ratio is 4:3 used for standard video. The DVD specification also supports
the 16:9 aspect ratio. See also 4:3, 16:9, anamorphic.
assets The audio, video, and still image files used by DVD Studio Pro in authoring DVD
projects.
AUDIO_TS folder One of two folders required on standard definition DVD-Video discs
(the VIDEO_TS folder is the other). The AUDIO_TS folder is reserved for use on DVD-Audio
titles, and is always created but left empty when building projects with DVD Studio Pro.
See also VIDEO_TS folder.
authoring The process of creating a DVD. Authoring a DVD project requires you to use
your sources to create elements, such as menus and tracks, connect the elements so that
the viewer can get from one to the other, and then format the project into a
DVD-compliant set of files, image, or DVD. See also elements.
647
Glossary
Glossary
authoring media The DVD-R format that supports the Cutting Master Format (CMF) for
adding advanced features to master discs supplied to a replication facility. Requires using
a special authoring DVD-R drive. See also Cutting Master Format (CMF), general media.
AVC (Advanced Video Codec) See H.264.
background image All menus have a background image, over which the menu’s buttons
are placed. The background can be a still image or a motion video (creating a motion
menu). See also motion menu.
B-frame Bi-directional frame. In an MPEG video stream, a B-frame contains the motion
differences between I-frames and P-frames occurring before and after it. With respect to
file sizes, these are the most efficient frame types, although they have the greatest difficulty
in handling abrupt scene changes. See also Group of Pictures (GOP), I-frame, P-frame.
bit rate The number of bits per second that makes up a digital video or audio asset. The
higher the bit rate, the better the quality. However, higher bit rates require larger file
sizes and can cause playback problems if the DVD player is unable to keep up. The DVD
specification places bit rate limits on assets used in DVD titles.
blue laser The name for the new disc format supported by HD-based DVDs. The name
refers to the color of the laser that plays the discs. Because a blue laser has a shorter
wavelength than the red laser used with traditional SD-based DVDs, it is able to handle
data that is more tightly packed than on red laser discs. This results in a little more than
three times higher disc capacity. See also red laser.
build To compile the project into its DVD-compliant format, creating the AUDIO_TS and
VIDEO_TS folders for SD projects, and the HVDVD_TS folder for HD projects. The streams
that make up a track are multiplexed into a single video object file. See also format.
burn To write data to a disc. Within DVD Studio Pro, burn refers to a process that builds
the project and then formats and writes it to a DVD-R, simplifying the process. See also
build, format.
button Each DVD menu has at least one button that the viewer can activate to access
areas within the DVD. You can also place buttons over a video track. DVD Studio Pro
supports three button types: overlay-based using an overlay graphic, shape-based using
supplied or custom shape graphics, and layer-based using layers in an Adobe Photoshop
(PSD) format file. You can connect buttons to a wide variety of project elements, including
buttons on other menus, tracks, stories, slideshows, and scripts. See also button navigation,
button states, motion button.
648 Glossary
button navigation The actions that occur when a viewer presses a remote control’s arrow
buttons. You can manually configure each button’s navigation settings or use the
DVD Studio Pro Auto Assign feature to automatically set the navigation of all buttons on
a menu at once. It is important to set the navigation so that viewers can logically get
from the current button to the desired one.
buttons over video Interactive buttons that appear over a video stream by way of a
subtitle stream. Used to provide the viewer with viewing options while watching a title’s
main program. Also known as interactive subtitles and interactive markers.
button states Each button on a menu can be in one of three states: normal, selected,
and activated. In the normal state, the button displays its inactive condition. All buttons
on a menu except one are in the normal state. A button is selected when the viewer
navigates to it. Only one button at a time can be in the selected state. The selected button
becomes activated when the viewer presses the remote control’s Enter button. Depending
on the button type, highlights or layers are used to indicate each button’s state.
chapter Places in a track where you can connect to. Commonly used to identify scenes
for a chapter index menu. You can assign up to 99 chapters in each track.
clip The term used to describe a video or audio asset, especially after it has been added
to a track. See also assets.
color mapping When working with overlay graphics, the process of assigning a color
and opacity setting to colors used in the overlay graphic. You assign separate colors and
opacities for all three button states (normal, selected, and advanced). See also overlay.
compile See build.
constant bit rate (CBR) encoding A video MPEG encoding method that uses the same
bit rate for the entire video file. Its primary advantage is that you can reliably predict the
resulting file size. Its disadvantage is that all video scenes, whether still or with a lot of
motion, are treated the same. See also variable bit rate (VBR) encoding.
Content Scrambling System (CSS) Provides digital-based copyright protection for an SD
DVD’s contents. See also Copy Generation Management System (CGMS), Macrovision.
Copy Generation Management System (CGMS) Used to set whether an SD DVD can
have unlimited copies made, a single copy made, or no copies made. Allowing no copies
to be made activates the CSS and Macrovision settings. See also Content Scrambling
System (CSS), Macrovision.
Cutting Master Format (CMF) A format that provides the information needed by
replication facilities to add advanced features to a DVD, such as support for copy protection
and dual-layer discs. The cutting master format can be applied to DLTs and authoring
DVD-Rs, but not general DVD-Rs.
Glossary 649
Digital Linear Tape (DLT) drive The tape drive most often used to supply an SD DVD
project to a replication facility. A separate tape is written for each project layer during
the format process. See also disc description protocol (DDP), format.
Digital Theatre Systems (DTS) audio A compressed audio format for single channel
through 5.1 surround sound configurations. Requires an external DTS decoder for playing
on your computer.
disc description protocol (DDP) The file type most often used when formatting a project
onto a DLT drive. See also Digital Linear Tape (DLT) drive.
Dolby Digital See AC-3 audio.
double-layer disc A recordable disc format that you can burn a dual-layer project to.
Because it has the same capacity as a dual-layer disc, it is able to use the dual-layer settings
in your project to place the break point, making it possible to test the project before
sending it to the replicator. See also dual-layer disc.
double-sided disc A DVD with content on both sides of the disc. Most DVD players require
you to turn the disc over to play the second side. Each side can be single- or dual-layer.
See also dual-layer disc.
drop frame timecode Timecode that represents the actual time duration of NTSC at
29.97 frames per second (fps). To achieve this accuracy in numbering the frames, two
frame numbers are dropped every minute on the minute, except for the tenth minute.
See also non-drop frame timecode, timecode.
drop zone An element you can add to a menus background. You can assign a still image
or moving video asset to the drop zone. You can size, position, and rotate the drop zone.
When you build the title, the drop zone is merged with the background. Drop zones
cannot be linked to other elements in the project.
dual-layer disc A DVD with two layers on a single disc side, almost doubling a single-layer
disc’s capacity. While you can burn a dual-layer project on a double-layer drive, they are
most often created by a replication facility. See also double-layer disc, double-sided disc,
opposite track path (OTP), parallel track path (PTP).
duplication facility When you need to create multiple copies of a DVD, and the disc fits
on a standard DVD-R and requires no special high-end features such as copy protection,
you can use a duplication facility. The duplication process creates DVD-R copies from a
DVD-R that you burn on your system; they can automate the process and add professional
labels. See also replication facility.
650 Glossary
DVD@CCESS A feature in DVD Studio Pro that allows you to add additional interactivity
to your title when it is played on a computer. With DVD@CCESS, you can add links to
menus, tracks, and markers that can be used to open an application on the computer to
display extra content. For example, you can open the system’s web browser and direct
it to a specific URL.
DVD-R The DVD format supported by the Apple SuperDrive, using write-once discs. See
also authoring media, Cutting Master Format (CMF), general media.
DVD-ROM A DVD with files in addition to those included on a standard DVD-Video disc.
These files can be accessed when the title is played on a computer—they are ignored by
standard set-top DVD players. The files can be almost anything you can write to a disc
such as additional graphics or software.
elements The parts of a DVD project, such as menus, tracks, stories, slideshows, and
scripts. Authoring a project involves creating the elements and connecting them together.
See also authoring.
encoding The process of converting video or audio to a different format. For DVD projects,
this means converting the video to an MPEG-2 file, and the audio to one of several
DVD-compliant formats.
First Play The element of a project that appears when the title begins playing. You can
assign any of your projects elements as the First Play.
format The process of writing the build files to an output device, which can be a DVD-R
drive, an DLT drive, or your system’s hard disk. See also build.
general media The DVD-R format most commonly used by DVD-R drives, including the
Apple SuperDrive. It does not support the Cutting Master Format (CMF). See also authoring
media, Cutting Master Format (CMF).
General Purpose Register Memories (GPRMs) DVD players contain memory registers
that are set aside for use by DVDs while they play. Scripts in a DVD use the GPRMs to
store values used to provide special playback features, such as language customization
or random playback. See also System Parameter Register Memories (SPRMs).
Group of Pictures (GOP) A small section of an MPEG-2 encoded video clip, built from
one I-frame and several B-frames and P-frames. Typical GOP sizes range from a few frames
to a maximum of 18 frames (NTSC) or 15 frames (PAL). Marker placement and video trims
can only occur at GOP boundaries. See also B-frame, I-frame, P-frame.
Glossary 651
H.264 Based on the MPEG-4 part 10 format, the H.264 format, the H.264 video format,
also known as Advanced Video Codec (AVC), provides for encoding with about twice the
efficiency as with the MPEG-2 format. This results in better quality at the same bit rate,
or you can choose to use a lower bit rate to achieve the same quality (with a smaller file
size). In DVD Studio Pro, the H.264 format can only be used with HD projects.
HDV An HD video format, using high bit rate MPEG-2 encoding, designed to be recorded
on standard mini-DV tapes. HDV video can be edited in Final Cut Pro 5 and used in your
HD projects without ever needing to be transcoded.
HVDVD_TS The folder required on HD DVD-Video discs. DVD Studio Pro creates the
HVDVD_TS folder when you build your HD project. It contains all of the video, audio,
subtitle, menu, and navigation files that make up your HD DVD-Video title.
I-frame Intra frame. In an MPEG video stream, I-frames, also known as reference or key
frames, contain the complete image of the current frame. Unlike B-frames and P-frames,
I-frames do not rely on other frames to provide image information. Each GOP contains
one I-frame. See also B-frame, Group of Pictures (GOP), P-frame.
interactive markers See buttons over video.
interactive subtitles See buttons over video.
jacket picture An optional part of the DVD-Video specification that is intended to allow
a DVD player to display a graphic representing a DVD, either on a separate display or
when the DVD player is stopped.
layered menu creation method A method of creating menus that takes advantage of a
Photoshop PSD file having separate layers for each button in its three states (normal,
selected, and activated). This allows you to use complex graphics for the button highlights;
however, you cannot include a motion video background or audio. See also button states,
standard menu creation method.
letterbox A method of displaying 16:9 video on a 4:3 monitor. The entire frame appears,
with black bars at the top and bottom. See also pan-scan.
Line 21 support In NTSC systems, the video line that can contain special data. Most often
used to contain closed caption information.
Macrovision Provides analog-based copyright protection for an SD DVD’s contents. See
also Content Scrambling System (CSS), Copy Generation Management System (CGMS).
marker An element you can add to a track to identify specific parts of the track’s content.
There are several marker types, including chapter markers used to link chapter buttons
and button highlight markers used to control buttons over video. You can have up to 99
chapter markers in a track, and up to 255 total markers in a track. Markers can only be
placed at GOP boundaries. See also Group of Pictures (GOP).
652 Glossary
menu An element in a project that provides buttons for the purpose of connecting to
other elements in your project, such as tracks and slideshows. A menu can have a still or
full motion background, and can include audio. See also background image, drop zone,
motion button, motion menu.
motion button Button shapes that can display a thumbnail image of an assigned asset.
The asset can be a still image or a video clip.
motion menu A menu that contains moving video content, either as the background, a
motion button, or a drop zone. See also background image, drop zone, motion button.
MPEG Acronym for Moving Picture Encoding Group. A group of encoding standards that
define the MPEG-1 and MPEG-2 encoding standards used by DVDs.
multiplexing The process of combining multiple streams, such as video streams, audio
streams, and subtitle streams, into a single stream. This occurs when you build your title
and create DVD-compatible streams. See also build.
muxing See multiplexing.
non-drop frame timecode Normal NTSC timecode, where frames are numbered
sequentially and there are 30 frames per second, 60 seconds per minute, and 60 minutes
per hour. Because NTSC’s frame rate is actually 29.97 fps, non-drop frame timecode is off
by 3 seconds and 18 frames per hour in comparison to actual elapsed time. See also drop
frame timecode, timecode.
NTSC Abbreviation for National Television Standards Committee. The organization that
defines North American broadcast standards. The term NTSC video refers to the video
standard defined by the committee, which has a specifically limited color gamut, is
interlaced, and is approximately 720 x 480 pixels, 29.97 fps. See also PAL.
one-pass and two-pass VBR (variable bit rate) encoding See variable bit rate (VBR)
encoding.
opposite track path (OTP) Used when creating dual-layer discs to control where the
second layer starts. With OTP, the second layer starts at the outside edge of the disc,
which is the opposite of the first layer, which starts at the disc’s inside edge. See also
dual-layer disc, parallel track path (PTP).
overlay A still graphic that provides the highlight information for buttons when creating
menus or buttons over video. Overlays can be simple, using a single color on a white
background, or advanced, using up to four predefined colors. You use color mapping to
assign highlight colors to those used in the overlay, setting different colors for each button
state (normal, selected, and activated). See also color mapping.
PAL Acronym for Phase Alternating Line. A 25 fps (720 x 576 pixels) interlaced video format
used by many European countries. See also NTSC.
Glossary 653
pan-scan A method for displaying 16:9 video on a 4:3 monitor. Content is cropped at
each end so that the 4:3 monitor is filled. An MPEG-2 video clip with pan and scan can
include vectors that dynamically change the part of the picture that is cropped. See also
letterbox.
parallel track path (PTP) Used when creating dual-layer discs to control where the second
layer starts. With PTP, the second layer starts at the inside edge of the disc, the same as
the first layer. See also dual-layer disc, opposite track path (OTP).
patches Specialized shapes that provide features not normally available with traditional
shapes, such as shading and colorization. You cannot create your own patches. See also
shapes.
P-frame Predicted frame. In an MPEG video stream, P-frames are encoded based on the
closest preceding I-frame or P-frame. They can be referenced by B-frames occurring before
or after them. With respect to file size, they are not as efficient as B-frames, but handle
abrupt scene changes better. See also B-frame, Group of Pictures (GOP), I-frame.
pixel aspect ratio The distance between a pixel, the one next to it, and the one below
it defines its aspect ratio. A square pixel aspect ratio, as used on computer systems and
HD video monitors, has the same pixel distance in both directions. SD video monitors do
not have the same distance in both directions, and have rectangular pixels. NTSC and
PAL video each have different pixel aspect ratios. This difference must be accounted for
when creating graphics on a computer for use in an SD project.
project When you author a DVD title with DVD Studio Pro, you create and work in a
project.
red laser Refers to the color of the laser used to play the discs used by SD projects. See
also blue laser.
region codes DVDs can be set to play only in certain parts of the world by selecting the
supported regions when you author your title. The DVD specification divides the world
into six regions plus an additional region for use by airlines and cruise ships.
replication facility You can use a replication facility when you need to reproduce a
significant number of copies of your DVD (generally more than 100). You must use a
replication facility if you require dual-layer discs, or if you intend to include high-end
features such as copy protection or region codes. Replication facilities use a glass mastering
process to create DVDs that are compatible with all DVD players, as opposed to the DVD-R
process used by duplication facilities. See also duplication facility.
scripts Simple programs you create to access specialized information from the DVD
player, such as its region code, and to perform advanced functions, such as randomly
playing all tracks. You can connect most elements of a project to scripts. See also General
Purpose Register Memories (GPRMs), System Parameter Register Memories (SPRMs).
654 Glossary
shapes Used with standard menus, shapes can be added to a menu as buttons or drop
zones. In addition to their primary graphic, shapes can include the graphics required for
highlights and video thumbnails. You can use those supplied with DVD Studio Pro or
create your own. See also motion button, patches, standard menu creation method.
slideshow An element in a project that can contain up to 99 still images and
accompanying audio. DVD Studio Pro allows you to convert a slideshow into a track so
that you can add additional features to it, such as a subtitle or additional languages for
the audio.
S/PDIF audio Sony/Philips Digital Interface. Digital audio output used by external AC-3
or DTS decoders to listen to DVD Studio Pro audio.
standard menu creation method In DVD Studio Pro, refers to the process of creating
menus that provides the most flexibility, including the ability to use motion video for the
background, motion buttons, shapes, drop zones, and audio. Standard menus can also
use templates and styles. See also layered menu creation method.
story An element in a project that is specific to a particular track, allowing you to create
a customized version of that track. For example, you can use stories to create alternate
versions of a track that skip violent content or play just the track’s highlights.
styles Used with standard menus, styles define how specific menu items, such as text
objects, buttons, and drop zones, work in a menu. You can use those supplied by
DVD Studio Pro or create your own. See also standard menu creation method, templates.
subpicture See overlay.
subtitle The DVD specification provides for up to 32 subtitle streams to be included in
each track. These streams can contain plain text, similar to a closed caption function. They
can also be used to provide buttons over video, allowing you to have buttons appear
outside of menus. You can create the subtitles within DVD Studio Pro or import them
from outside sources.
System Parameter Register Memories (SPRMs) DVD players contain memory registers
that contain configuration information, such as languages, video configuration, and region
codes, for use by DVDs while they play. Scripts in the DVD can use the SPRMs to determine
which version of a track to play or whether the DVD player has the proper region code.
See also General Purpose Register Memories (GPRMs).
templates Used with standard menus, templates can contain styles that define a menu’s
background, button layout, text, and drop zones. You can use those supplied with
DVD Studio Pro or create your own. See also standard menu creation method, styles.
Glossary 655
timecode A method of associating each frame of video in a clip with a unique, sequential
unit of time. The format is hours: minutes: seconds: frames. See also drop frame timecode,
non-drop frame timecode.
track The element of a DVD Studio Pro project that contains the video, audio, and subtitle
streams that provide the primary content of the DVD. Each project can have a combination
of up to 99 tracks, stories, and slideshows.
transitions A short video clip that plays in place of the normal direct jump from one
button or still image to the next element. There are a variety of transition types supplied
with DVD Studio Pro that you can use. Transitions can be configured between a menu
button and its target, between slides in a slideshow, and between still image clips in a
track.
variable bit rate (VBR) encoding A video MPEG encoding method that varies the bit rate
based on the video content. Scenes with little motion use low bit rates to reduce the disc
space needed, while scenes with a lot of motion use higher bit rates for greater quality.
One-pass VBR encoding is faster than two-pass VBR encoding, but its quality is not quite
as good and the final file size may be slightly different than you predicted. Two-pass VBR
encoding makes a first pass through the video to determine its motion content, and then
uses a second pass to perform the encode, with the advantage of better quality and
providing a predictable file size.
VIDEO_TS folder One of two folders required on DVD-Video discs (the AUDIO_TS folder
is the other). DVD Studio Pro creates the VIDEO_TS folder when you build your SD project.
It contains all of the video, audio, subtitle, menu, and navigation files that make up your
DVD-Video title.
video title set (VTS) The contents of a DVD are contained in one or more VTS blocks.
DVD Studio Pro creates a VTS block for each track and slideshow in your project, with a
maximum of 99 total. In addition to a track or slideshow, each VTS can also contain menus
and scripts. You can use the VTS Editor to view and manage the VTS structure of your
DVD projects.
video zone The area of the DVD that contains the VIDEO_TS or HVDVD_TS folders.
Logic Express 8
Manuel de
l’utilisateur
Apple
Inc.
©
2007
Apple
Inc.
Tous
droits
réservés.
En
vertu
des
lois
sur
le
copyright,
il
est
interdit
de
copier
le
présent
manuel
en
tout
ou
partie
sans
l’autorisation
écrite
d’Apple.
Vos
droits
sur
le
logiciel
sont
régis
par
le
contrat
de
licence
du
logiciel
annexé.
Le
logo
Apple
est
une
marque
d’Apple
Inc.
déposée
aux
États-Unis
et
dans
d’autres
pays.
L’utilisation
du
logo
Apple
«
clavier
»
(Option
+
1)
à
des
fins
commerciales
sans
l’autorisation
écrite
préalable
d’Apple
peut
constituer
une
contrefaçon
de
marque
et
une
concurrence
déloyale
en
violation
des
lois
fédérales
et
nationales.
Tous
les
efforts
ont
été
mis
en
oeuvre
pour
garantir
l’exactitude
des
informations
contenues
dans
le
présent
manuel.
Apple
Inc.
ne
saurait
être
tenu
pour
responsable
des
coquilles,
ni
des
erreurs
d’écriture.
Note
:
Apple
fait
souvent
paraître
de
nouvelles
versions
et
des
mises
à
jour
de
ses
logiciels
système,
applications
et
sites
Internet.
Les
illustrations
fournies
dans
ce
manuel
peuvent
présenter
de
légères
différences
par
rapport
à
ce
qui
apparaît
sur
votre
écran.
Apple
Inc.
1
Infinite
Loop
Cupertino,
CA
95014-2084
408-996-1010
www.apple.com
Apple,
le
logo
Apple,
Bonjour,
Final
Cut,
Final
Cut
Pro,
FireWire,
iMovie,
iPod,
iTunes,
Jam
Pack,
Logic,
Mac,
MacBook,
Macintosh,
Mac
OS,
PowerBook,
QuickTime,
Soundtrack
et
Ultrabeat
sont
des
marques
d’Apple
Inc.
déposées
aux
États-Unis
et
dans
d’autres
pays.
Finder,
GarageBand
et
Safari
sont
des
marques
d’Apple
Inc.
AppleCare
est
une
marque
de
service
d’Apple
Inc.
déposée
aux
États-Unis
et
dans
d’autres
pays.
.Mac
et
iTunes
Store
sont
des
marques
de
service
d’Apple
Inc.
Adobe,
le
logo
Adobe,
Acrobat,
le
logo
Acrobat,
Distiller,
PostScript
et
le
logo
PostScript
sont
des
marques
ou
des
marques
déposées
d’Adobe
Systems
Incorporated
aux
États-Unis
et/ou
dans
d’autres
pays.
Tout
autre
nom
de
société
et
de
produit
mentionné
dans
le
présent
manuel
est
une
marque
de
son
détenteur
respectif.
La
mention
de
produits
tiers
n’est
proposée
que
dans
un
souci
d’information
et
ne
constitue
en
rien
un
cautionnement
ou
une
recommandation.
Apple
n’assume
aucune
responsabilité
en
ce
qui
concerne
les
performances
ou
l’utilisation
de
ces
produits.
3
1
Table
des
matières
Préface 15 Logic
Express
8
:
ressources
et
documentation
16
Conventions
dans
la
documentation
Logic
Express
8
17
Logic
Express
aide
à
l’écran
17
Sites
web
Apple
Chapitre
1 19 Présentation
de
Logic
Express
20
Création
de
musique
avec
Logic
Express
23
Opérations
de
base
:
projets
et
régions
Chapitre
2 27 Présentation
de
l’interface
Logic
Express
28
Visite
guidée
de
l’interface
Logic
Express
50
Fonctions
standard
des
fenêtres
Logic
Express
53
Interaction
entre
les
zones
de
la
fenêtre
Arrangement
58
Utilisation
des
éléments
de
l’interface
Logic
Express
60
Utilisation
du
clavier
de
l’ordinateur
Chapitre
3 61 Personnalisation
de
la
configuration
de
vos
fenêtres
62
Types
de
fenêtres
64
Ouverture
et
fermeture
des
fenêtres
65
Déplacement
et
redimensionnement
de
fenêtres
68
Utilisation
des
différents
niveaux
de
hiérarchie
69
Sélection
de
la
zone
de
travail
71
Zoom
75
Relations
entre
les
fenêtres
77
Personnalisation
de
la
barre
de
transport
77
Personnalisation
de
la
barre
d’outils
de
la
fenêtre
Arrangement
79
Masquage
ou
affichage
de
l’Inspecteur
79
Réglage
de
l’affichage
de
la
règle
Mesure
81
Affichage
des
pistes
globales
83
Utilisation
des
screensets
Chapitre
4 87 Configuration
du
système
87
Conception
de
votre
système
de
production
musicale
94
Branchement
de
vos
appareils
MIDI
et
audio
4
Table
des
matières
103
Utilisation
des
appareils
MIDI
externes
103
Utilisation
d’effets
audio
externes
103
Configuration
de
votre
matériel
audio
Chapitre
5 109 Navigation
dans
votre
projet
109
Réglage
de
la
position
de
la
tête
de
lecture
112
Utilisation
des
boutons
de
transport
114
Utilisation
des
raccourcis
clavier
de
transport
115
Utilisation
du
mode
Cycle
121
Utilisation
de
la
fonction
Suivi
d’événements
123
Personnalisation
de
la
barre
de
transport
Chapitre
6 131 Utilisation
des
marqueurs
132
Ouverture
des
fenêtres
et
des
zones
relatives
aux
marqueurs
133
Création
de
marqueurs
136
Sélection
de
marqueurs
136
Suppression
de
marqueurs
137
Dénomination
des
marqueurs
139
Modification
de
l’apparence
du
texte
du
marqueur
140
Modification
des
marqueurs
142
Navigation
à
l’aide
de
marqueurs
143
Personnalisation
de
l’affichage
des
marqueurs
dans
la
liste
des
marqueurs
Chapitre
7 145 Utilisation
des
projets
145
À
propos
des
projets
147
Création
de
projets
149
Ouverture
de
projets
151
Ouverture
et
création
automatique
de
projets
152
Importation
de
réglages
à
partir
d’autres
projets
154
Vérification
et
correction
de
projets
155
Définition
des
propriétés
de
projet
163
Gestion
des
projets
165
Enregistrement
de
projets
167
Fermeture
et
sortie
Chapitre
8 169 Fonctionnement
de
base
169
Utilisation
de
la
souris
171
Saisie
de
valeurs
numériques
172
Saisie
de
texte
172
Utilisation
des
raccourcis
clavier
181
Utilisation
d’outils
187
Utilisation
des
bulles
d’aide
188
Utilisation
du
menu
contextuel
189
Techniques
de
sélection
Table
des
matières
5
195
Utilisation
du
Presse-papiers
196
Annulation
et
rétablissement
d’opérations
d’édition
Chapitre
9 199 Utilisation
des
pistes
201
Configuration
de
l’en-tête
de
piste
202
Espace
de
travail
et
en-tête
de
piste
203
Création
de
pistes
et
de
canaux
210
Suppression
de
pistes
211
Sélection
de
pistes
211
Réorganisation
des
pistes
212
Attribution
de
noms
à
des
pistes
214
Assignation
de
pistes
aux
canaux
216
Zoom
sur
des
pistes
particulières
217
Assignation
d’icônes
à
des
pistes
218
Désactivation
du
son
des
pistes
220
Écoute
en
solo
de
pistes
221
Activation
de
l’enregistrement
de
pistes
222
Freeze
des
pistes
226
Masquage
de
pistes
227
Protection
des
pistes
228
Utilisation
de
la
fonction
d’activation
en
série
pour
les
boutons
placés
au
niveau
de
chaque
piste
Chapitre
10 229 Utilisation
des
instruments
et
des
effets
230
Aperçu
des
bandes
de
canaux
et
de
la
table
de
mixage
234
Insertion,
déplacement
et
retrait
de
modules
242
Chargement
et
suppression
de
configurations
entières
de
bandes
de
canaux
246
Utilisation
de
la
fenêtre
de
module
249
Fonctions
communes
de
la
fenêtre
de
module
256
Utilisation
de
la
bibliothèque
pour
sélectionner
les
réglages
de
module
258
À
propos
des
acheminements
d’effets
262
Utilisation
des
instruments
275
Utilisation
des
applications
ReWire
277
Utilisation
d’effets
audio
externes
278
Utilisation
de
modules
provenant
d’autres
fabricants
Chapitre
11 281 Ajout
de
données
préenregistrées
281
Formats
de
fichiers
pris
en
charge
282
À
propos
des
types
de
données
préenregistrées
pris
en
charge
par
Logic
Express
284
Accès
aux
fichiers
multimédia
depuis
le
navigateur
290
Recherche
de
boucles
Apple
Loops
dans
le
navigateur
de
boucles
299
Ajout
et
suppression
de
fichiers
audio
309
Ajout
de
fichiers
d’un
projet
et
de
fichiers
MIDI
6
Table
des
matières
Chapitre
12 311 Présentation
des
régions
311
Qu’est-ce
qu’une
région
?
315
Comparatif
des
régions
MIDI
et
audio
317
Gestion
des
régions
dans
le
chutier
Audio
et
l’Éditeur
des
échantillons
Chapitre
13 327 Création
de
votre
arrangement
329
Accélération
et
simplification
de
la
modification
des
régions
341
Sélection
de
régions
342
Sélection
de
parties
d’une
région
344
Ajout
et
enregistrement
des
régions
344 Suppression
et
restauration
des
régions
346 Déplacement
de
régions
352 Redimensionnement
des
régions
359 Coupe,
copie
et
collage
des
régions
360 Ajout
ou
suppression
de
passages
de
morceaux
365 Répétition
des
régions
373 Division,
démixage
et
fusion
de
régions
381 Utilisation
des
dossiers
385 Création
de
fondus
et
de
fondus
enchaînés
dans
des
régions
audio
389 Définition
des
paramètres
de
région
Chapitre
14 395 Enregistrement
dans
Logic
Express
395 Enregistrement
audio
395 Vue
d’ensemble
de
la
procédure
d’enregistrement
396 Préparation
de
l’enregistrement
405 Configuration
des
canaux
de
piste
407 Création
d’un
enregistrement
audio
419 Gestion
des
enregistrements
audio
420 Création
d’accompagnements
424 Gestion
des
dossiers
de
prises
426 Enregistrement
MIDI
427 Enregistrement
de
régions
MIDI
en
temps
réel
433 Enregistrement
MIDI
avec
entrée
pas-à-pas
439 Utilisation
du
clavier
avec
verrouillage
majuscules
Chapitre
15 441 Présentation
de
l’édition
MIDI
442 Ouverture
des
éditeurs
444 Écoute
des
événements
MIDI
lors
de
l’édition
444 Édition
d’événements
MIDI
dans
la
zone
Arrangement
445 Contrôle
et
réinitialisation
des
événements
MIDI
Chapitre
16 447 Modification
d’événements
MIDI
dans
l’Éditeur
Clavier
447 Découverte
de
l’interface
de
l’Éditeur
Clavier
450 Création
et
édition
d’événements
de
notes
Table
des
matières 7
465 Scission
d’accords
466 Utilisation
d’Hyper
Draw
468 Personnalisation
de
l’Éditeur
Clavier
468 Raccourcis
de
l’Éditeur
Clavier
Chapitre
17 469 Modification
d’événements
MIDI
dans
l’Hyper
Editor
471 Création
et
modification
d’événements
dans
Hyper
Editor
481 Utilisation
de
définitions
d’événements
489 Utilisation
d’hyper
sets
Chapitre
18 493 Modification
d’événements
MIDI
dans
la
Liste
des
événements
494 Présentation
et
utilisation
de
l’interface
Liste
des
événements
497 Sélection
et
création
d’événements
501 Modification
d’événements
503 Suppression
d’événements
et
désactivation
du
son
504 Lecture
en
solo
de
régions
ou
de
dossiers
et
changement
de
leur
nom
505 À
propos
des
types
d’événements
511 Fenêtre
Événement
en
premier
plan
Chapitre
19 513 Quantification
d’événements
MIDI
514 Quantification
de
régions
519 Quantification
des
événements
et
des
notes
522 Création
de
modèles
de
groove
Chapitre
20 527 Modification
d’événements
MIDI
dans
la
fenêtre
de
transformation
528 Choix
et
utilisation
des
jeux
de
transformations
539 Utilisation
des
paramètres
de
la
fenêtre
de
transformation
546 Création
de
vos
propres
jeux
de
transformations
547 Importation
de
jeux
de
transformations
à
partir
d’autres
projets
548 Exemples
d’utilisation
Chapitre
21 553 Modification
de
données
audio
dans
l’Éditeur
des
échantillons
554 Lecture
des
fichiers
audio
556 Navigation
dans
les
fichiers
audio
557 Modification
des
échelles
des
axes
X
et
Y
559 Affichage
de
la
forme
d’onde
sous
forme
de
bits
d’échantillonnage
560 Sélection
de
données
561 Copie,
collage,
suppression
et
coupe
562 Modification
et
traitement
de
données
audio
de
façon
destructrice
568 Réglage
du
tempo
du
projet
568 Fonctions
de
la
boucle
d’échantillonnage
568 Annulation
des
étapes
de
modification
dans
l’Éditeur
des
échantillons
570 Création
de
copies
de
sauvegarde
manuelles
572 Utilisation
de
Digital
Factory
8 Table
des
matières
588 Utilisation
d’un
Éditeur
externe
des
échantillons
Chapitre
22 589 Suppression
des
passages
silencieux
dans
les
régions
audio
589 Utilisation
de
la
fonction
Éliminer
les
silences
591 Utilisation
du
processus
d’élimination
des
silences
Chapitre
23 595 Réglage
du
tempo
des
régions
audio
595 Adaptation
automatique
au
tempo
596 Réglage
du
tempo
d’un
projet
afin
de
l’adapter
à
une
région
audio
598 Étirement
temporel
de
régions
598 Utilisation
de
la
fonction
Suivre
le
tempo
Chapitre
24 601 Gestion
de
fichiers
audio
601 Tri,
regroupement
et
changement
de
nom
de
fichier
dans
le
chutier
audio
606 Déplacement
de
fichiers
audio
607 Copie
ou
conversion
de
fichiers
audio
608 Suppression
de
fichiers
audio
609 Optimisation
des
fichiers
audio
609 Enregistrement
de
régions
en
tant
que
fichiers
audio
individuels
610 Exportation
de
pistes
en
tant
que
fichiers
audio
611 Utilisation
des
fichiers
SDII
611 Recherche
et
remplacement
de
fichiers
audio
orphelins
Chapitre
25 613 Mixage
615 Étapes
de
mixage
élémentaires
617 Éléments
des
bandes
de
canaux
618 Réglage
des
niveaux
des
bandes
de
canaux
621 Réglage
du
contrôle
Pan
ou
Balance
622 Activation
du
mode
solo
et
désactivation
du
son
des
canaux
624 Ajout
d’effetsà
l’aide
d’insertions
624 Utilisation
des
envois
624 Utilisation
des
réglages
des
bandes
de
canaux
625 Monitoring
à
l’aide
de
modules
d’effets
625 Armement
des
bandes
de
canaux
625 Modification
du
format
d’entrée
d’un
canal
626 Réglage
du
mode
Automation
626 Gestion
des
entrées
et
des
sorties
de
la
table
de
mixage
627 Ajustement
des
éléments
de
plusieurs
bandes
de
canaux
629 Ajustement
des
bandes
de
canaux
en
mode
Enregistrement
ou
Lecture
629 Utilisation
des
groupes
633 Types
de
bande
de
canal
641 Personnalisation
de
la
table
de
mixage
647 Utilisation
de
la
fenêtre
Étiquettes
E/S
Table
des
matières 9
Chapitre
26 649 Utilisation
de
l’automatisation
650 Affichage
des
données
d’automatisation
de
piste
653 Réglage
d’un
mode
d’automatisation
657 Écriture
des
données
d’automatisation
de
piste
658 Édition
des
données
d’automatisation
de
piste
dans
la
zone
Arrangement
664 Édition
des
données
d’automatisation
de
piste
dans
une
liste
des
événements
664 Écriture
des
données
d’automatisation
avec
des
contrôleurs
externes
666 Utilisation
de
la
fonction
Hyper
Draw
670 Conversion
de
données
d’automatisation
Chapitre
27 673 Bounce
de
votre
projet
674 Création
d’un
bounce
674 Direction
des
canaux
vers
une
sortie
675 Définition
de
la
plage
de
bounce
675 Utilisation
de
la
fenêtre
Bounce
685 Définition
du
nom
et
du
dossier
d’un
fichier
de
bounce
685 Bounce
et
Dithering
POW-r
Chapitre
28 687 Création
de
boucles
Apple
Loops
688 Création
de
boucles
Apple
Loops
dans
Logic
Express
691 Création
de
boucles
Apple
Loops
dans
l’Utilitaire
de
boucles
Apple
Loops
692 Conversion
de
fichiers
ReCycle
en
boucles
Apple
Loops
693 Ajout
de
boucles
Apple
Loops
au
navigateur
de
boucles
694 Pistes
globales
et
boucles
Apple
Loops
697 Conversion
de
boucles
Apple
Loops
en
fichiers
audio
697 Boucles
Apple
Loops
et
fréquences
d’échantillonnage
Chapitre
29 699 Échange
de
projets
et
de
fichiers
700 Partage
de
données
Logic
Express
sur
un
réseau
705 Sauvegarde
de
fichiers
audio
705 Sauvegarde
et
partage
de
projets
707 Utilisation
des
fichiers
SMF
710 Importation
de
projets
GarageBand
711 Utilisation
des
fichiers
OMF
712 Utilisation
des
fichiers
OpenTL
714 Ouverture,
importation
et
exportation
de
fichiers
AAF
715 Importation
et
exportation
de
fichiers
XML
Final
Cut
Pro
716 Exportation
de
régions
717 Exportation
de
pistes
sous
forme
de
fichiers
audio
Chapitre
30 719 Opérations
avancées
relatives
au
tempo
719 Affichage
du
tempo
720 Utilisation
de
la
piste
de
tempo
725 Enregistrement
des
changements
de
tempo
10 Table
des
matières
725 Ajustement
du
tempo
par
rapport
aux
régions
audio
726 Utilisation
de
la
liste
de
tempos
729 Utilisation
de
la
fenêtre
Opérations
sur
le
tempo
732 Utilisation
de
l’Interpréteur
de
tempo
734 Utilisation
du
curseur
de
tempo
Chapitre
31 737 Régions
de
table
des
battements
738 Table
des
battements
avec
des
régions
MIDI
740 Table
des
battements
avec
des
régions
audio
741 Battements
issus
de
la
région
742 Table
des
battements
réglée
sur
les
marqueurs
de
scène
742 Table
des
battements
réglée
sur
les
marqueurs
Chapitre
32 743 Transposition
avec
les
pistes
d’accord
et
de
transposition
744 Méthode
de
transposition
des
événements
MIDI
et
des
boucles
Apple
Loops
745 Création
et
modification
d’événements
de
transposition
et
d’accord
747 Analyse
de
régions
MIDI
Chapitre
33 749 Utilisation
de
la
notation
750 À
propos
de
l’éditeur
de
partition
757 Saisie
de
notes
et
de
symboles
dans
l’éditeur
de
partition
757 Enregistrement
MIDI
en
temps
réel
758 Saisie
des
étapes
759 Saisie
à
l’aide
la
souris
(à
partir
de
la
palette
des
symboles)
762 Utilisation
d’Hyper
Draw
dans
l’éditeur
de
partition
763 Utilisation
de
la
palette
des
symboles
766 À
propos
des
groupes
de
la
palette
des
symboles
776 Notes
et
symboles
d’édition
:
fonctionnement
de
base
776 Utilisation
du
menu
contextuel
776 Modification
simultanée
de
plusieurs
objets
777 Suppression
d’objets
dans
l’éditeur
de
partition
778 Déplacement
ou
copie
d’objets
à
l’aide
de
la
souris
781 Utilisation
d’alias
dans
l’éditeur
de
partition
782 Modification
de
la
position
graphique
des
objets
784 Redimensionnement
des
notes
et
des
symboles
785 Modification
de
notes
et
de
symboles
:
opérations
avancées
785 Modification
de
notes
791 Création
et
insertion
de
silences
793 Édition
de
clés
795 Édition
d’articulations
et
de
crescendi
797 Modification
de
signes
de
reprise
et
de
traits
de
mesure
799 Utilisation
du
texte
799 Insertion
de
texte
Table
des
matières 11
801 Édition
de
texte
802 Utilisation
de
polices
de
symboles
musicaux
803 À
propos
des
styles
de
texte
804 Utilisation
de
styles
de
texte
805 Utilisation
de
texte
global
807 Utilisation
d’objets
textuels
automatiques
808 Création
de
paroles
810 Création
de
symboles
d’accords
814 Utilisation
des
temps
et
des
armatures
815 Création
de
temps
816 Création
d’altérations
816 Sélection
d’articulations
817 Copie
d’articulations
818 Édition
d’articulations
818 Suppression
d’articulations
819 Création
et
sélection
d’articulations
alternatives
820 Transcription
d’enregistrements
MIDI
821 Réglages
par
défaut
des
nouvelles
régions
MIDI
822 Sélection
de
plusieurs
régions
dans
l’éditeur
de
partition
822 Paramètres
d’affichage
828 Régions
MIDI
masquées
828 Utilisation
des
attributs
de
note
pour
modifier
des
notes
séparément
835 Utilisation
des
styles
de
portée
858 Création
de
partitions
et
de
rubriques
instrumentales
au
moyen
des
jeux
de
partitions
866 Impression
de
la
partition
866 Préparation
de
la
mise
en
page
de
la
partition
pour
l’impression
870 Impression
de
la
partition
872 Exportation
de
la
partition
sous
forme
de
fichier
graphique
872 Préparation
de
l’exportation
872 Exportation
de
la
partition
873 Personnalisation
de
l’apparence
de
l’éditeur
de
partition
873 Sélection
d’un
mode
de
couleur
874 Affichage
des
dossiers
874 Affichage
des
pistes
globales
874 Affichage
du
nom
des
instruments
874 Réglages
de
projet
associés
à
l’affichage
des
partitions
875 Réglages
Partition
globale
880 Nombres
et
noms
884 Tabl.
guitare
888 Clefs
et
altérations
890 Mise
en
page
893 Réaction
MIDI
895 Couleurs
12 Table
des
matières
897 Préférences
de
partition
Chapitre
34 899 Utilisation
de
vidéo
900 Utilisation
de
la
fenêtre
Film
901 Utilisation
de
la
piste
vidéo
902 Utilisation
de
marqueurs
de
scène
903 Création
de
marqueurs
de
scène
904 Gestion
de
pistes
audio
de
films
QuickTime
906 Réglages
de
projet
vidéo
908 Préférences
vidéo
Chapitre
35 909 Synchronisation
de
Logic
Express
910 Relation
de
synchronisation
maître-esclave
910 Utilisation
d’une
synchronisation
externe
912 Réglages
du
projet
de
synchronisation
922 Affichage
et
utilisation
des
positions
SMPTE
924 Contrôle
de
la
machine
MIDI
(MCC,
MIDI
Machine
Control)
926 Problèmes
de
synchronisation
et
solutions
Chapitre
36 929 Utilisation
des
latences
des
modules
929 Au
sujet
des
temps
de
latence
930 Utilisation
du
Mode
de
temps
de
latence
faible
931 Utilisation
de
la
compensation
de
retard
de
module
Chapitre
37 937 Utilisation
de
formats
de
fichiers
audio
avec
canaux
scindés
938 Importation
de
fichiers
avec
canaux
scindés
938 Utilisation
de
fichiers
stéréo
scindés
939 Exportation
de
fichiers
avec
canaux
scindés
Chapitre
38 941 Utilisation
de
l’Environnement
942 Utilisation
de
l’Environnement
942 Présentation
de
l’Environnement
944 Utilisation
des
couches
947 Personnalisation
de
l’affichage
de
l’Environnement
949 Utilisation
des
objets
954 Trajectoire
du
signal
MIDI
961 Paramètres
courants
des
objets
Environnement
963 Échange
d’Environnements
968 Objets
Environnement
968 Instruments
standard
971 Multi
Instruments
977 Instruments
mappés
981 Table
de
mixage
GM
984 Boutons
d’enregistrement
MMC
Table
des
matières 13
984 Clavier
985 Objet
Moniteur
986 Objet
Séparateur
de
canal
986 Arpégiateur
989 Objet
Transformateur
994 Objet
Ligne
de
retard
995 Objet
Limiteur
de
voix
996 Objet
Mémoriseur
d’accord
999 Objet
Touch
Tracks
1002 Objets
Entrée
Physique
et
Entrée
Séquenceur
1004 Objet
Clic
MIDI
1005 Objets
internes
1006 Alias
1008 Ornement
1008 Macros
1010 Curseurs
1029 Objets
Bandes
de
canaux
Chapitre
39 1033 Réglages
du
projet
et
préférences
1034 Enregistrement
des
réglages
du
projet
et
des
préférences
1034 Réglages
du
projet
1034 Réglages
Synchronisation
1035 Réglages
Métronome
1037 Réglages
d’enregistrement
1039 Réglages
d’accord
1045 Réglages
audio
1047 Réglages
MIDI
1048 Réglages
de
projet
Partition
1048 Réglages
de
projet
Vidéo
1049 Réglages
de
projet
Ressources
1049 Préférences
1049 Préférences
globales
1054 Préférences
Audio
1060 Préférences
MIDI
1063 Préférences
d’affichage
1066 Préférences
de
partition
1066 Préférences
vidéo
1067 Préférences
d’automatisation
1068 Préférences
de
surface
de
contrôle
1068 Préférences
de
partage
Annexe 1069 En
savoir
plus,
service
et
assistance
1070 Informations
relatives
au
service
et
à
l’assistance
AppleCare
14 Table
des
matières
Glossaire 1071
Index 1109
15
Préface
Logic
Express
8
:
ressources
et
documentation
Logic
Express
8
offre
un
recueil
de
documentation
vous
permettant
d’apprendre
à
utiliser
de
manière
approfondie
l’ensemble
des
fonctionnalités
de
l’application.
Pour
obtenir
des
informations
complémentaires
sur
Logic
Express,
notamment
sur
les
mises
à
jour
et
les
textes
d’assistance,
reportez-vous
au
site
web
Apple.
Logic
Express
8
est
fourni
avec
la
documentation
suivante
:
 Manuel
de
l’utilisateur
de
Logic
Express
8
:
ce
livret
sert
d’arbitre
final
pour
tous
les
aspects
de
Logic
Express.
Il
explique
chaque
élément
du
programme
en
détail,
à
l’exception
des
modules.
 Premiers
contacts
avec
Logic
Express
8
:
ce
livret
vous
apprend
à
utiliser
Logic
Express
rapidement.
 Prise
en
charge
des
surfaces
de
contrôle
de
Logic
Express
8
:
ce
document
explique
comment
utiliser
des
surfaces
de
contrôle
avec
Logic
Express
8.
 Utilisation
du
matériel
Apogee
avec
Logic
Express
8
:
ce
document
explique
comment
utiliser
le
matériel
Apogee
avec
Logic
Express
8.
 Instruments
et
effets
de
Logic
Express
8
:
ce
manuel
traite
de
l’utilisation
de
tous
les
modules
d’instruments
et
d’effets
de
Logic
Express.
Il
n’aborde
pas
l’utilisation
spécifique
des
modules
dans
les
applications.
Il
couvre
uniquement
leurs
fonctions,
leurs
paramètres
et
leur
utilisation
en
général.
 Informations
de
dernière
minute
:
ce
document
est
publié
en
ligne
et
fait
l’objet
de
mises
à
jour
au
fur
et
à
mesure
des
nouvelles
versions
de
Logic
Express
8
ou
de
la
disponibilité
d’informations
inédites.
Important
:
toutes
les
informations
sur
les
sujets
abordés
dans
ce
manuel
étaient
exactes
lorsque
ce
dernier
a
été
rédigé.
Pour
obtenir
des
informations
récentes
sur
les
modifications
et
les
ajouts
effectués
après
la
publication,
reportez-vous
au
document
intitulé
Informations
de
dernière
minute,
que
vous
trouverez
dans
le
menu
Aide
Logic
Express,
et
au
document
Informations
de
mise
à
jour
fourni
avec
chaque
mise
à
jour
de
Logic
Express.
16 Préface
Logic
Express
8
:
ressources
et
documentation
Conventions
dans
la
documentation
Logic
Express
8
La
rubrique
qui
suit
vous
présente
les
conventions
utilisées
dans
la
documentation
de
Logic
Express
8.
Fonctions
des
menus
Les
différents
niveaux
des
menus
hiérarchiques
permettant
d’accéder
aux
fonctions
se
présentent
comme
suit
:
Menu
>
Entrée
du
menu
>
Fonction.
Entrées
importantes
Un
texte
apparaît
comme
suit
:
Important
:
informations
sur
la
fonction
ou
le
paramètre.
Ces
entrées
traitent
un
concept
clé
ou
donnent
des
informations
techniques
à
suivre
ou
à
prendre
en
compte.
Vous
devez
leur
prêter
une
attention
particulière.
Remarques
certaines
rubriques
offrent
des
informations
ou
des
astuces
complémentaires
vous
facilitant
l’utilisation
de
Logic
Express.
Elles
s’affichent
de
la
manière
suivante
:
Remarque
:
informations
sur
la
fonction
ou
le
paramètre.
Raccourcis
clavier
Un
grand
nombre
de
fonctions
Logic
Express
sont
accessibles
à
partir
de
raccourcis
sur
le
clavier
de
votre
ordinateur.
Les
raccourcis
clavier
mentionnés
dans
ce
guide
suivent
le
jeu
de
raccourcis
clavier
standard.
Astuces
Un
certain
nombre
de
raccourcis,
de
méthodes
alternatives
et
d’astuces
générales
figurent
tout
au
long
de
la
documentation.
Ces
indications
sont
susceptibles
d’améliorer
votre
flux
de
production
ou
de
vous
fournir
des
informations
complémentaires
sur
d’autres
utilisations
possibles
des
fonctions.
Les
astuces
se
présentent
de
la
manière
suivante
:
Π Conseil
:
informations
sur
la
fonction
ou
le
paramètre.
Avertissements
Des
messages
d’avertissement
sont
inclus
pour
certaines
fonctions
destructives
pouvant
provoquer
des
pertes
de
données
irrécupérables
ou
endommager
votre
matériel.
Les
avertissements
sont
affichés
de
la
manière
suivante
:
Prêtez
une
attention
particulière
à
ces
entrées
car
elles
peuvent
vous
épargner
de
graves
erreurs.
Avertissement
:
informations
sur
la
fonction
ou
le
paramètre.
Préface
Logic
Express
8
:
ressources
et
documentation 17
Logic
Express
aide
à
l’écran
L’Aide
Logic
Express
comprend
la
documentation
utilisateur
Logic
Express
8
au
format
électronique.
Ces
documents
ont
le
mérite
particulier
d’être
à
portée
de
main
dès
que
nécessaire
et
d’être
interrogeables,
vous
offrant
un
accès
rapide
aux
renseignements
dont
vous
avez
besoin.
 Le
menu
Aide
Logic
Express
présente
également
des
fonctions
complémentaires,
notamment
un
accès
direct
aux
pages
Logic
Express
du
site
web
Apple.
 Une
liste
complète
de
signets
vous
permet
de
choisir
(et
de
baliser)
rapidement
ceux
que
vous
voulez
consulter
et
vous
renvoie
directement
à
la
source
lorsque
vous
cliquez
sur
un
lien.
Informations
de
dernière
minute
Ce
document
est
publié
en
ligne
et
fait
l’objet
de
mises
à
jour
au
fur
et
à
mesure
des
nouvelles
versions
de
Logic
Express
8
ou
de
la
disponibilité
d’informations
inédites.
Pour
effectuer
une
vérification
des
dernières
mises
à
jour,
choisissez
«
Informations
de
dernière
minute
»
dans
le
menu
Aide.
Le
fichier
PDF
«
Informations
de
dernière
minute
»
est
téléchargé.
Si
Safari
est
le
navigateur
web
par
défaut
de
votre
système,
le
fichier
PDF
«
Informations
de
dernière
minute
»
s’affiche
directement
dans
Safari.
Certains
navigateurs
web
peuvent
ne
pas
afficher
directement
les
fichiers
PDF,
auquel
cas
le
fichier
PDF
sera
téléchargé
à
l’emplacement
de
téléchargement
par
défaut.
Sites
web
Apple
Il
existe
sur
le
web
une
grande
variété
de
groupes,
de
forums
de
discussion
et
de
ressources
pédagogiques
relatifs
à
Logic
Express.
Sites
web
Logic
Express
Les
sites
web
qui
suivent
offrent
des
mises
à
jour,
des
informations
d’assistance
et
des
informations
générales
sur
Logic
Express
ainsi
que
les
toutes
dernières
informations,
ressources
et
documentation.
Pour
obtenir
des
informations
à
propos
de
Logic
Express,
consultez
le
site
suivant
:
http://www.apple.com/fr/support/logicexpress
Pour
en
savoir
plus
sur
les
formations
dispensées
par
Apple,
accédez
au
site
suivant
:
http://www.apple.com/fr/training
Pour
faire
part
de
vos
commentaires
à
Apple
et
donner
votre
avis
sur
Logic
Express,
rendez-vous
sur
les
forums
de
discussion
Apple
(en
anglais)
:
http://discussions.apple.com/category.jspa?categoryID=156
18 Préface
Logic
Express
8
:
ressources
et
documentation
Site
web
de
service
et
d’assistance
Apple
Consultez
ce
site
pour
obtenir
des
mises
à
jour
de
logiciels
et
des
réponses
aux
questions
fréquemment
posées
sur
les
produits
Apple,
en
particulier
Logic
Express.
Vous
avez
également
accès
à
la
spécification
des
produits,
à
la
documentation
de
référence,
ainsi
qu’à
des
articles
techniques
sur
les
produits
Apple
et
de
tierce
partie.
Pour
accéder
à
la
page
web
du
service
et
de
l’assistance
Apple
:
m Ouvrez
votre
navigateur
Internet
et
tapez
l’adresse
http://www.apple.com/fr/support.
Autres
sites
web
 http://www.apple.com/fr
:
commencez
par
la
page
de
démarrage
d’Apple
afin
d’obtenir
les
dernières
informations
sur
les
produits
Apple.
 http://www.apple.com/fr/quicktime
:
QuickTime
est
la
technologie
standard
développée
par
Apple
pour
le
traitement
de
la
vidéo,
du
son,
des
animations,
des
graphismes,
du
texte,
de
la
musique
et
des
scènes
de
réalité
virtuelle
(VR)
à
360
degrés.
QuickTime
offre
un
haut
niveau
de
performance,
de
compatibilité
et
de
qualité
pour
la
diffusion
de
la
vidéo
numérique.
Rendez-vous
sur
le
site
web
de
QuickTime
pour
obtenir
des
informations
sur
les
types
de
données
compatibles,
avoir
un
aperçu
des
spécifications
et
de
l’interface
QuickTime,
etc.
 http://www.apple.com/fr/firewire
:
FireWire
est
l’un
des
standards
de
périphériques
les
plus
rapides,
ce
qui
le
rend
indispensable
pour
l’utilisation
de
périphériques
multimédia
tels
que
les
interfaces
audio,
les
caméscopes
vidéo
ou
les
tout
derniers
disques
durs
ultra-rapides.
Consultez
ce
site
web
pour
obtenir
des
informations
sur
les
avantages
de
la
technologie
FireWire,
sur
le
logiciel
FireWire
et
sur
les
produits
FireWire
de
tierce
partie.
 http://www.apple.com/fr/pro
:
ce
site
web
fournit
des
informations
et
d’autres
ressources
sur
les
séminaires,
les
événements
et
les
outils
de
tierce
partie
utilisés
pour
la
publication
sur
le
web,
la
conception
et
l’impression
de
documents,
la
CAO,
la
musique
et
le
son,
la
vidéo
en
fond
d’écran,
l’imagerie
numérique,
la
modélisation
et
l’animation,
ainsi
que
les
arts
médiatiques.
 http://www..apple.com/fr/store
:
rendez-vous
sur
ce
site
pour
acheter
des
logiciels,
du
matériel
et
des
accessoires
directement
auprès
d’Apple.
Vous
y
trouverez
également
des
promotions
et
des
offres
spéciales,
notamment
sur
du
matériel
et
des
logiciels
de
tierce
partie.
1
19
1 Présentation
de
Logic
Express
Logic
Express
est
une
application
MIDI
et
audio
complète
et
élaborée
qui
fournit
tous
les
outils
nécessaires
à
la
réalisation
de
créations
musicales
de
qualité
professionnelle.
Logic
Express
vous
permet
d’enregistrer
des
données
audio
et
MIDI,
de
modifier
des
boucles
audio
et
des
éléments
d’instruments
logiciels
et
MIDI,
d’ajouter
des
effets
de
grande
qualité
et
de
mixer
votre
musique
en
stéréo.
La
version
mixée
finale
peut
être
exportée
vers
un
fichier
audio
standard,
gravée
sur
un
CD
audio
ou
sur
un
DVD
susceptible
d’être
lu
sur
n’importe
quel
ordinateur
ou
chaîne
hi-fi
ou
importée
dans
d’autres
applications
et
périphériques.
Voici
un
aperçu
de
ce
que
vous
pouvez
faire
avec
Logic
Express
:
 Enregistrement
d’informations
MIDI
via
un
périphérique
d’entrée
MIDI
connecté,
tel
qu’un
clavier,
puis
lecture
de
ces
informations
via
tout
appareil
MIDI
connecté
(module
ou
clavier
de
synthétiseur)
ou
des
instruments
logiciels
intégrés
de
Logic
Express.
 Création,
arrangement
et
modification
de
projets
MIDI,
puis
impression
de
notations
musicales
par
le
biais
d’une
imprimante
connectée
à
votre
ordinateur.
 Enregistrement
numérique
d’instruments
acoustiques
et
électriques
ou
de
voix
dans
vos
projets,
puis
traitement
de
ces
enregistrements
audio
à
l’aide
d’un
large
éventail
d’effets
en
temps
réel
intégrés.
 Utilisation
des
instruments
logiciels
intégrés,
notamment
:
Ultrabeat,
ES1,
ES2,
EXS24
mkII,
plus
d’une
dizaine
d’instruments
GarageBand
de
haute
qualité
ou
d’instruments
Audio
Unit
de
tierce
partie.
 Chargement
de
projets
ou
de
bandes
de
canaux
depuis
GarageBand,
puis
amélioration
de
ces
éléments
grâce
aux
possibilités
de
traitement
et
de
modification
supplémentaires
offertes
par
Logic
Express.
 Mixage
de
vos
pistes
MIDI
et
audio,
comprenant
des
effets
et
des
réglages
d’instruments
logiciels,
par
l’intermédiaire
d’un
système
élaboré
d’automatisation
du
mixage
avec
remémoration
totale.
Logic
Express
fournit
des
effets
de
haute
qualité,
utilisables
dans
vos
projets.
Vous
pouvez
également
installer
et
utiliser
des
effets
et
des
instruments
Audio
Unit
de
tierce
partie.
20 Chapitre
1
Présentation
de
Logic
Express
 Bounce
(mixage)
de
toutes
les
données
audio,
y
compris
les
instruments,
les
effets
et
les
réglages
d’automatisation
du
mixage,
vers
un
fichier
stéréo
afin
de
les
masteriser
ou
de
leur
appliquer
un
traitement
supplémentaire.
 Travail
en
temps
réel
:
Logic
Express
vous
permet
de
travailler
sur
vos
projets
en
temps
réel,
d’ajouter
des
éléments
audio
et
MIDI
et
de
les
modifier
en
cours
de
lecture,
puis
d’écouter
immédiatement
le
résultat
de
vos
modifications.
 Utilisation
de
bibliothèques
de
boucles
existantes
:
Logic
Express
prend
directement
en
charge
les
fichiers
Apple
Loops
et
est
compatible
avec
un
grand
nombre
de
types
de
fichiers
audio
existants,
notamment
ceux
créés
avec
ReCycle.
 Recherche
et
aperçu
de
fichiers
:
la
zone
Média,
qui
fait
partie
de
l’interface
Logic
Express,
offre
des
fonctions
performantes
de
recherche
et
de
navigation
dans
les
fichiers,
ce
qui
facilite
la
localisation
de
fichiers
audio
et
d’autres
types
de
fichiers
pris
en
charge.
Création
de
musique
avec
Logic
Express
Logic
Express
peut
être
utilisé
de
différentes
façons,
de
la
plus
simple
à
la
plus
recherchée.
La
rubrique
suivante
décrit
un
exemple
de
processus
courant
auquel
contribuent
plusieurs
projets.
Le
cas
échéant,
la
structure
de
ce
manuel
suit
ce
processus
de
base.
Étape
1
:
création
d’un
projet
Pour
commencer
à
utiliser
Logic
Express,
vous
devez
créer
un
projet
ou
en
ouvrir
un.
Un
fichier
de
projet
contient
des
enregistrements
de
données
MIDI,
ainsi
que
des
informations
concernant
les
fichiers
audio
ou
autres
utilisés,
y
compris
les
pointeurs
vers
ces
fichiers.
Tous
les
fichiers
(audio,
vidéo,
échantillons,
etc.)
peuvent
être
enregistrés
dans
un
dossier
de
projet.
Tous
les
fichiers
d’un
projet
sont
automatiquement
placés
dans
les
sous-dossiers
appropriés,
au
sein
du
dossier
principal.
Pour
plus
de
détails,
reportez-vous
à
la
rubrique
«
Opérations
de
base
:
projets
et
régions
»
à
la
page
23.
Étape
2
:
création
et
importation
de
vos
oeuvres
musicales
L’importation
d’une
oeuvre
musicale
dans
Logic
Express
peut
être
effectuée
selon
deux
méthodes
:
 Nouveaux
enregistrements
de
données
audio
ou
MIDI
(ces
derniers
peuvent
ensuite
être
lus
à
l’aide
de
synthétiseurs
MIDI
externes
ou
d’instruments
logiciels).
 Importation
d’enregistrements
audio
(fichiers
audio,
échantillons,
boucles)
ou
de
fichiers
MIDI
(et
d’autres
données
de
fichier)
dans
vos
projets.
Vous
pouvez
importer
des
enregistrements
audio
existants
simplement
en
les
faisant
glisser
depuis
la
zone
Média,
qui
figure
à
droite
de
la
fenêtre
Arrangement.
Chapitre
1
Présentation
de
Logic
Express 21
Pour
effectuer
un
enregistrement,
vous
devez
faire
appel
à
du
matériel
audio
ou
MIDI
adapté,
connecté
à
votre
Macintosh
ou
installé
sur
ce
dernier.
Les
enregistrements
MIDI
permettent
de
déclencher
soit
des
périphériques
MIDI
externes,
tels
que
les
synthétiseurs,
soit
des
instruments
logiciels
internes.
Les
instruments
logiciels
sont
calculés
sur
l’unité
centrale
du
Macintosh,
puis
lus
par
l’intermédiaire
de
votre
interface
audio
ou
des
sorties
audio
Macintosh.
Non
seulement
vous
pouvez
enregistrer
les
notes
de
vos
performances,
mais
vous
pouvez
également
enregistrer
puis
lire
des
informations
telles
que
les
changements
de
réglage
du
synthétiseur,
et
tout
cela
en
temps
réel.
Pour
effectuer
un
enregistrement
audio,
vous
pouvez,
entre
autres,
jouer
d’un
instrument
(de
la
guitare
par
exemple)
ou
chanter
dans
un
micro.
Étape
3
:
arrangement
et
modification
Une
fois
vos
oeuvres
musicales
importées
ou
enregistrées
dans
Logic
Express,
vous
serez
généralement
amené
à
les
organiser
en
une
«
structure
de
morceaux
».
Pour
ce
faire,
vous
devez
utiliser
la
fenêtre
principale
de
Logic
Express,
appelée
fenêtre
Arrangement.
Les
oeuvres
musicales
apparaissent
sous
la
forme
de
blocs
rectangulaires,
appelés
régions.
Ces
régions
s’exécutent
de
gauche
à
droite
dans
la
fenêtre
Arrangement
et
sont
classées
verticalement
sous
forme
de
pistes.
Vous
pouvez
librement
copier,
répéter,
passer
en
boucle,
déplacer,
raccourcir,
allonger
ou
supprimer
des
régions,
et
ce
sur
une
ou
plusieurs
pistes.
Cette
présentation
en
forme
de
grille
et
l’utilisation
de
blocs
de
construction
(régions)
permet
de
créer
et
de
visualiser
plus
facilement
la
structure
globale
des
morceaux.
Vous
serez
souvent
amené
à
modifier
vos
enregistrements
de
données
audio
ou
MIDI
de
façon
plus
précise
que
cela
n’est
possible
au
niveau
de
la
région.
Logic
Express
dispose
de
plusieurs
fenêtres
d’édition
qui
vous
permettent
de
modifier
vos
oeuvres
musicales
à
différents
niveaux.
Voici
quelques
exemples
de
situations
où
cela
peut
s’avérer
utile
:
 Vous
avez
réalisé
l’enregistrement
d’une
performance
principalement
vocale
mais
on
entend
un
bruit
sourd
lors
des
passages
silencieux
entre
deux
phrases,
dus
au
fait
que
l’interprète
donne
un
coup
dans
le
pied
du
micro.
Bien
évidemment,
c’est
un
son
dont
vous
vous
passeriez
volontiers
sur
la
version
finale
du
CD.
Cela
ne
pose
pas
de
problème.
Il
vous
suffit
de
modifier
l’enregistrement
en
insérant
un
silence
au
moment
du
bruit
sourd,
voire
même
en
supprimant
complètement
cette
partie
de
l’enregistrement.
 Vous
avez
réalisé
un
enregistrement
MIDI
au
clavier
qui
serait
parfait
sans
cette
note
erronée,
qui
aurait
dû
être
un
Do
et
non
un
Si.
Cela
ne
pose
pas
de
problème.
Il
vous
suffit
de
faire
glisser
l’événement
de
note
MIDI
du
Si
vers
le
Do.
Pour
plus
de
détails,
reportez-vous
à
la
rubrique
«
Opérations
de
base
:
projets
et
régions
»
à
la
page
23.
22 Chapitre
1
Présentation
de
Logic
Express
Étape
4
:
mixage,
automatisation
et
utilisation
de
modules
Après
avoir
créé
un
arrangement
et
y
avoir
apporté
les
modifications
nécessaires,
l’étape
suivante
du
projet
correspond
généralement
à
la
phase
de
mixage.
Globalement
parlant,
le
terme
«
mixer
»
signifie
équilibrer
les
niveaux
relatifs
de
chaque
composant
d’un
morceau.
En
d’autres
termes,
la
partie
vocale
principale
doit
être
plus
forte
que
la
basse,
les
guitares,
les
percussions
et
les
synthétiseurs,
afin
que
l’on
puisse
entendre
les
paroles.
Le
mixage
implique
également
l’utilisation
d’effets
audio,
qui
ont
pour
effet
de
modifier,
d’améliorer
ou
de
supprimer
certains
composants
de
morceau
spécifiques,
jusqu’à
obtenir
un
produit
final
impeccable
et
unifié.
Logic
Express
fournit
divers
effets
que
vous
pouvez
utiliser
pour
transformer
votre
morceau
basique
en
un
projet
à
la
finition
digne
d’un
professionnel.
Logic
Express
vous
permet
d’enregistrer
ou
d’automatiser
les
modifications
apportées
aux
réglages
d’effet,
d’instrument
et
de
piste,
tels
que
le
volume,
la
balance,
les
filtres
et
d’autres
commandes.
Ces
opérations
peuvent
être
effectuées
en
temps
réel
ou
hors
ligne
à
l’aide
de
la
souris
ou
d’un
périphérique
MIDI
externe.
Ces
modifications
sont
répercutées
lorsque
vous
lisez
le
projet
et
peuvent
être
modifiées
indépendamment
de
l’oeuvre
musicale.
Cette
fonction
est
très
utile,
pour
diverses
raisons
:
 Si
vous
utilisez
la
souris
de
l’ordinateur,
vous
ne
pouvez
ajuster
qu’un
seul
niveau
ou
réglage
d’une
piste
de
lecture.
La
possibilité
d’enregistrer
et
de
lire
plusieurs
ajustements
de
tous
les
éléments
de
piste
permet
d’obtenir
une
version
mixée
élaborée.
 Il
est
rare
qu’une
performance
soit
parfaitement
cohérente.
En
effet,
un
interprète
chante
souvent
plus
ou
moins
fort
au
cours
des
différentes
parties
de
sa
performance,
vous
devrez
donc
égaliser
ces
changements
de
niveaux
tout
au
long
du
morceau
ou
équilibrer
les
rubriques
vocales
basses
et
fortes
par
rapport
au
fond
musical.
 La
dynamique
d’un
morceau
(ses
rubriques
basses
et
fortes)
bénéficie
de
l’animation.
En
d’autres
termes,
l’intensité
d’une
rubrique
de
morceau
est
souvent
obtenue
grâce
à
des
changements
de
niveaux
immédiats
ou
progressifs.
Les
morceaux
dont
le
niveau
reste
régulier
pendant
toute
leur
durée
ont
tendance
à
paraître
plats
et
à
manquer
d’énergie.
Étape
5
:
exportation
et
bounce
La
dernière
étape
du
processus
de
création
musicale
dans
Logic
Express
consiste
à
exporter
votre
produit
final.
Logic
Express
vous
permet
de
créer
un
fichier
stéréo
de
votre
version
mixée
finale
dans
divers
formats
de
fichier
audio.
Pour
ce
faire,
vous
devez
accéder
à
la
fenêtre
Bounce.
Choisissez
simplement
le
ou
les
types
de
fichiers
souhaités
dans
les
menus
disponibles,
puis
cliquez
sur
le
bouton
Bounce
à
l’écran.
Vous
pouvez
même
graver
une
version
mixée
stéréo
directement
sur
un
CD
ou
un
DVD
en
une
seule
étape.
Chapitre
1
Présentation
de
Logic
Express 23
Opérations
de
base
:
projets
et
régions
Cette
rubrique
fournit
une
présentation
des
éléments
de
base
et
de
la
terminologie
d’un
projet
Logic
Express.
Des
instructions
détaillées
concernant
l’utilisation
des
projets,
régions
et
événements
sont
fournies
dans
les
chapitres
ultérieurs.
Si
vous
êtes
un
utilisateur
chevronné,
vous
pouvez
passer
directement
à
la
rubrique
«
Visite
guidée
de
l’interface
Logic
Express
»
à
la
page
28.
Projets
Pour
commencer
à
utiliser
Logic
Express,
vous
devez
créer
un
projet
ou
en
ouvrir
un.
Ce
processus
est
similaire
à
l’utilisation
d’une
application
de
traitement
de
texte,
où
vous
devez
commencer
par
ouvrir
un
document
pour
pouvoir
taper.
Tout
comme
les
applications
de
traitement
de
texte,
Logic
Express
vous
permet
d’ouvrir
plusieurs
documents
(projets)
à
la
fois
et
de
transférer
des
données
multimédia
(ou
autres)
de
l’un
à
l’autre.
Un
fichier
de
projet
Logic
Express
contient
l’ensemble
des
événements
MIDI
et
des
réglages
de
paramètres,
des
informations
sur
les
fichiers
audio
et
vidéo
devant
être
lus
et
toutes
les
modifications
apportées
aux
données
MIDI
et
audio.
Il
est
important
de
noter
que
le
fichier
de
projet
pointe
vers
vos
fichiers
audio
et
vidéo,
qui
sont
stockés
sous
la
forme
d’entités
indépendantes
sur
le
disque.
Vous
avez
la
possibilité
d’inclure
ces
fichiers,
ainsi
que
d’autres
types
de
fichiers,
dans
le
dossier
du
projet.
Cette
approche
présente
deux
avantages
essentiels
:
 L’enregistrement
d’un
projet
sans
ses
«
ressources
»
(fichiers
d’échantillons,
audio,
vidéo,
etc.)
réduit
la
quantité
de
mémoire
nécessaire
au
stockage
des
fichiers
de
projet
(et
des
fichiers
de
sauvegarde
de
ce
dernier).
 L’enregistrement
d’un
projet
avec
ses
ressources
simplifie
certaines
tâches
telles
que
l’archivage
et
le
transport
vers
d’autres
studios
utilisant
l’application
Logic
Express.
Dossier
de
projet
Un
projet
peut
comprendre
l’ensemble
des
fichier
utilisés,
y
compris
le
«
morceau
»
lui-même
(le
document
de
projet),
les
copies
de
sauvegarde
du
morceau,
toutes
les
données
audio,
tous
les
instruments
échantillonnés
et
les
échantillons
des
instruments
EXS24
ou
Ultrabeat,
ainsi
que
toutes
les
données
vidéo.
Ces
éléments
sont
collectivement
désignés
comme
étant
les
ressources
du
projet.
Lorsque
vous
créez
un
nouveau
projet,
un
dossier
de
projet
est
créé
et
nommé
et
son
emplacement
sur
le
disque
dur
est
spécifié.
Les
nouveaux
enregistrements
sont
automatiquement
placés
dans
un
sous-dossier
intitulé
Fichiers
audio,
au
sein
du
dossier
de
projet
principal.
Si
vous
décidez
d’inclure
les
ressources
du
projet,
d’autres
sous-dossiers
sont
automatiquement
créés.
Il
s’agit
notamment
des
dossiers
Fichiers
audio,
Copies
de
sauvegarde
du
projet,
Échantillons,
Vidéo,
ReCycle
et
Instruments
de
l’échantillonneur.
24 Chapitre
1
Présentation
de
Logic
Express
La
structure
de
sous-dossiers
est
identique
pour
tous
les
projets,
ce
qui
rend
la
navigation
dans
vos
projets
et
ceux
d’autres
utilisateurs
Logic
Express
plus
simple
et
plus
cohérente.
Régions
La
fenêtre
principale
de
Logic
Express
est
intitulée
fenêtre
Arrangement.
Il
s’agit
de
la
fenêtre
qui
s’affiche
en
premier
lorsque
vous
ouvrez
l’application
et
qu’un
projet
se
charge.
Cette
fenêtre
permet
d’enregistrer,
de
modifier
et
d’arranger
vos
projets.
Vos
fichiers
audio
et
MIDI
apparaissent
dans
la
fenêtre
Arrangement
sous
forme
de
zones
rectangulaires
appelées
régions.
Les
fichiers
audio
sont
représentés
par
des
régions
audio,
les
fichiers
MIDI
par
des
régions
MIDI.
Régions
audio
et
fichiers
audio
Les
régions
audio
font
tout
simplement
référence
(pointent
vers)
un
fichier
audio
sousjacent.
Elles
font
office
de
marqueurs
de
lecture
(signes
de
début
et
de
fin),
qui
peuvent
couvrir
l’intégralité
du
fichier
audio
ou
au
contraire
ne
durer
que
quelques
secondes
au
cours
desquelles
une
petite
partie
du
fichier
audio
est
lue.
Dossier du projet
Dossier des fichiers audio
Dossier des fichiers film
Dossier des instruments
de l’échantillonneur
Dossier des réponses d’impulsion
Ressources
du projet
Fichier de projet (« morceau »)
Région
audio
1
Fichier
audio
Région
audio
2
Région
audio
3
Chapitre
1
Présentation
de
Logic
Express 25
Tout
fichier
audio
utilisé
dans
Logic
Express
est
automatiquement
associé
à
au
moins
une
région
audio,
qui
correspond
par
défaut
à
l’intégralité
du
fichier
en
question.
Vous
pouvez
librement
créer
autant
de
régions
audio
que
vous
le
souhaitez.
Pour
vous
convaincre
de
l’utilité
des
régions,
imaginez
une
piste
de
batterie
stéréo
couvrant
toute
la
durée
de
votre
projet.
Le
batteur
a
parfaitement
joué
le
deuxième
refrain,
mais
s’est
montré
un
peu
brouillon
le
reste
du
temps.
Logic
Express
vous
permet
de
créer
une
région
audio
pointant
sur
le
deuxième
refrain
du
fichier
audio
(le
morceau
de
batterie),
puis
d’utiliser
cette
prise
parfaite
à
différents
endroits
du
projet.
Pour
ce
faire,
la
région
audio
(pointée
sur
le
2e
refrain
dans
le
fichier
audio
de
la
piste
de
batterie)
doit
être
créée
et
copiée
dans
chacun
des
emplacements
du
refrain
dans
l
a
zone
Arrangement.
L’un
des
gros
avantages
des
régions
audio
sur
les
fichiers
audio
réside
dans
le
fait
qu’elles
n’utilisent
que
très
peu
de
mémoire,
alors
que
plusieurs
copies
d’une
même
rubrique
du
fichier
audio
prendraient
beaucoup
de
place
sur
le
disque
dur.
Bien
entendu,
il
est
possible
de
modifier,
copier
et
déplacer
directement
des
fichiers
audio.
Pour
ce
faire,
vous
devez
faire
appel
à
l’Éditeur
des
échantillons
et
à
la
zone
Média.
Régions et
événements
MIDI
Les
régions
MIDI,
quant
à
elles,
contiennent
des
événements
de
données
MIDI.
Elles
ne
sont
pas
liées
à
des
informations
stockées
dans
des
fichiers
internes.
Les
régions
MIDI
peuvent
être
enregistrées
sous
forme
de
fichiers
individuels
mais
elles
peuvent
également,
et
c’est
le
plus
souvent
le
cas,
être
stockées
comme
faisant
partie
du
projet.
Les
événements
de
données
MIDI
stockés
au
sein
de
régions
MIDI
incluent
des
informations
telles
que
les
changements
de
notes,
de
contrôleur,
de
programme,
etc.
Ces
événements
de
données
représentent
des
performances
MIDI
que
vous
avez
enregistrées
dans
Logic
Express.
Ces
prestations
sont
généralement
créées
à
l’aide
d’un
clavier
MIDI,
mais
elles
peuvent
également
l’être
au
moyen
de
contrôleurs
MIDI,
de
guitares
MIDI,
du
clavier
ou
de
la
souris
de
votre
ordinateur.
Région MIDI
Événements de
note MIDI
Événements de
contrôleur MIDI
26 Chapitre
1
Présentation
de
Logic
Express
Les
événements
de
données
peuvent
être
affectés
sous
forme
de
groupe
en
traitant
la
région
MIDI
dans
laquelle
ils
se
trouvent.
De
tels
traitements
comprennent
notamment
les
opérations
de
transposition,
de
quantification
(correction
temporelle
semblable
à
la
correction
orthographique
d’une
application
de
traitement
de
texte,
mais
adaptée
au
domaine
de
la
musique),
de
délai
de
temporisation
et
bien
d’autres.
Vous
pouvez
aussi
modifier
les
événements
d’une
région
MIDI
un
à
un.
Pour
ce
faire,
ouvrez
la
région
en
question
dans
l’un
des
éditeurs
MIDI.
Ces
fenêtres
vous
permettent
de
modifier
de
façon
précise
la
position,
la
longueur
et
la
tonalité
d’événements
de
note
MIDI.
Les
autres
types
d’événement
MIDI
sont
modifiables
de
différentes
façons.
Grâce
aux
éditeurs
mis
à
votre
disposition,
vous
pouvez
saisir
librement
des
données
MIDI
à
l’aide
de
votre
clavier
MIDI,
de
votre
souris
et/ou
du
clavier
de
votre
ordinateur.
Pour
plus
d’informations
sur
les
données
et
les
types
d’événements
MIDI,
reportez-vous
au
chapitre
15,
«
Présentation
de
l’édition
MIDI
»
à
la
page
441.
2
27
2 Présentation
de
l’interface
Logic
Express
L’interface Logic Express se compose de plusieurs zones,
chacune étant spécialement conçue pour des tâches particulières.
L’espace de travail principal est la fenêtre Arrangement,
qui peut comprendre l’ensemble des zones et éditeurs.
Ce
chapitre
vous
présente
la
fenêtre
Arrangement.
Vous
allez
y
découvrir
quelles
sont
ses
interactions
avec
les
autres
fenêtres
et
éditeurs
à
votre
disposition
dans
Logic
Express.
Pour
obtenir
des
informations
détaillées
concernant
ces
éditeurs
et
leurs
fonctions,
reportez-vous
aux
chapitres
figurant
en
référence
croisée.
Nous
vous
conseillons
d’ouvrir
dès
à
présent
Logic
Express
afin
de
visualiser
ces
fenêtres
et
de
vous
familiariser
avec
elles.
Cliquez
sur
les
différentes
parties
de
l’interface
Logic
Express
et
explorez-les
à
mesure
qu’elles
sont
présentées.
Vous
pourrez
ainsi
mieux
situer
les
différents
éléments
et
avoir
un
bref
aperçu
de
leurs
fonctions
et
de
la
façon
dont
ils
fonctionnent
conjointement.
Pour
ouvrir
Logic
Express
:
m Dans
le
Finder
ou
le
Dock,
double-cliquez
sur
l’icône
Logic
Express
dans
le
dossier
Applications.
Lorsque
vous
ouvrez
Logic
Express
pour
la
première
fois,
la
zone
de
dialogue
Modèles
s’affiche,
vous
permettant
de
sélectionner
un
modèle
pour
le
type
de
projet
que
vous
souhaitez
créer
(pour
plus
d’informations
sur
la
zone
de
dialogue
Nouveau,
reportezvous
à
la
rubrique
«
Création
de
projets
»
à
la
page
147).
La
présentation
de
l’interface
de
Logic
Express
dépend
du
modèle
choisi.
28 Chapitre
2
Présentation
de
l’interface
Logic
Express
Visite guidée de l’interface Logic Express
La
rubrique
ci-après
vous
présente
les
divers
éléments
de
l’interface
Logic
Express.
Elle
vise
principalement
à
vous
familiariser
avec
l’interface
en
vous
faisant
découvrir
les
caractéristiques
de
base
de
chaque
zone.
Toutes
les
options
et
fonctions
ainsi
que
leur
utilisation
seront
décrites
en
détail
ultérieurement
dans
des
chapitres
spécifiques
du
manuel
de
l’utilisateur.
Fenêtre
Arrangement
La
fenêtre
Arrangement
peut
incorporer
l’ensemble
des
zones
de
travail
et
des
éditeurs.
Elle
comporte
une
barre
d’outils
située
dans
sa
partie
supérieure
et
une
barre
de
transport
figurant
dans
sa
partie
inférieure.
Vous
pouvez
afficher
d’autres
zones
comme
suit
:
 la
zone
d’édition,
juxtaposée
horizontalement,
sous
la
zone
Arrangement,
 la
zone
Média
ou
Listes,
juxtaposée
verticalement,
à
droite
de
la
zone
Arrangement
(et
de
la
zone
d’édition),
 l’Inspecteur,
juxtaposé
verticalement,
à
gauche
de
la
zone
Arrangement
(et
de
la
zone
d’édition).
Si
une
zone
n’est
pas
visible,
il
vous
suffit
de
cliquer
sur
le
bouton
approprié
de
la
barre
d’outils
ou
de
la
zone
Arrangement
pour
l’ouvrir,
puis
de
redimensionner
les
zones
affichées
pour
faire
de
la
place
à
cette
nouvelle
zone.
Π Conseil
:
vous
pouvez
également
ouvrir
un
grand
nombre
de
zones
d’éditeurs
et
d’autres
zones
dans
des
fenêtres
distinctes,
indépendantes
de
la
fenêtre
Arrangement.
Il
convient
pour
cela
d’utiliser
le
menu
Fenêtre
(et
les
raccourcis
clavier
associés).
Cliquez
sur
ce
bouton
pour
afficher
la
fenêtre
Inspecteur.
Fenêtre
Arrangement
Barre
de
transport
Zone
Arrangement
Cliquez
sur
ce
bouton
pour
afficher
la
zone
Listes
Cliquez
sur
ce
bouton
pour
afficher
la
barre
d’outils.
Zone
Média
Inspecteur
Barre
d’outils
Cliquez
sur
ces
boutons
pour
afficher
l’un
des
éditeurs.
Chapitre
2
Présentation
de
l’interface
Logic
Express 29
 Zone
Arrangement
:
zone
dans
laquelle
vous
enregistrez
des
rubriques
audio
et
instrumentales
sous
forme
de
régions,
puis
arrangez
ces
régions
audio
et
MIDI
sous
la
forme
d’un
morceau
musical.
 Zone
Média
ou
Listes
:
si
vous
avez
cliqué
sur
le
bouton
Média
de
la
barre
d’outils
Arrangement,
utilisez
les
divers
onglets
pour
localiser
et
écouter
un
aperçu
des
fichiers
audio
(onglet
Navigateur)
ou
bien
sélectionner
des
éléments
tels
que
des
effets,
des
instruments
et
leurs
réglages
(onglet
Bibliothèque).
Lorsque
vous
cliquez
sur
le
bouton
Listes,
vous
pouvez
afficher
notamment
les
événements
MIDI
(Liste
des
événements)
et
les
événements
de
tempo
(Liste
des
tempos).
Vous
pouvez
également
activer
la
zone
Média
ou
Listes
via
le
menu
Présentation
de
la
fenêtre
Arrangement
(ou
à
l’aide
des
raccourcis
clavier
correspondants).
 Zone
d’édition
:
vous
pouvez
ouvrir
ou
fermer
la
Table
de
mixage,
l’Éditeur
Clavier,
l’Hyper
Editor,
l’éditeur
de
partition
ou
l’Éditeur
des
échantillons
directement
dans
la
fenêtre
Arrangement
en
cliquant
sur
un
des
boutons
se
trouvant
dans
la
partie
inférieure
de
la
zone
Arrangement.
Ces
fenêtres
vous
permettent
de
modifier
précisément,
de
supprimer
ou
d’ajouter
différents
types
de
données.
 Barre
de
transport
:
permet
de
naviguer
dans
le
projet.
La
position
actuelle
de
lecture,
d’enregistrement
ou
d’édition
est
indiquée
par
la
tête
de
lecture
(trait
fin
vertical
qui
apparaît
dans
toutes
les
fenêtres
Logic
Express
permettant
l’affichage
en
temps
réel
de
la
lecture,
à
savoir
la
zone
Arrangement
et
les
fenêtres
d’éditeurs).
 Inspecteur
:
permet
de
définir
les
paramètres
de
piste
et
de
région
dans
la
fenêtre
Arrangement
ou
les
paramètres
de
la
fenêtre
d’édition
active.
Exemples
:
 En
cliquant
sur
la
zone
éditeur
de
partition
située
en
bas
de
la
zone
de
l’éditeur,
vous
affichez
tous
les
symboles
de
sonorisation
de
l’Inspecteur.
 En
cliquant
sur
la
zone
Éditeur
Hyper,
vous
affichez
les
paramètres
de
la
définition
hyper
actuellement
sélectionnée
(ligne
sélectionnée
dans
la
fenêtre
Éditeur
Hyper).
Barre d’outils Arrangement
La
barre
d’outils
s’affiche
en
haut
de
la
fenêtre
Arrangement.
Elle
contient
des
boutons
correspondant
aux
commandes
fréquemment
utilisées.
La
barre
d’outils
peut
être
personnalisée
pour
inclure
des
boutons
permettant
d’afficher
les
zones
Inspecteur,
Média
et
Listes,
de
créer
des
pistes,
d’ajouter
des
fichiers
audio
et
d’exécuter
d’autres
fonctions
courantes.
Pour
plus
d’informations,
reportez-vous
à
la
rubrique
«
Personnalisation
de
la
barre
d’outils
de
la
fenêtre
Arrangement
»
à
la
page
77.
30 Chapitre
2
Présentation
de
l’interface
Logic
Express
Barre de transport
La
barre
de
transport
occupe
toute
la
partie
inférieure
de
la
fenêtre
Arrangement.
Elle
vous
permet
de
vous
déplacer
au
sein
de
votre
projet
et
de
lancer
un
enregistrement.
Elle
contient
des
boutons
que
vous
n’aurez
aucun
mal
à
reconnaître
si
vous
avez
déjà
utilisé
un
magnétoscope
ou
un
lecteur
de
CD/DVD
:
Lecture,
Rembobiner,
Pause,
etc.
La
barre
de
transport
intègre
également
diverses
fonctions
simplifiant
les
tâches
que
vous
allez
exécuter
dans
Logic
Express,
telles
que
l’enregistrement
sur
une
rubrique
qui
se
répète
régulièrement
ou
l’écoute
d’un
morceau
isolé.
La
barre
de
transport
se
compose
des
trois
parties
suivantes
:
 Boutons
de
transport
:
utilisés
pour
naviguer
dans
le
projet.
 Zone
d’affichage
:
fournit
des
informations
facilitant
la
navigation
au
sein
du
projet.
 Boutons
de
mode
:
permettent
d’activer
des
fonctions
d’enregistrement
et
de
lecture
avancées.
Vous
pouvez
modifier
la
barre
de
transport
en
ajoutant
ou
en
supprimant
des
boutons
et
des
affichages,
de
façon
à
pouvoir
accéder
plus
rapidement
aux
fonctions
dont
vous
avez
le
plus
souvent
besoin.
Vous
avez
également
la
possibilité
d’ouvrir
une
fenêtre
d’affichage
de
la
barre
ou
SMPTE.
Pour
plus
d’informations,
reportez-vous
à
la
rubrique
«
Personnalisation
de
la
barre
de
transport
»
à
la
page
77.
Zone Arrangement
La
zone
Arrangement
s’affiche
directement
sous
la
barre
d’outils.
Elle
permet
d’enregistrer,
d’importer,
de
trier
et
d’organiser
des
conteneurs
de
données
audio
et
MIDI,
appelés
régions,
dans
un
projet.
Boutons
de
transport Zone
d’affichage Boutons
de
mode
Règle
Mesure
Grille
Arrangement
Liste
des
pistes
Chapitre
2
Présentation
de
l’interface
Logic
Express 31
 Règle
Mesure
:
barre
linéaire
divisée
en
segments
de
mesures
et
de
battements.
La
règle
Mesure
permet
également
d’afficher
l’heure
dans
un
format
comprenant
les
heures,
les
minutes,
les
secondes
et
des
divisions
plus
fines.
Elle
offre
divers
moyens
pour
marquer
les
rubriques
du
projet
en
vue
de
l’exécution
de
différentes
tâches
de
lecture
et
d’enregistrement.
Des
informations
plus
détaillées
sont
présentées
dans
le
chapitre
5,
«
Navigation
dans
votre
projet
»
à
la
page
109.
 Grille
Arrangement
:
emplacement
où
sont
affichées
toutes
les
régions
audio
et
MIDI
sur
des
rangées
horizontales,
appelées
pistes,
alignées
par
rapport
aux
positions
temporelles
et
présentées
sous
la
forme
d’une
grille.
 Liste
des
pistes
:
emplacement
où
vous
définissez
la
bande
de
canaux
cible
pour
la
lecture
des
régions
MIDI
ou
audio
sur
chaque
rangée
de
piste
horizontale.
Les
en-têtes
de
chaque
rangée
de
la
liste
des
pistes
peuvent
afficher
le
nom
de
la
piste,
les
icônes
correspondantes
et
plusieurs
boutons
associés
aux
pistes.
Zone Média
Vous
pouvez
ouvrir
ou
fermer
la
zone
Média
en
cliquant
sur
le
bouton
Média
dans
la
barre
d’outils.
La
zone
Média
est
l’emplacement
où
vous
gérez
tous
les
fichiers
associés
à
votre
projet,
et
notamment
les
réglages
de
module,
audio
et
vidéo.
Elle
comporte
quatre
onglets
:
 Chutier
audio
:
permet
de
gérer
tous
les
fichiers
audio
utilisés
dans
le
projet.
 Navigateur
de
boucles
:
permet
de
rechercher
des
fichiers
de
boucle
(par
exemple,
des
boucles
Apple
Loops).
 Bibliothèque
:
emplacement
où
vous
pouvez
rechercher
(et
éventuellement
assigner
directement)
les
réglages
de
module,
de
bande
de
canaux
et
d’instrument
MIDI.
 Navigateur
:
permet
de
rechercher
tous
les
fichiers
associés
à
Logic
Express.
Présentation
du
chutier
Audio
Le
chutier
audio
affiche
tous
les
fichiers
audio
utilisés
dans
le
projet.
Vous
pouvez
vous
représenter
le
chutier
audio
comme
un
catalogue
des
fichiers
audio
du
projet.
Il
vous
donne
également
un
aperçu
des
régions
obtenues
à
partir
de
chaque
fichier
audio.
32 Chapitre
2
Présentation
de
l’interface
Logic
Express
Vous
pouvez
définir
des
fichiers
audio
et
des
régions
dans
le
chutier
audio
ou
bien
encore
modifier,
supprimer
ou
renommer
des
régions
et
des
fichiers
audio
existants.
Vous
avez
la
possibilité
de
faire
glisser
directement
l’ensemble
des
fichiers
audio
et
des
régions
depuis
le
chutier
audio
vers
la
zone
Arrangement,
où
ils
peuvent
alors
être
modifiés,
déplacés
et
copiés.
Vous
pouvez
également
ajouter
au
chutier
audio
des
fichiers
qui
ne
sont
pas
encore
utilisés
dans
l’arrangement,
de
façon
à
ce
qu’ils
soient
facilement
accessibles
lors
de
la
création
du
morceau.
 Colonne
Nom
:
répertorie
tous
les
fichiers
audio
du
projet
actuel
par
leur
nom.
Le
triangle
d’affichage
situé
à
gauche
du
nom
de
fichier
indique
toutes
les
régions
associées
au
fichier
audio
sélectionné.
 Colonne
Infos
:
affiche
des
informations
sur
les
régions
et
les
fichiers
audio.
Les
barres
horizontales
indiquent
la
longueur
totale
du
fichier
audio.
Les
rubriques
colorées
de
ces
barres
spécifient
l’emplacement
et
la
taille
des
régions
dans
le
fichier
audio.
D’autres
informations,
telles
que
la
fréquence
d’échantillonnage,
la
profondeur
de
bits,
l’état
mono
ou
stéréo
et
la
taille
des
fichiers
sont
également
indiquées
dans
cette
colonne
Infos.
Les
fichiers
mono
sont
signalés
par
un
symbole
représentant
un
seul
cercle
et
les
fichiers
stéréo
par
un
symbole
représentant
deux
cercles
entrelacés.
 Bouton
Lecture
:
cliquez
sur
ce
bouton
pour
écouter
la
région
ou
le
fichier
audio
sélectionné.
Cliquez
une
seconde
fois
pour
arrêter
la
lecture.
 Bouton
Boucle
:
cliquez
sur
ce
bouton
pour
écouter
en
boucle
la
région
ou
le
fichier
audio
sélectionné
Cliquez
une
seconde
fois
pour
arrêter
la
lecture.
Chapitre
2
Présentation
de
l’interface
Logic
Express 33
Lorsque
vous
ouvrez
le
chutier
audio
en
tant
que
fenêtre
indépendante
et
que
vous
le
redimensionnez,
la
colonne
Infos
du
chutier
audio
peut
afficher
des
aperçus
des
formes
d’onde
des
régions
et
des
fichiers
audio.
34 Chapitre
2
Présentation
de
l’interface
Logic
Express
Présentation
du
navigateur
de
boucles
Le
navigateur
de
boucles
est
conçu
pour
accélérer
la
recherche
de
boucles
Apple
Loops
et
la
rendre
intuitive.
Vous
pouvez
rechercher
des
boucles
en
utilisant
des
mots-clés,
effectuer
des
recherches
de
texte,
afficher
un
aperçu
des
boucles,
afficher
des
informations
sur
les
boucles
ou
bien
encore
limiter
l’affichage
aux
boucles
d’un
Jam
Pack
ou
d’une
bibliothèque
de
boucles
spécifique.
Les
fichiers
correspondants
s’affichent
dans
la
liste
des
résultats
de
la
recherche.
Lorsque
vous
trouvez
des
fichiers
que
vous
souhaitez
utiliser,
il
vous
suffit
de
les
ajouter
à
votre
projet
en
les
faisant
glisser
dans
la
zone
Arrangement.
Trois
présentations
sont
disponibles
dans
l’onglet
Boucle
:
Colonne,
Musique
et
Effets
sonores.
La
présentation
Musique,
qui
est
la
présentation
par
défaut,
comprend
54
boutons
qui
correspondent
chacun
à
une
catégorie
musicale.
Il
vous
suffit
de
cliquer
sur
les
boutons
souhaités
dans
la
matrice
pour
limiter
la
recherche
aux
boucles
Apple
Loops
appropriées.
Les
boutons
activés
sont
mis
en
surbrillance.
Boutons
Catégorie
Cliquez
sur
ces
boutons
pour
limiter
la
recherche
aux
boucles
appropriées.
Liste
des
résultats
de
la
recherche
Affiche
toutes
les
boucles
correspondant
aux
critères
de
recherche
définis.
Curseur
de
volume
Menu
Présentation Boutons
de
présentation
Champ
Recherche
Chapitre
2
Présentation
de
l’interface
Logic
Express 35
La
présentation
Effets
sonores
inclut
des
boutons
de
catégories
liés
aux
effets
(par
exemple,
Explosions,
Bruitage
ou
Personnes).
La
présentation
Colonne
offre
un
menu
standard
de
fichiers
en
colonne
Mac
OS
X,
classé
de
façon
hiérarchique
selon
les
critères
de
recherche
Tous,
Par
genre,
Par
instrument,
Par
ambiance
et
Signets.
 Boutons
de
présentation
:
cliquez
sur
ces
boutons
pour
passer
d’une
des
trois
présentations
à
une
autre.
Le
bouton
de
gauche
permet
de
passer
en
présentation
Colonne,
le
deuxième
(sur
lequel
figure
l’icône
d’une
note)
en
présentation
Musique
et
le
troisième
(sur
lequel
figure
l’icône
FX)
en
présentation
Effets
sonores.
 Menu
local
d’affichage
:
affiche
uniquement
les
boucles
d’une
bibliothèque
de
boucles
spécifique.
 Champ
Recherche
:
saisissez
du
texte
dans
ce
champ
pour
afficher
les
fichiers
dont
le
nom
contient
la
chaîne
de
texte
recherchée.
 Boutons
Catégorie
(présentations
Musique
et
Effets
sonores
uniquement)
:
cliquez
sur
ces
boutons
pour
afficher
les
fichiers
qui
correspondent
à
la
catégorie
dans
la
liste
des
résultats
de
la
recherche.
Colonnes
Catégorie
36 Chapitre
2
Présentation
de
l’interface
Logic
Express
 Colonnes
Catégorie
(présentation
Colonne
uniquement)
:
choisissez
une
colonne
Catégorie
pour
afficher
ses
sous-catégories.
 Liste
des
résultats
de
la
recherche
:
affiche
toutes
les
boucles
qui
correspondent
aux
critères
de
recherche.
 Curseur
de
volume
:
règle
le
niveau
de
lecture
du
fichier
sélectionné.
Présentation
de
la
bibliothèque
La
bibliothèque
est
un
outil
puissant
permettant
d’accéder
aux
types
de
fichiers
suivants
:
 réglages
des
bandes
de
canaux
(.cst),
 réglages
des
modules
(.pst),
 instruments
EXS
(.exs),
 programmes
de
l’environnement
et
instruments
ou
banques
d’instruments
MIDI
créés
dans
l’utilitaire
Configuration
audio
et
MIDI,
 instruments
MIDI
ReWire
et
hôtes
ReWire
actifs.
La
bibliothèque
affiche
automatiquement
les
fichiers
de
réglages
qui
correspondent
à
la
rubrique
et
au
type
de
bande
de
canaux
sélectionnés
(menu
Réglages
des
bandes
de
canaux,
emplacement
d’insertion,
emplacement
d’instrument).
Un
cadre
blanc
entoure
la
rubrique
sélectionnée
des
bandes
de
canaux
de
la
fenêtre
Arrangement.
Chapitre
2
Présentation
de
l’interface
Logic
Express 37
Vous
pouvez
rechercher
des
fichiers
en
ouvrant
des
dossiers
ou
en
effectuant
des
recherches
de
texte.
Les
fichiers
de
réglages
qui
correspondent
s’affichent
dans
la
liste
des
résultats
de
la
recherche.
Lorsque
vous
trouvez
un
fichier
que
vous
souhaitez
utiliser,
il
vous
suffit
de
le
sélectionner
pour
le
charger.
Présentation
du
navigateur
Le
navigateur
vous
permet
de
parcourir
et
de
rechercher
tous
les
types
de
fichiers
pouvant
être
utilisés
dans
Logic
Express,
de
façon
à
ce
que
vous
puissiez
accéder
facilement
à
ces
données
et
les
utiliser
lors
de
la
phase
de
production.
Il
affiche
les
types
de
fichiers
suivants
sur
tout
volume
de
données
connecté
:
 fichiers
de
projet
Logic,
 fichiers
de
morceaux
de
versions
antérieures
de
Logic,
 projets
GarageBand,
 tous
les
formats
PIF
(Project
Interchange
Format)
avec
lesquels
Logic
Express
est
compatible
(fichiers
OMF,
AAF,
OpenTL,
XML
et
MIDI),
 fichiers
audio,
 vidéos QuickTime.
Boutons
Précédent
et
Suivant
Bouton
Lecture
Menu
local
Curseur
de
volume Action
Champ
Recherche
Filtres
de
recherche
Liste
de
fichiers
Menu
Chemin
Boutons
Ordinateur,
Départ
et
Projet Boutons
de
présentation
38 Chapitre
2
Présentation
de
l’interface
Logic
Express
 Boutons
Précédent
et
Suivant
:
permettent
le
déplacement
dans
les
niveaux
précédemment
affichés
de
la
hiérarchie
des
dossiers.
 Menu
local
Chemin
:
affiche
les
niveaux
du
chemin
jusqu’à
l’emplacement
actuel,
vous
permettant
ainsi
de
revenir
à
un
niveau
précédent.
 Bouton
Ordinateur
:
affiche
le
contenu
du
disque
dur
local,
du
lecteur
optique
et
des
autres
supports
de
stockage
connectés
à
votre
ordinateur,
le
cas
échéant.
 Bouton
Départ
:
affiche
le
contenu
de
votre
répertoire
de
départ.
 Bouton
Dossier
Projet
:
affiche
le
contenu
du
dossier
Projet
actuel.
 Boutons
de
présentation
:
passe
du
mode
d’affichage
Colonne
de
la
liste
de
fichiers
au
mode
Liste
et
vice
versa.
 Champ
Recherche
:
saisissez
du
texte
dans
ce
champ
pour
afficher
les
fichiers
dont
le
nom
contient
le
texte
recherché.
Vous
pouvez
non
seulement
rechercher
des
fichiers
par
leur
nom,
mais
également
en
fonction
d’autres
critères
(informations
supplémentaires
enregistrées
avec
vos
fichiers).
Cliquez
sur
le
bouton
Plus
pour
afficher
d’autres
filtres
de
recherche.
Logic
Express
effectue
toujours
la
recherche
dans
l’emplacement
affiché.
 Filtres
de
recherche
:
les
menus
permettent
d’affiner
la
recherche
en
fonction
de
types
ou
de
formats
de
fichiers
spécifiques,
d’une
date,
d’une
taille
ou
d’autres
critères.
 Liste
de
fichiers
:
affiche
les
fichiers
et
dossiers
Logic
se
trouvant
dans
l’emplacement
actuel.
En
présentation
Colonne,
vous
pouvez
parcourir
le
contenu
des
dossiers
en
cliquant
sur
les
dossiers
souhaités.
 Menu
local
Action
:
choisissez
des
options
de
ce
menu
pour
ajouter
un
fichier
audio
sélectionné
au
chutier
audio
ou
afficher
son
emplacement
dans
le
Finder.
 Curseur
de
volume
:
permet
de
régler
le
volume
de
lecture.
 Bouton
Lecture
:
cliquez
sur
ce
bouton
pour
lire
le
fichier
audio
sélectionné.
Zone Listes
Vous
pouvez
ouvrir
ou
fermer
la
zone
Listes
en
cliquant
sur
le
bouton
Listes
de
la
barre
d’outils.
Elle
comporte
quatre
onglets
indépendants
affichant
une
liste
des
types
de
données
suivants
:
 Liste
des
événements
:
affiche
des
régions
ou
des
événements
MIDI.
 Liste
des
marqueurs
:
répertorie
tous
les
marqueurs
de
votre
projet.
 Liste
des
tempos
:
affiche
tous
les
changements
de
tempo.
 Liste
des
articulations
:
affiche
tous
les
événements
de
changement
de
temps
et
d’armature
du
projet.
Les
onglets
de
liste
sont
parfaitement
adaptés
si
vous
avez
besoin
d’exécuter
des
tâches
d’édition
précises
ou
d’avoir
une
vue
complète
de
l’ensemble
des
données.
Chapitre
2
Présentation
de
l’interface
Logic
Express 39
Présentation
de
la
liste
des
événements
La
liste
des
événements
répertorie
tous
les
événements
de
votre
projet,
tels
que
les
événements
de
note
MIDI
ou
de
début
de
région.
Utilisez-la
chaque
fois
que
vous
avez
besoin
d’apporter
des
modifications
précises
à
des
données
enregistrées
et
que
l’affichage
graphique
des
autres
éditeurs
n’est
pas
aussi
bien
adapté
à
la
tâche
à
exécuter.
Vous
pouvez
restreindre
les
types
d’événements
affichés,
afin
de
repérer
plus
aisément
des
types
d’événements
spécifiques.
La
liste
des
événements
peut
afficher
deux
types
de
données
:
celles
relatives
aux
régions
ou
celles
relatives
aux
événements.
Les
informations
affichées
dépendent
du
niveau
actuel
de
la
hiérarchie
(c’est-à-dire
du
fait
que
vous
affichez
des
informations
dans
la
zone
Arrangement
ou
que
vous
examinez
une
ou
plusieurs
régions
MIDI
dans
la
zone
Arrangement).
Pour
plus
d’informations
sur
la
hiérarchie
d’affichage,
reportezvous
à
la
rubrique
«
Utilisation
des
différents
niveaux
de
hiérarchie
»
à
la
page
68.
 Bouton
Hiérarchie
:
cliquez
sur
ce
bouton
pour
passer
au
niveau
supérieur
dans
la
hiérarchie
de
la
liste
des
événements.
Cela
vous
permet
d’afficher
toutes
les
régions
du
projet
actuel.
Bouton
Hiérarchie
Boutons
Créer
et
Filtrer
Boutons
Type
d’événement
Zone
Liste
Écran
des
régions Écran
des
événements
40 Chapitre
2
Présentation
de
l’interface
Logic
Express
 Boutons
Créer
et
Filtrer
:
détermine
la
fonction
des
boutons
de
types
d’événements.
Lorsque
vous
activez
le
bouton
Créer,
le
type
d’événement
sélectionné
est
ajouté
quand
vous
cliquez
sur
le
bouton
de
type
d’événement.
Lorsque
vous
activez
le
bouton
Filtrer,
vous
pouvez
utiliser
les
boutons
de
types
d’événements
pour
faire
disparaître
de
l’affichage
des
types
d’événements
spécifiques.
Les
événements
sont
alors
simplement
masqués,
cela
n’a
aucune
incidence
sur
la
lecture.
 Boutons
Type
d’événement
:
cliquez
sur
ce
bouton
pour
faire
disparaître
de
l’affichage
des
types
d’événements
spécifiques
ou
les
ajouter
(selon
l’état
des
boutons
Créer
et
Filtrer).
 Zone
Liste
:
affiche
la
liste
actuelle
des
événements
ou
des
régions,
répartis
en
colonnes.
Les
détails
relatifs
à
ces
opérations
sont
présents
dans
la
rubrique
chapitre
18,
«
Modification
d’événements
MIDI
dans
la
Liste
des
événements
».
Présentation
de
la
liste
des
marqueurs
La
liste
des
marqueurs
affiche
tous
les
marqueurs
du
projet.
Vous
pouvez
l’utiliser
pour
créer
et
modifier
des
marqueurs
ou
encore
sélectionner
des
marqueurs
pour
modifier
du
texte.
Elle
sert
également
d’aide
à
la
navigation
étant
donné
que
vous
pouvez
cliquer
sur
un
nom
de
marqueur
pour
accéder
directement
à
la
position
correspondante
(ou
pour
y
placer
la
tête
de
lecture).
Bouton
Créer
Zone
de
liste
des
marqueurs
Zone
de
texte
des
marqueurs
Bouton
Zone
de
texte
des
marqueurs
Chapitre
2
Présentation
de
l’interface
Logic
Express 41
 Bouton
Créer
:
crée
un
marqueur.
 Zone
de
liste
des
marqueurs
:
affiche
tous
les
marqueurs
de
votre
projet.
 Bouton
Zone
de
texte
des
marqueurs
:
cliquez
sur
ce
bouton
pour
afficher
la
zone
de
texte
des
marqueurs
facultative
vous
permettant
de
saisir
ou
de
modifier
le
texte
des
marqueurs.
 Zone
de
texte
des
marqueurs
:
saisissez
le
texte
du
marqueur
sélectionné
ici.
Présentation
de
la
liste
des
tempos
La
liste
des
tempos
affiche
tous
les
changements
de
tempo
intervenus
dans
le
projet.
Vous
pouvez
également
l’utiliser
pour
créer
ou
modifier
des
événements
de
tempo.
 Bouton
Créer
:
cliquez
sur
ce
bouton
pour
créer
un
événement
de
tempo.
 Liste
des
tempos
:
affiche
tous
les
changements
de
tempo
et
leur
position
dans
le
projet.
Bouton
Créer
Liste
des
tempos
42 Chapitre
2
Présentation
de
l’interface
Logic
Express
Présentation
de
la
liste
des
articulations
La
liste
des
articulations
affiche
tous
les
événements
de
temps
et
d’armature
qui
interviennent
dans
le
projet.
Si
des
symboles
de
sonorisation
sont
présents
dans
la
partition
du
projet,
ils
sont
également
affichés.
Ces
commandes
sont
les
suivantes
:
signes
de
répétition
et
doubles
traits
de
mesure
(y
compris
les
événements
de
fin
de
partition),
traits
de
mesure
courts,
demi-traits,
traits
de
mesure
masqués
et
insérés
manuellement.
Vous
pouvez
utiliser
la
liste
des
articulations
pour
créer,
copier,
déplacer
et
supprimer
des
événements
de
temps
et
d’armature.
Le
temps
et
l’armature
d’origine
du
projet
s’affichent
toujours
en
haut
de
la
liste,
sans
indicateurs
de
position
de
mesure.
Chapitre
2
Présentation
de
l’interface
Logic
Express 43
Inspecteur
Vous
pouvez
afficher
ou
masquer
l’Inspecteur
en
cliquant
sur
le
bouton
Inspecteur
dans
la
barre
d’outils.
Le
contenu
de
l’Inspecteur
dépend
de
la
zone
active
:
la
zone
Arrangement
ou
une
des
zones
d’édition
figurant
sous
celle-ci.
La
capture
d’écran
suivante
montre
l’Inspecteur
lorsque
la
zone
Arrangement
est
active
:
 Zone
Paramètres
de
région
:
permet
de
définir
des
paramètres
de
lecture,
tels
que
la
transposition
et
la
quantification,
pour
des
régions
individuelles
sur
des
rangées
de
piste.
Aucun
des
paramètres
de
la
zone
Paramètres
de
région
ne
modifie
vraiment
les
données
d’origine
de
la
région.
Ils
n’affectent
que
la
lecture
de
cette
dernière
(et
les
événements
qu’elle
contient).
Ces
articulations
de
paramètres
se
produisent
en
temps
réel,
au
fur
et
à
mesure
de
la
lecture
de
la
région.
En
cliquant
sur
le
petit
triangle
à
gauche
du
nom,
vous
affichez
ou
masquez
le
contenu
de
la
zone.
 Zone
Paramètres
de
piste
:
permet
de
modifier
divers
aspects
de
la
bande
de
canaux
d’une
piste.
Toutes
les
régions
situées
sur
la
rangée
de
cette
piste
sont
affectées
par
les
éventuelles
modifications
apportées
dans
cette
zone
(puisque
toutes
les
régions
sont
acheminées
via
cette
bande
de
canaux).
En
cliquant
sur
le
petit
triangle
à
gauche
du
nom,
vous
affichez
ou
masquez
le
contenu
de
la
zone.
La
fermeture
de
la
zone
permet
de
libérer
de
l’espace
pour
les
éléments
ci-dessous.
Zone
Paramètres
de
région
Zone
Paramètres
de
piste
Bandes
de
canaux
de
la
fenêtre
Arrangement
44 Chapitre
2
Présentation
de
l’interface
Logic
Express
 Bandes
de
canaux
de
l’arrangement
:
la
bande
de
canaux
de
gauche
contrôle
la
sortie
de
la
piste
d’arrangement
sélectionnée.
La
bande
de
canaux
figurant
sur
la
droite
peut
varier,
en
fonction
des
opérations
effectuées
dans
la
bande
de
canaux
de
gauche.
Par
exemple,
la
bande
de
canal
à
droite
peut
afficher
la
première
bande
de
canal
de
destination
auxiliaire
ou
de
sortie
correspondant
à
la
bande
de
canal
située
à
gauche.
Cette
fonction
permet
de
configurer
facilement
et
rapidement
des
effets
et
des
schémas
de
routage
audio
flexibles.
Elle
fournit
également
une
vue
instantanée
du
processus
de
traitement
et
de
routage
pour
la
piste
d’arrangement
sélectionnée
;
vous
avez
la
possibilité
d’accéder
à
toutes
les
fonctions
de
canal
de
mixage
(volume,
balance,
envois,
insertions,
etc.)
directement
à
partir
de
la
zone
Arrangement.
Toute
modification
apportée
à
une
bande
de
canal
d’arrangement
d’une
piste
est
répercutée
dans
la
bande
de
canal
correspondante
de
la
table
de
mixage,
et
inversement.
Remarque
:
la
taille
horizontale
de
l’Inspecteur
ne
peut
pas
être
modifiée.
Si
la
zone
active
ne
comporte
pas
de
zone
de
paramètre,
l’Inspecteur
de
la
zone
Arrangement
s’affiche.
Pour
en
savoir
plus
sur
la
façon
dont
l’Inspecteur
procède
aux
mises
à
jour
pour
afficher
les
paramètres
de
la
fenêtre
active,
reportez-vous
aux
chapitres
relatifs
à
chaque
fenêtre.
Chapitre
2
Présentation
de
l’interface
Logic
Express 45
Zone d’édition
Vous
pouvez
ouvrir
la
Table
de
mixage,
l’Éditeur
des
échantillons,
l’Éditeur
Clavier,
l’éditeur
de
partition
et
l’Hyper
Editor
directement
dans
la
fenêtre
Arrangement
en
cliquant
sur
le
bouton
correspondant
au
bas
de
cette
dernière.
Voici
un
bref
aperçu
des
fonctions
disponibles
dans
chaque
fenêtre.
Présentation
de
la
Table
de
mixage
La
Table
de
mixage
est
l’emplacement
où
vous
procédez
au
mixage
de
votre
projet.
Chaque
piste
est
lue
par
le
biais
d’une
bande
de
canaux.
Vous
pouvez
régler
le
niveau
et
la
balance
d’une
bande
de
canal,
ajouter
des
effets,
activer
la
lecture
solo
et
désactiver
le
son
des
pistes
ou
bien
encore
envoyer
la
sortie
d’une
bande
de
canal
à
d’autres
types
de
bandes
de
canaux,
tels
que
des
canaux
de
sortie
et
auxiliaires.
 Bandes
de
canaux
:
utilisez
les
contrôles
de
bandes
de
canaux
pour
régler
le
niveau
et
d’autres
aspects
du
signal
audio
lu
par
le
biais
de
la
bande
de
canaux.
 Boutons
de
présentation
:
affiche
la
table
de
mixage
en
mode
Vue
unique,
Arrangement
ou
Intégralité
de
la
table,
afin
de
limiter
la
vue
de
la
table
de
mixage
aux
bandes
de
canaux
requises
pour
la
tâche
en
cours.
 Boutons
Filtrer
:
permettent
de
filtrer
l’affichage
de
types
de
bandes
de
canaux
spécifiques.
Pour
plus
de
détails,
reportez-vous
au
chapitre
25,
«
Mixage
»
à
la
page
613.
Bandes
de
canaux
Boutons
Boutons
de
présentation Filtrer
46 Chapitre
2
Présentation
de
l’interface
Logic
Express
Présentation
de
l’Éditeur
des
échantillons
L’Éditeur
des
échantillons
affiche
le
contenu
des
fichiers
audio
sous
la
forme
de
graphiques
de
forme
d’onde.
Vous
pouvez
l’utiliser
pour
modifier
précisément
des
fichiers
audio
(et
des
régions).
L’Éditeur
des
échantillons
comporte
également
de
nombreux
outils
de
traitement
destructif
utiles
qui
vous
permettent
de
procéder
à
un
étirement
temporel
(time
stretch)
et
de
changer
de
tonalité
audio
(pitch
shift),
de
modifier
des
fréquences
d’échantillonnage,
d’extraire
des
grooves
MIDI
des
données
audio,
et
même
de
quantifier
ces
données.
 Règle
:
affiche
la
position
de
la
région
dans
l’arrangement.
Si
vous
n’avez
pas
encore
ajouté
le
fichier
audio
à
l’arrangement,
les
traits
de
position
du
marqueur
apparaissent
en
pointillé,
indiquant
qu’il
n’existe
aucune
connexion
temporelle.
 Écran
d’informations
:
affiche
le
point
de
départ
et
la
longueur
de
la
zone
sélectionnée.
 Vue
d’ensemble
de
la
forme
d’onde
:
affiche
une
vue
miniature
de
la
forme
d’onde
complète.
Le
cadre
blanc
montre
l’étendue
de
la
rubrique
visible
dans
l’affichage
de
la
forme
d’onde.
Le
cadre
gris
foncé
indique
la
zone
actuellement
sélectionnée.
 Écran
de
forme
d’onde
:
fournit
un
affichage
détaillé
de
la
forme
d’onde.
Si
vous
utilisez
un
fichier
stéréo,
les
deux
canaux
s’affichent,
avec
la
partie
gauche
figurant
en
haut
et
la
partie
droite
apparaissant
en
dessous.
À
gauche
de
l’écran
de
forme
d’onde
se
trouve
l’échelle
d’amplitude.
 Tête
de
lecture
:
le
trait
gris
figurant
dans
l’affichage
de
la
forme
d’onde
indique
la
position
actuelle
de
la
tête
de
lecture.
 Point
d’ancrage
:
définit
un
point
de
référence
temporelle
pour
une
région.
Lorsque
vous
déplacez
une
région
dans
la
zone
Arrangement,
Logic
Express
affiche
la
position
du
point
d’ancrage
dans
la
bulle
d’aide
et
aligne
le
point
d’ancrage
de
la
région
sur
la
division
de
la
grille
sélectionnée
du
menu
Magnétisme.
 Zone
Région
:
modifiez
cette
barre
pour
ajuster
la
longueur
de
la
région.
Règle
Écran
Vue
d’ensemble
de
la
forme
d’onde d’informations
Affichage
Oscilloscope
Point
d’ancrage
Zone
Région Tête
de
lecture
Chapitre
2
Présentation
de
l’interface
Logic
Express 47
Présentation
de
l’Éditeur
Clavier
L’Éditeur
Clavier
affiche
les
notes
MIDI
sous
forme
de
barres
sur
une
grille.
Le
clavier
du
piano
situé
à
gauche
est
aligné
par
rapport
aux
hauteurs
de
note
représentées
par
chaque
barre.
La
longueur
des
notes
est
indiquée
par
la
longueur
relative
de
chaque
barre.
La
position
des
notes
est
affichée
de
la
gauche
vers
la
droite
;
une
règle
et
un
quadrillage
vertical
permettent
d’identifier
plus
facilement
le
début
et
la
fin
des
notes.
La
vélocité
des
notes
(force
avec
laquelle
la
note
est
frappée
et
généralement
le
niveau
du
volume
sonore)
est
indiquée
par
des
couleurs.
Pour
plus
de
détails,
reportez-vous
au
chapitre
16,
«
Modification
d’événements
MIDI
dans
l’Éditeur
Clavier
»
à
la
page
447.
48 Chapitre
2
Présentation
de
l’interface
Logic
Express
Présentation
de
l’éditeur
de
partition
L’éditeur
de
partition
utilise
une
notation
musicale
traditionnelle
pour
afficher
les
événements
de
note
MIDI
(ainsi
que
des
types
de
pédales
et
d’autres
événements)
des
régions
MIDI.
Vous
pouvez
insérer
et
modifier
des
événements
de
note
MIDI
dans
des
portées
et
utiliser
des
symboles
musicaux
pour
clarifier
leur
signification
dans
cet
éditeur.
Vous
pouvez
également
intégrer
du
texte,
tel
que
des
paroles,
des
titres
et
des
commentaires,
à
la
partition.
La
fonction
d’impression
vous
permet
d’imprimer
des
partitions
complètes,
le
nombre
de
portées
n’étant
limité
que
par
le
format
du
papier.
Pour
plus
de
détails
sur
l’utilisation
de
l’éditeur
de
partition,
reportez-vous
au
chapitre
33,
«
Utilisation
de
la
notation
»
à
la
page
749.
Présentation
de
Hyper
Editor
Hyper
Editor
affiche
les
événements
de
contrôleur
et
de
note
MIDI
sous
forme
de
barres
verticales,
placées
le
long
d’une
grille
temporelle
définie
par
l’utilisateur.
Cet
éditeur
est
par
conséquent
l’emplacement
idéal
pour
:
 Ajouter
ou
modifier
des
données
de
contrôleur,
telles
que
la
vélocité
des
notes.
Il
permet
d’effectuer
beaucoup
plus
rapidement
certaines
tâches
d’édition,
telles
que
la
mise
à
l’échelle
des
données.
Chapitre
2
Présentation
de
l’interface
Logic
Express 49
 Créer
et
modifier
rapidement
des
morceaux
de
batterie
MIDI.
 Définition
d’événement
:
chaque
ligne
(ou
rangée)
horizontale
fournit
une
définition
d’événement,
qui
détermine
le
type
d’événement
affiché/affecté.
Lorsque
vous
sélectionnez
une
ligne
dans
la
colonne
des
noms,
la
définition
d’événement
correspondante
s’affiche
dans
la
zone
de
paramètre
Définition
d’événement
de
l’Inspecteur.
 Événements
MIDI
:
chaque
événement
MIDI
est
représenté
par
une
barre
verticale,
alignée
par
rapport
à
une
position
temporelle
particulière.
La
valeur
du
contrôleur,
ou
vélocité
de
la
note,
est
indiquée
par
la
hauteur
de
la
barre.
Une
barre
plus
haute
indique
des
valeurs
plus
élevées.
Définitions
d’événements
Zone
Paramètre
de
définition
d’événement
Événements
MIDI
50 Chapitre
2
Présentation
de
l’interface
Logic
Express
Fonctions standard des fenêtres Logic Express
Toutes
les
fenêtres
Logic
Express,
y
compris
la
zone
Arrangement,
comportent
de
nombreux
éléments
communs.
Cette
approche
cohérente
entre
les
fenêtres
facilite
votre
travail
étant
donné
que
vous
retrouverez
ces
éléments
au
même
endroit
dans
toute
l’application.
Barres
de
menus
locales
La
barre
de
menus
locale
d’une
fenêtre
contient
des
boutons
permettant
d’accéder
aux
fonctions
propres
à
cette
fenêtre.
Par
exemple,
l’éditeur
de
partition
offre
une
fonction
Enharmonique,
qui
est
utile
pour
la
notation,
mais
pas
pour
l’édition
de
clavier.
Menus
Outil
Les
outils
disponibles
dans
le
menu
Outil
de
chaque
fenêtre
sont
spécifiques
aux
tâches
exécutées
dans
cette
dernière.
Exemples
:
la
zone
Arrangement
inclut
des
outils
permettant
d’exécuter
différentes
tâches
d’arrangement
telles
que
le
découpage
ou
le
déplacement
de
régions
et
la
modification
des
données
d’automatisation.
L’éditeur
de
partition
fournit
des
outils
utilisés
pour
la
présentation
des
partitions
et
pour
des
tâches
telles
que
la
séparation
de
voix.
Le
menu
Outil
de
gauche
affecte
l’outil
par
défaut.
Le
menu
de
droite
affecte
un
outil
secondaire.
Un
menu
Outil
supplémentaire
s’affiche
si
le
bouton
droit
de
la
souris
n’est
pas
affecté
à
d’autres
tâches.
Pour
plus
d’informations,
reportez-vous
à
la
rubrique
«
Utilisation
d’outils
»
à
la
page
181.
Barre
de
menus
locale
Chapitre
2
Présentation
de
l’interface
Logic
Express 51
Boutons
Capture,
Lien
et
Hiérarchie
La
plupart
des
fenêtres
comportent
des
boutons
Capture,
Lien
et
Hiérarchie.
Ils
sont
utilisés
pour
relier
ou
associer
des
fenêtres
Logic
Express
et
peuvent
faciliter
la
navigation
à
travers
différents
niveaux
de
la
structure
de
votre
morceau.
Cette
fonction
peut,
par
exemple,
s’avérer
utile
dans
le
cas
suivant
:
si
vous
cliquez
sur
une
région
MIDI
de
la
zone
Arrangement,
le
contenu
d’une
fenêtre
liée
(l’Éditeur
Clavier,
par
exemple)
sera
immédiatement
mis
à
jour
pour
afficher
les
événements
de
cette
région.
Barres
de
défilement
Les
barres
de
défilement
verticale
et
horizontale
s’affichent
dans
les
parties
inférieure
et
droite
de
la
fenêtre.
Elles
vous
permettent
de
visualiser
des
rubriques
se
trouvant
hors
de
la
zone
d’affichage
visible.
Curseurs
de
zoom
Les
curseurs
vertical
et
horizontal
s’affichent
dans
l’angle
inférieur
droit
de
la
fenêtre.
Ils
vous
permettent
de
redimensionner
horizontalement
ou
verticalement
le
contenu
de
la
fenêtre,
de
façon
à
obtenir
une
vue
des
données
plus
rapprochée
ou
plus
éloignée.
Bouton
Hiérarchie Bouton
Lien
Bouton
Capture
52 Chapitre
2
Présentation
de
l’interface
Logic
Express
Règle
Mesure
Une
règle
Mesure
figure
dans
la
partie
supérieure
de
toutes
les
fenêtres
d’édition
linéaire.
La
position
des
régions
et
des
événements
dans
un
projet
est
alignée
par
rapport
aux
positions
de
la
règle
Mesure.
La
règle
Mesure
affiche
des
marqueurs
et
des
locators
et
reflète
les
modifications
apportées
au
temps.
Elle
indique
également
le
mode
de
fonctionnement
activé
parmi
les
trois
principaux
:
solo,
enregistrement
ou
synchronisé.
Pistes
globales
Toutes
les
fenêtres
d’édition
linéaire
sont
également
dotées
de
pistes
globales,
qui
s’affichent
juste
au-dessous
de
la
règle
Mesure,
lorsqu’elles
sont
ouvertes.
Cliquez
sur
le
triangle
d’affichage
à
gauche
de
la
règle
Mesure
(intitulé
Pistes
globales)
pour
afficher
les
pistes
globales.
 Piste
des
marqueurs
:
contient
des
marqueurs
utilisés
pour
identifier
la
position
des
mesures
et
les
parties
du
projet.
Vous
pouvez
librement
modifier
la
longueur,
le
texte
et
la
couleur
de
ces
marqueurs
(pour
plus
de
détails,
reportez-vous
à
la
rubrique
«
Utilisation
des
marqueurs
»
à
la
page
131).
 Piste
de
tempo
:
contient
tous
les
changements
de
tempo
d’un
projet.
Pour
plus
d’informations,
reportez-vous
à
la
rubrique
«
Utilisation
de
la
piste
de
tempo
»
à
la
page
720.
 Piste
de
table
des
battements
:
permet
d’affecter
la
position
de
mesure
souhaitée
à
tout
événement
musical
(notes
MIDI
et
accents
distincts
des
régions
audio).
Il
est
ainsi
possible
d’ajuster
le
plan
de
montage
musical
sur
la
synchronisation
d’origine
d’une
région
MIDI
ou
audio
ayant
été
enregistrée
en
rubato
(temps
libre,
et
notamment
accélérations
et
ralentis),
ou
simplement
sans
clic
de
métronome.
La
sortie
audible
reste
inchangée,
mais
l’affichage
ainsi
obtenu
est
adapté
au
plan
de
montage
musical.
Chapitre
2
Présentation
de
l’interface
Logic
Express 53
 Piste
d’articulation
:
contient
la
clé
de
base
du
projet
et
toutes
les
articulations
(temps
et
armature),
telles
qu’elles
sont
affichées
dans
l’éditeur
de
partition.
 Piste
d’accord
:
contient
les
symboles
d’accord
pouvant
être
obtenus
à
partir
des
régions
MIDI
ou
créés
avec
la
souris.
Ces
symboles
d’accord
peuvent
également
être
insérés
dans
la
partition.
Les
notes
originales
des
accords
déterminent
la
transposition
(changement
de
tonalité)
de
toutes
les
boucles
Apple
Loops
et
peuvent
aussi
avoir
une
incidence
sur
la
lecture
des
régions
MIDI.
 Piste
de
transposition
:
affiche
les
événements
de
transposition
globale.
Elle
est
liée
à
la
progression
des
notes
racines
des
accords
dans
la
piste
d’accord
:
le
changement
d’une
racine
d’accord
est
reflété
dans
la
piste
Transposition,
et
inversement.
 Piste
vidéo
:
affiche
des
images
d’une
séquence
QuickTime
sous
forme
de
miniatures
parfaitement
synchronisées
avec
la
musique.
Cette
piste
est
donc
tout
à
fait
adaptée
aux
partitions
de
film.
Les
séquences
de
film
coupées
peuvent
être
automatiquement
détectées
et
marquées.
Interaction entre les zones de la fenêtre Arrangement
La
fenêtre
Arrangement
contient
diverses
rubriques
qui
interagissent
les
unes
avec
les
autres.
Ces
rubriques
vous
permettent
d’accéder
à
l’ensemble
des
fichiers,
méthodes
d’édition,
paramètres
de
piste
et
de
canal
dans
un
seul
emplacement,
accélérant
ainsi
considérablement
votre
travail.
Suivez
la
procédure
décrite
ci-dessous
pour
découvrir
comment
ces
éléments
de
la
fenêtre
Arrangement
fonctionnent
en
harmonie
pour
accélérer
la
production
musicale.
Pour
découvrir
comment
les
zones
de
la
fenêtre
Arrangement
interagissent
:
1 Ouvrez
la
zone
Média
en
cliquant
sur
le
bouton
Navigateur
de
média
dans
la
barre
d’outils.
2 Cliquez
sur
l’onglet
Navigateur,
puis
recherchez
un
dossier
contenant
des
fichiers
audio.
3 Cliquez
sur
le
nom
d’un
fichier
audio
tout
en
maintenant
le
bouton
de
la
souris
enfoncé
et
faites
glisser
ce
fichier
sur
une
rangée
de
pistes
audio
de
la
zone
Arrangement.
54 Chapitre
2
Présentation
de
l’interface
Logic
Express
Relâchez
le
bouton
de
la
souris
lorsque
la
bulle
d’aide
affiche
la
position
1
1
1
1.
Une
région
va
être
créée
dans
la
zone
Arrangement.
4 Cliquez
sur
le
bouton
Éditeur
des
échantillons
en
bas
de
la
zone
Arrangement.
L’Éditeur
des
échantillons
s’affiche,
présentant
le
contenu
de
la
région
que
vous
venez
de
créer
dans
la
zone
Arrangement.
5 Cliquez
sur
l’onglet
Chutier
audio.
Le
chutier
audio
contient
le
fichier
audio
que
vous
venez
d’ajouter
au
projet.
Chapitre
2
Présentation
de
l’interface
Logic
Express 55
6 Cliquez
sur
l’onglet
Boucles,
puis
sur
un
bouton
de
catégorie
pour
afficher
les
boucles
correspondantes
dans
la
liste
des
résultats
de
la
recherche
de
l’onglet
Boucles.
7 Sélectionnez
une
boucle
associée
à
une
icône
verte
et
faites-la
glisser
dans
une
piste
d’instruments
logiciels
de
la
zone
Arrangement.
Relâchez
le
bouton
de
la
souris
lorsque
la
bulle
d’aide
affiche
la
position
1
1
1
1.
Une
région
MIDI
va
être
créée
dans
la
zone
Arrangement.
Π Conseil
:
s’il
n’existe
aucune
piste
d’instruments
logiciels,
vous
pouvez
également
faire
glisser
la
boucle
Apple
Loops
depuis
le
navigateur
de
boucles
directement
dans
la
zone
Arrangement
vide
(ou
au-dessous
des
pistes
existantes).
Une
piste
et
la
bande
de
canal
correspondante
(qui
comprend
les
réglages
d’effet
et
d’instrument)
sont
automatiquement
créées,
et
une
boucle
Apple
Loops
est
chargée.
56 Chapitre
2
Présentation
de
l’interface
Logic
Express
8 Cliquez
sur
le
bouton
Clavier
en
bas
de
la
zone
Arrangement.
L’Éditeur
Clavier
s’affiche,
présentant
le
contenu
de
la
région
que
vous
venez
de
créer
dans
la
zone
Arrangement.
9 Placez
la
tête
de
lecture
au
début
de
votre
projet
en
cliquant
sur
le
bouton
Aller
au
début
dans
la
barre
de
transport.
10 Écoutez
votre
projet
en
cliquant
sur
le
bouton
Lecture
de
la
barre
de
transport.
Vous
allez
écouter
le
fichier
audio
et
la
boucle
d’instrument
que
vous
avez
ajoutés
au
projet.
Vous
apprécierez
peut-être
la
mélodie
de
la
boucle
d’instrument
logiciel,
mais
pas
le
son
associé.
Utilisez
la
bibliothèque
pour
affecter
un
autre
son
à
la
piste
d’instruments
logiciels.
Chapitre
2
Présentation
de
l’interface
Logic
Express 57
11 Sélectionnez
la
piste
d’instruments
logiciels,
puis
cliquez
sur
le
bouton
Inspecteur.
La
bande
de
canal
de
gauche
affiche
l’instrument
logiciel
et
le(s)
effet(s)
de
la
piste
sélectionnée.
12 Cliquez
sur
l’onglet
Bibliothèque
et
parcourez
les
réglages
de
bandes
de
canaux
affichés.
Étant
donné
qu’il
s’agit
d’une
bande
de
canaux/de
piste
d’instruments
logiciels,
seuls
les
réglages
de
cette
bande
sont
affichés
dans
l’onglet
Bibliothèque.
13 Sélectionnez
un
des
réglages
de
bandes
de
canaux
pour
le
charger.
14 Redémarrez
la
lecture
pour
écouter
le
nouveau
son.
Utilisation des éléments de l’interface Logic Express
Vous
pouvez
accéder
à
l’ensemble
des
boutons,
commutateurs,
curseurs
et
menus
présentés
ci-dessus
à
l’aide
de
la
souris
et
du
clavier
de
l’ordinateur.
L’utilisation
des
éléments
de
l’interface
Logic
Express
est
décrite
ci-après.
Cases
à
cocher
et
boutons
Les
cases
à
cocher
sont
des
cases
carrées
que
vous
pouvez
activer
en
cliquant
dessus
de
façon
à
rendre
une
option
(ou
une
fonction)
disponible.
Cliquez
sur
la
case
à
cocher
une
deuxième
fois
pour
la
désactiver
et
rendre
l’option
indisponible.
Certains
boutons
se
comportent
de
la
même
façon,
dans
la
mesure
où
la
fonction
qu’ils
représentent
est
temporairement
activée
lorsqu’ils
sont
enfoncés
(ils
sont
alors
généralement
éclairés).
Un
deuxième
clic
sur
le
bouton
désactive
la
fonction.
Les
boutons
Muet
et
Solo
illustrent
parfaitement
ces
types
de
boutons.
Il
existe
un
autre
type
de
case
à
cocher
:
le
bouton
d’option.
Plusieurs
boutons
groupés
(représentant
chacun
une
option
différente)
sont
disponibles
et
vous
devez
n’en
sélectionner
qu’un.
Ils
diffèrent
des
cases
à
cocher
habituelles
et
autres
boutons,
car
vous
ne
pouvez
en
activer
qu’un
seul
à
la
fois.
On
peut
citer
par
exemple
les
boutons
d’option
Type
de
la
zone
de
dialogue
Nouvelles
pistes.
Chapitre
2
Présentation
de
l’interface
Logic
Express 59
Menus
déroulants
et
menus
locaux
Les
menus
déroulants
s’ouvrent
lorsque
vous
cliquez
sur
l’option
de
menu
souhaitée.
Les
menus
locaux
s’ouvrent
lorsque
vous
cliquez
sur
certains
champs
de
saisie
ou
boutons.
Dans
certains
menus,
une
flèche
apparaît
en
regard
d’une
ou
de
plusieurs
options,
indiquant
un
sous-menu.
Pour
choisir
une
option
dans
un
sous-menu,
positionnez
la
souris
dans
la
direction
de
la
flèche,
puis
déplacez
le
pointeur
verticalement
vers
l’option
souhaitée.
Cliquez
pour
activer
la
commande
ou
le
réglage
de
votre
choix.
Si
vous
souhaitez
sélectionner
une
option
se
trouvant
hors
de
la
rubrique
visible
du
menu,
placez
le
pointeur
de
la
souris
sur
la
flèche
située
en
haut
ou
en
bas
du
menu.
Le
menu
défile.
Menus
contextuels
Pour
accéder
aux
menus
contextuels,
il
suffit
de
cliquer
tout
en
maintenant
la
touche
Contrôle
enfoncée
(ou
avec
le
bouton
droit
de
la
souris)
sur
différentes
zones
des
diverses
fenêtres
Logic
Express. Ces menus offrent de nombreuses commandes de sélection ou
d’édition ainsi que d’autres commandes spécifiques aux zones, vous permettant ainsi
d’accéder rapidement à des fonctions courantes.
Remarque
:
la
fonction
«
clic
droit
»
dépend
du
bouton
droit
de
la
souris
:
elle
ouvre
l’option
de
menu
contextuel
choisie
dans
l’onglet
Logic
Express
>
Préférences
>
Globales
>
Édition.
60 Chapitre
2
Présentation
de
l’interface
Logic
Express
Utilisation du clavier de l’ordinateur
Vous
pouvez
accéder
à
la
plupart
des
fonctions
de
Logic
Express
au
moyen
de
raccourcis
clavier.
Chaque
fois
que
le
présent
manuel
fait
état
d’un
raccourci
clavier,
il
se
rapporte
à
une
fonction
ou
à
une
option
accessible
par
le
biais
d’une
touche
du
clavier
de
l’ordinateur
(ou
d’une
combinaison
de
touches,
obtenue
par
exemple
en
appuyant
simultanément
sur
les
touches
Contrôle
et
W
du
clavier).
L’utilisation
de
raccourcis
clavier
à
la
place
de
la
souris
peut
accélérer
de
façon
considérable
votre
travail
dans
Logic
Express. Tout au long de ce manuel, vous allez découvrir de nombreux
exemples d’utilisation pratique, souvent présentés sous forme de procédures,
qui incluent les raccourcis clavier par défaut correspondant à des fonctions particulières.
Il
est
recommandé
de
suivre
les
procédures
décrites
dans
le
présent
manuel
et
d’utiliser
ces
raccourcis
clavier
par
défaut
tandis
que
vous
vous
familiarisez
avec
Logic
Express.
Cela
vous
permet
non
seulement
de
les
mémoriser,
mais
également
de
développer
des
méthodes
de
travail
efficaces
(et
plus
rapides)
dès
le
départ.
Une
fois
que
vous
aurez
bien
identifié
les
concepts
fondamentaux
de
Logic
Express
et
la
façon
dont
vous
souhaitez
travailler,
vous
pourrez
librement
définir
vos
propres
raccourcis
clavier.
Les
fonctions
et
options
de
Logic
Express
pouvant
être
associées
à
des
raccourcis
clavier
peuvent
également
être
affectées
à
des
commandes
MIDI
envoyées
à
partir
de
votre
contrôleur
MIDI.
Pour
plus
de
détails
sur
ces
questions
complexes,
reportez-vous
à
la
section
«
Utilisation
des
raccourcis
clavier
»
à
la
page
172.
3
61
3 Personnalisation
de
la
configuration
de
vos
fenêtres
Logic Express vous permet de personnaliser la configuration
de vos fenêtres en fonction de votre mode de travail et de la
tâche en cours.
Bien
que
l’essentiel
de
votre
travail
s’effectue
dans
la
fenêtre
Arrangement,
vous
avez
la
possibilité
d’ouvrir
différentes
combinaisons
de
fenêtres
(et
même
plusieurs
fenêtres
de
même
type)
et
de
les
ajuster
individuellement.
Il
est
également
facile
d’enregistrer
différentes
dispositions
de
fenêtres
(appelées
«
screensets
»
et
présentées
dans
la
rubrique
«
Utilisation
des
screensets
»
à
la
page
83)
et
de
les
rappeler
en
appuyant
sur
une
touche.
Toutes
les
fenêtres
ouvertes
d’un
projet
sont
mises
à
jour
en
permanence
d’après
la
position
de
la
tête
de
lecture.
D’ailleurs,
les
modifications
apportées
dans
une
fenêtre
sont
immédiatement
prises
en
compte
dans
toutes
les
autres
fenêtres
ouvertes.
Par
exemple,
si
la
tonalité
d’un
événement
de
note
est
modifiée
dans
l’éditeur
de
partition,
ce
changement
est
instantanément
reflété
dans
une
fenêtre
«
Éditeur
de
piano
roll
»
ouverte.
Ce
chapitre
vous
explique
comment
personnaliser
et
enregistrer
l’ensemble
de
la
configuration
de
vos
fenêtres.
Les
options
d’affichage
de
fenêtres
ou
d’éditeurs
individuels
ne
sont
pas
présentées
dans
ce
chapitre.
62 Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres
Types de fenêtres
Il
existe
deux
types
de
fenêtres
dans
Logic
Express
:
les
fenêtres
normales
et
celles
dites
flottantes.
Fenêtres
normales
Vous
pouvez
ouvrir
autant
de
fenêtres
normales
que
vous
le
souhaitez,
y
compris
plusieurs
fenêtres
du
même
type.
Bien
que
le
contenu
de
toutes
les
fenêtres
soit
constamment
mis
à
jour,
une
seule
fenêtre
peut
avoir
le
statut
de
fenêtre
«
de
premier
plan
»
ou
de
fenêtre
«
active
».
Il
s’agit
de
la
fenêtre
qui
se
trouve
au
premier
plan
lorsque
plusieurs
fenêtres
normales
sont
superposées
ou
affichées
les
unes
à
côté
des
autres.
On
dit
alors
que
cette
fenêtre
est
«
active
»
ou
«
sélectionnée
».
Les
fenêtres
actives
sont
identifiables
par
leur
barre
de
titre
«
lumineuse
»,
dont
le
texte
(nom
du
projet)
est
affiché
en
noir.
Pour
activer
une
fenêtre
ou
une
zone,
effectuez
l’une
des
opérations
suivantes :
m Cliquez
sur
la
barre
de
titre
de
la
fenêtre
ou
dans
la
zone
de
travail.
Dans
le
cas
d’une
zone
de
travail,
faites
attention
à
ne
pas
insérer
par
mégarde
un
événement
ou
une
région
lorsque
l’outil
Crayon
est
actif
dans
la
fenêtre.
m Choisissez
Fenêtre
>
Parcourir
les
fenêtres
(ou
utilisez
le
raccourci
clavier
correspondant).
Si
elle
est
intégralement
masquée
par
d’autres
fenêtres,
la
fenêtre
ouverte
suivante
est
activée.
Bien
évidemment,
la
fenêtre
Arrangement
peut
inclure
plusieurs
autres
fenêtres
dans
différentes
zones.
Pour
les
activer,
il
suffit
de
cliquer
sur
leur
arrière-plan
ou
leur
barre
de
titre
(la
zone
de
la
fenêtre
Arrangement
que
vous
souhaitez
utiliser)
ou
bien
encore
de
sélectionner
un
de
leurs
outils.
Π Conseil
:
vous
pouvez
également
utiliser
les
touches
Tabulation
ou
Maj
+
Tabulation
pour
parcourir
les
diverses
zones
de
la
fenêtre
Arrangement
:
la
touche
Tabulation
les
passe
en
revue
l’une
après
l’autre,
alors
que
la
combinaison
Maj
+
Tabulation
les
parcourt
en
sens
inverse.
Lorsqu’elle
est
active,
une
fenêtre
(ou
une
zone
de
la
fenêtre
Arrangement)
se
caractérise
par
le
fait
qu’elle
est
la
seule
à
être
affectée
par
les
raccourcis
clavier.
En
effet,
ils
n’ont
aucun
impact
sur
les
autres
fenêtres.
Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres 63
Gestion
des
fenêtres
d’arrière-plan
Les
fenêtres
d’arrière-plan
ne
sont
pas
complètement
masquées
:
leur
barre
de
titre
est
grisée
(elles
peuvent
être
positionnées
à
côté
de
la
fenêtre
de
premier
plan
ou
juxtaposées
sous
cette
dernière)
et
leur
nom
estompé.
Dans
une
fenêtre
d’arrière-plan,
vous
pouvez
non
seulement
observer
les
modifications
apportées,
mais
aussi
effectuer
pratiquement
n’importe
quel
type
de
modification,
sans
avoir
à
activer
la
fenêtre
au
préalable.
L’outil
sélectionné
est
mémorisé
dans
chaque
fenêtre,
ce
qui
vous
permet
de
modifier
directement
le
contenu
de
toute
fenêtre,
qu’elle
soit
activée
ou
pas.
Dès
lors
que
ce
type
de
modification
est
effectué,
la
fenêtre
est
automatiquement
activée.
Dans
une
fenêtre
Arrangement
avec
les
éditeurs
Clavier
et
Liste
des
événements
affichés,
l’outil
Pointeur
est
par
exemple
actif
dans
la
zone
Arrangement,
le
Crayon
dans
l’Éditeur
Clavier
et
la
Gomme
dans
l’Éditeur
Liste
des
événements.
Lorsque
vous
faites
glisser
le
curseur
de
la
souris
d’une
zone
de
la
fenêtre
Arrangement
à
une
autre,
l’outil
correspondant
devient
automatiquement
actif.
Fenêtres
flottantes
Comme
leur
nom
l’indique,
ces
fenêtres
flottent
au
premier
plan,
recouvrant
même
la
fenêtre
active
(l’ouverture
de
plusieurs
fenêtres
flottantes
entraînant
inévitablement
leur
superposition,
il
vous
suffit
de
cliquer
sur
la
fenêtre
souhaitée
pour
la
placer
au
premier
plan).
En
général,
la
plupart
des
fenêtres
d’aide
affichées
par
Logic
Express,
telles
que
Préférences
ou
Réglages
du
projet,
sont
des
fenêtres
flottantes.
Les
fenêtres
flottantes
sont
généralement
identifiables
par
leur
barre
de
titre
grise,
plus
étroite
(à
l’exception
de
la
fenêtre
de
module
dont
la
barre
de
titre
est
différente).
La
souris
s’utilise
de
la
même
façon
dans
les
fenêtres
flottantes
que
dans
les
fenêtres
normales.
64 Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres
Ouverture et fermeture des fenêtres
Vous
pouvez
ouvrir
toutes
les
fenêtres
principales
de
Logic
Express
en
choisissant
leur
type
(Arrangement,
Partition,
etc.)
dans
le
menu
Fenêtre.
Un
raccourci
clavier
permettant
d’ouvrir
les
fenêtres
sans
utiliser
la
souris
est
associé
à
chaque
type
de
fenêtre.
Par
exemple,
Commande
+
1
ouvre
la
fenêtre
Arrangement,
Commande
+
2
ouvre
la
Table
de
mixage,
etc.
Le
menu
Fenêtre
indique
ces
raccourcis
clavier
à
la
suite
du
nom
de
chaque
fenêtre.
Il
est
fortement
recommandé
de
se
familiariser
avec
ces
raccourcis
clavier
et
de
les
utiliser
à
la
place
de
la
souris
car
ils
accélèrent
votre
travail.
Si
nécessaire,
vous
pouvez
ouvrir
plusieurs
fenêtres
de
même
type.
Cela
peut
s’avérer
utile
si
vous
souhaitez
afficher
et
modifier
individuellement
le
contenu
de
plusieurs
régions
dans
un
type
d’éditeur
particulier.
Vous
pouvez
également
ouvrir
tous
les
éditeurs
Logic
Express
de
la
fenêtre
Arrangement
en
cliquant
sur
les
boutons
situés
au
bas
de
cette
fenêtre.
Si
vous
double-cliquez
sur
une
région
audio
de
l’arrangement,
vous
ouvrez
automatiquement
l’Éditeur
des
échantillons
en
bas
de
la
fenêtre
Arrangement.
En
revanche,
si
vous
double-cliquez
sur
une
région
MIDI
de
l’arrangement,
vous
ouvrez
l’éditeur
par
défaut
en
bas
de
la
fenêtre
Arrangement.
Vous
pouvez
déterminer
quel
est
l’éditeur
par
défaut
grâce
au
menu
«
Double-cliquer
une
région
MIDI
ouvre
»
dans
la
fenêtre
Préférences
globales.
Il
vous
suffit
de
maintenir
la
touche
Option
enfoncée
tout
en
double-cliquant
pour
ouvrir
l’éditeur
par
défaut
dans
une
fenêtre
séparée.
Les
raccourcis
clavier
Ouvrir/fermer
la
fenêtre…
vous
permettent
de
définir
un
raccourci
clavier
pour
ouvrir
ou
fermer
la
fenêtre
ou
la
zone
correspondant
au
type
affecté
dans
la
fenêtre
Arrangement
active.
Si
cette
fenêtre
n’est
pas
disponible
en
tant
que
zone
de
la
fenêtre
Arrangement,
elle
s’ouvre
en
tant
que
fenêtre
indépendante.
Voici
des
exemples
associés
à
la
fenêtre
Arrangement
:
vous
pouvez
ouvrir
et
fermer
les
zones
Listes
et
Média
grâce
aux
raccourcis
clavier
Afficher/Masquer
le
navigateur
de
fichiers,
Afficher/
Masquer
la
bibliothèque,
etc.
Vous
pouvez
fermer
la
fenêtre
active
(qui
est
généralement
la
fenêtre
affichée
sur
le
dessus
ou
au
premier
plan)
en
choisissant
Fichier
>
Fermer
dans
la
barre
des
menus
principale
(ou
en
utilisant
le
raccourci
clavier
Fermer
la
fenêtre,
par
défaut
:
Commande
+
W).
Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres 65
Vous
pouvez
également
fermer
les
fenêtres
en
cliquant
sur
le
symbole
de
fermeture
situé
dans
l’angle
supérieur
gauche.
Cliquez
sur
le
symbole
de
fermeture
en
appuyant
sur
la
touche
Option
pour
fermer
toutes
les
fenêtres
du
projet
actif.
Remarque
:
si
vous
fermez
toutes
les
fenêtres
ouvertes
d’un
projet,
Logic
Express
suppose
que
vous
souhaitez
fermer
le
projet
et
vous
demande
si
vous
voulez
enregistrer
vos
modifications.
Déplacement et redimensionnement de fenêtres
Vous
pouvez
déplacer
et
redimensionner
toutes
les
fenêtres
ouvertes
individuellement,
même
si
elles
sont
affichées
sur
plusieurs
écrans.
Vous
avez
également
la
possibilité
de
modifier
la
taille
de
tous
les
éléments
de
fenêtres
dotés
de
la
barre
de
redimensionnement.
Vous
pouvez
par
ailleurs
ajuster
la
taille
relative
des
zones
d’édition
et
Arrangement
de
la
fenêtre
Arrangement
en
cliquant
entre
ces
zones,
puis
en
faisant
glisser
le
pointeur
verticalement.
Le
curseur
se
transforme
en
pointeur
Redimensionner.
La
hauteur
de
la
zone
Table
de
mixage
est
mémorisée
séparément.
Toutes
les
autres
zones
d’édition
partagent
la
même
hauteur.
Vous
ne
pouvez
pas
redimensionner
les
autres
éléments
de
la
fenêtre
Arrangement
(c’est-à-dire
la
zone
Inspecteur,
Média
ou
Listes).
Ces
zones
peuvent
uniquement
être
ouvertes
ou
fermées.
66 Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres
Voici
un
exemple
de
configuration
de
fenêtres
possible
:
imaginons
que
vous
souhaitiez
modifier
les
notes
MIDI
de
diverses
régions
MIDI.
Vous
avez
la
possibilité
d’augmenter
la
hauteur
de
l’Éditeur
de
piano
roll
de
façon
à
utiliser
un
niveau
de
zoom
élevé,
ce
qui
réduit
la
hauteur
de
la
zone
Arrangement.
Vous
pouvez
alors
réduire
le
niveau
de
zoom
de
la
zone
Arrangement
étant
donné
qu’elle
n’est
utilisée
que
pour
la
sélection
des
régions.
Pour
déplacer
une
fenêtre :
m Cliquez
sur
la
barre
de
titre
tout
en
maintenant
le
bouton
de
la
souris
enfoncé
et
faites
glisser
la
fenêtre
vers
l’emplacement
souhaité.
Pour
ajuster
la
taille
d’une
fenêtre,
effectuez
l’une
des
opérations
suivantes :
m Faites
glisser
l’angle
inférieur
droit
de
la
fenêtre,
comme
pour
toute
autre
fenêtre
du
Finder.
m Placez
le
pointeur
de
la
souris
sur
le
bord
de
la
fenêtre.
Lorsque
le
pointeur
de
la
souris
se
transforme
en
pointeur
de
redimensionnement,
faites-le
glisser
dans
la
direction
souhaitée.
Pointeur
Redimensionner
Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres 67
Pour
ajuster
la
taille
des
éléments
de
fenêtre
:
1 Placez
le
pointeur
de
la
souris
sur
la
barre
de
redimensionnement.
2 Lorsque
le
pointeur
de
la
souris
se
transforme
en
pointeur
de
redimensionnement,
faites
glisser
l’élément
de
fenêtre
dans
la
direction
souhaitée.
Pour
agrandir
une
fenêtre,
effectuez
l’une
des
opérations
suivantes :
m Sélectionnez
la
fenêtre,
puis
choisissez
Fenêtre
>
Réduire/Agrandir.
m Cliquez
sur
le
bouton
de
zoom
(situé
à
l’extrême
droite
des
trois
contrôles
de
fenêtre)
dans
l’angle
supérieur
gauche
de
la
barre
de
titre
de
la
fenêtre.
Un
deuxième
clic
sur
l’icône
permet
de
restaurer
la
fenêtre
à
sa
taille
initiale.
Pour
réduire
une
fenêtre,
effectuez
l’une
des
opérations
suivantes :
m Sélectionnez
la
fenêtre,
puis
choisissez
Fenêtre
>
Placer
dans
le
Dock
(ou
utilisez
le
raccourci
clavier
correspondant,
par
défaut
:
Commande
+
M).
m Cliquez
sur
le
bouton
de
réduction
(situé
au
milieu
de
la
rangée
des
trois
contrôles
de
fenêtre)
dans
l’angle
supérieur
gauche
de
la
barre
de
titre
de
la
fenêtre.
Cette
opération
permet
de
placer
une
icône
(version
réduite
de
la
fenêtre)
dans
le
Dock.
Vous
pouvez
restaurer
la
fenêtre
en
cliquant
sur
cette
icône.
68 Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres
Utilisation des différents niveaux de hiérarchie
Logic
Express
vous
permet
d’afficher
une
vue
globale
des
projets
(niveau
Arrangement)
ou
détaillée
(niveau
Éditeur).
Ces
différents
niveaux
hiérarchiques
sont
conçus
pour
différents
types
de
tâches,
tels
que
l’arrangement
des
rubriques
d’un
projet
ou
le
remaniement
d’une
partie
instrumentale.
Dans
de
nombreux
cas,
vous
pouvez
passer
directement
d’un
niveau
d’affichage
à
un
autre,
sans
avoir
à
accéder
à
une
autre
fenêtre
ou
à
en
ouvrir
une.
Cliquez
sur
le
bouton
Hiérarchie
situé
dans
l’angle
supérieur
gauche
d’une
fenêtre
ou
d’une
zone
de
fenêtre
pour
remonter
la
vue
affichée
d’un
niveau
dans
la
hiérarchie
(qui
correspond
généralement
au
niveau
Arrangement).
Remarque
:
en
double-cliquant
sur
l’arrière-plan
de
la
zone
d’édition
d’une
fenêtre,
vous
passez
également
au
niveau
d’affichage
supérieur.
Niveaux
d’affichage
des
éditeurs
En
général,
les
éditeurs
sont
configurés
avec
le
niveau
d’affichage
le
plus
bas,
qui
permet
d’afficher
des
événements
individuels
de
la
région
sélectionnée.
Dans
l’Éditeur
de
piano
roll
et
l’Éditeur
Hyper,
le
niveau
supérieur
de
la
hiérarchie
d’affichage
affiche
les
événements
de
toutes
les
régions
de
la
zone
Arrangement.
Lorsque
vous
cliquez
sur
le
bouton
Hiérarchie
de
la
Liste
d’événements,
vous
passez
au
niveau
supérieur
de
la
hiérarchie
d’affichage,
exactement
comme
dans
les
autres
éditeurs.
Toutefois,
dans
la
Liste
des
événements,
l’affichage
reste
quasiment
identique,
à
cette
différence
près
qu’il
présente
une
liste
des
régions
(au
lieu
d’une
liste
des
événements
individuels)
avec
la
position
et
le
nom
des
régions,
ainsi
que
le
numéro
et
la
durée
des
pistes.
La
région
MIDI
que
vous
venez
de
modifier
sera
sélectionnée
dans
la
liste
des
noms
de
régions.
Si
vous
double-cliquez
sur
une
région
MIDI
(ou
au
moyen
du
raccourci
clavier
Aller
dans
Dossier
ou
Région),
vous
revenez
au
niveau
d’affichage
le
plus
bas
et
affichez
le
contenu
de
la
région
MIDI.
En
double-cliquant
sur
une
région
audio,
vous
l’ouvrez
dans
l’Éditeur
des
échantillons.
Dans
l’éditeur
de
partition,
vous
passez
au
niveau
d’affichage
supérieur
lorsque
vous
cliquez
sur
le
bouton
Hiérarchie.
Contrairement
aux
autres
éditeurs,
l’éditeur
de
partition
vous
permet
de
modifier
des
événements
individuels
alors
que
vous
vous
trouvez
dans
un
niveau
d’affichage
supérieur.
Lorsque
vous
double-cliquez
sur
une
portée
(dans
un
point
vide),
vous
revenez
à
un
niveau
d’affichage
inférieur.
Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres 69
Sélection de la zone de travail
Les
barres
de
défilement
situées
sur
les
bords
droit
et
inférieur
d’une
fenêtre
permettent
de
vous
déplacer
verticalement
ou
horizontalement
sur
la
zone
de
travail.
Vous
pouvez
déplacer
la
rubrique
visible
en
cliquant
sur
les
flèches
ou
en
faisant
glisser
le
défileur.
Il
convient
de
noter
les
deux
points
suivants
:
 La
taille
relative
du
défileur
par
rapport
à
la
longueur
totale
de
la
barre
de
défilement
correspond
à
celle
de
la
rubrique
visible
de
la
fenêtre
par
rapport
à
la
taille
totale
de
cette
dernière.
 La
rubrique
visible
change
à
mesure
que
vous
déplacez
le
défileur.
Barre
de
défilement
Barre
de
défilement
70 Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres
Utilisez
les
raccourcis
clavier
Page
préc.,
Page
suiv.,
Page
Gauche
et
Page
Droite
pour
revenir
à
la
page
précédente,
passer
à
la
page
suivante
ou
vous
déplacer
d’une
page
vers
la
gauche
ou
vers
la
droite,
comme
si
vous
aviez
cliqué
dans
la
zone
grisée
(dans
la
barre
de
défilement)
au-dessus
ou
en
dessous
du
curseur
de
défilement
vertical
ou
bien
à
gauche
ou
à
droite
du
curseur
de
défilement
horizontal.
Les
raccourcis
clavier
Page
Haute,
Page
Basse,
Page
la
plus
à
gauche
et
Page
la
plus
à
droite
permettent
de
décaler
la
rubrique
visible
de
la
zone
de
travail
vers
le
haut,
le
bas,
la
gauche
ou
la
droite,
comme
si
vous
aviez
saisi
un
des
curseurs
de
défilement
et
l’aviez
placé
à
l’une
des
extrémités
des
barres
de
défilement.
Dans
la
zone
Arrangement,
la
Liste
d’événements,
l’Éditeur
Hyper
et
l’Éditeur
de
piano
roll,
la
rubrique
visible
de
la
fenêtre
d’édition
se
déplace
vers
le
premier
ensemble
d’événements
sélectionnés
si
vous
choisissez
Présentation
>
«
Aller
à
la
sélection
».
Cette
fonction
est
disponible
sous
la
forme
d’un
raccourci
clavier
dans
la
fenêtre
active.
Pour
défiler
simultanément
à
la
verticale
et
à
l’horizontale,
effectuez
l’une
des
opérations
suivantes :
m Appuyez
sur
Maj
+
Contrôle,
cliquez
sur
l’arrière-plan
de
la
fenêtre
Arrangement
tout
en
maintenant
le
bouton
de
la
souris
enfoncé,
puis
faites
glisser
le
pointeur
dans
la
direction
de
votre
choix.
m Cliquez
sur
l’arrière-plan
de
la
fenêtre
Arrangement
avec
le
troisième
bouton
de
la
souris
(par
exemple,
la
roulette)
et
maintenez
ce
dernier
enfoncé,
puis
faites
glisser
le
pointeur
dans
la
direction
souhaitée.
La
distance
qui
sépare
le
pointeur
de
la
souris
de
l’emplacement
sur
lequel
vous
avez
initialement
cliqué
détermine
la
vitesse
de
défilement.
Remarque
:
cette
opération
fonctionne
uniquement
si
vous
n’avez
pas
affecté
le
troisième
bouton
de
la
souris
à
une
commande
globale
(par
exemple,
Exposer).
Cliquez
dans
la
zone
grisée
en
dessous
du
curseur
de
défilement
vertical
pour
passer
à
la
page
suivante.
Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres 71
Zoom
Les
commandes
de
zoom
de
zoom
permettent
d’effectuer
un
zoom
avant
et
arrière
sur
la
zone
d’affichage
en
cours.
La
sélection
des
différentes
valeurs
de
zoom
réduit
ou
augmente
la
taille
des
événements
ou
des
régions
dans
la
rubrique
d’écran
affichée.
Cela
vous
permet
d’effectuer
les
opérations
suivantes
:
 afficher
un
plus
grand
nombre
d’événements
ou
de
régions
dans
le
même
espace
à
l’écran
(zoom
arrière),
 afficher
plus
en
détail
les
événements
ou
les
régions
(zoom
avant).
Pendant
le
zoom,
l’événement
ou
la
région
(sélectionné(e))
situé(e)
le
plus
près
de
l’angle
supérieur
gauche
demeure
dans
la
zone
visible
à
l’écran.
En
d’autres
termes,
l’événement
ou
la
région
qui
est
sélectionné
en
premier
sera
conservé
dans
la
fenêtre
à
laquelle
le
zoom
est
appliqué.
Si
aucune
région
ou
aucun
événement
n’est
visible,
le
zoom
est
centré
sur
la
tête
de
lecture.
Si
la
tête
de
lecture
n’est
pas
visible,
le
centre
de
la
fenêtre
est
pris
en
compte.
Les
contrôles
de
zoom
horizontal
et
vertical
sont
situés
dans
la
partie
inférieure
droite
de
la
zone
de
travail
de
la
fenêtre.
Pour
effectuer
un
zoom
arrière
:
m Cliquez
sur
les
barres
peu
espacées
pour
réduire
le
niveau
de
zoom.
Pour
effectuer
un
zoom
avant
:
m Cliquez
sur
les
barres
très
espacées
pour
augmenter
le
niveau
de
zoom.
Pour
faire
défiler
les
niveaux
de
zoom,
vous
pouvez
déplacer
les
curseurs
correspondants.
Les
différences
de
taille
relative
entre
les
pistes
sont
conservées
lors
du
zoom.
Si
vous
cliquez
sur
une
valeur
de
contrôle
de
zoom
tout
en
maintenant
la
touche
Commande
enfoncée,
vous
définissez
le
curseur
de
zoom
sur
le
niveau
correspondant.
Commande
de
zoom
vertical
Commande
de
zoom
horizontal
72 Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres
Zoom
au
moyen
des
barres
de
défilement
Les
barres
de
défilement
ne
permettent
pas
seulement
de
naviguer
entre
les
fenêtres
Arrangement
et
d’édition.
Elles
peuvent
également
être
utilisées
pour
effectuer
un
zoom.
Pour
effectuer
un
zoom
avec
les
barres
de
défilement
:
m Cliquez
sur
l’une
des
poignées
de
zoom
situées
aux
extrémités
de
la
barre
de
défilement
tout
en
maintenant
le
bouton
de
la
souris
enfoncé,
puis
déplacez-la
:
 vers
le
haut
ou
le
bas
sur
la
barre
de
défilement
verticale,
 vers
la
gauche
ou
la
droite
sur
la
barre
de
défilement
horizontale.
À
mesure
que
vous
déplacez
les
poignées,
un
zoom
est
effectué
sur
le
contenu
de
la
fenêtre.
Zoom
sur
la
forme
d’onde
des
régions
audio
La
zone
Arrangement
offre
un
outil
«
Zoom
de
forme
d’onde
»
unique
se
trouvant
à
gauche
du
curseur
de
zoom
horizontal.
Cet
outil
vous
permet
de
redimensionner
visuellement
l’oscilloscope,
ce
qui
permet
de
déterminer
plus
facilement
les
points
de
repère
(hit
points)
pouvant
s’avérer
utiles
pour
certaines
tâches
d’édition.
Pour
faire
un
zoom
sur
la
forme
d’onde
des
régions audio
:
1 Cliquez
sur
le
bouton
«
Zoom
de
forme
d’onde
»
et
maintenez
le
bouton
de
la
souris
enfoncé.
Un
curseur
apparaît.
Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres 73
2 Faites
glisser
le
curseur
;
tandis
que
vous
effectuez
cette
opération,
la
taille
de
la
forme
d’onde
affichée
dans
toutes
les
régions
audio
augmente
ou
diminue.
Si
le
bouton
«
Zoom
de
forme
d’onde
»
est
activé,
il
apparaît
en
gris
foncé.
Cliquez
dessus
pour
le
désactiver.
Remarque
:
il
s’agit
d’une
fonction
purement
visuelle.
L’amplitude
(niveau)
de
la
forme
d’onde
n’est
pas
affectée.
Enregistrement
et
rappel
des
réglages
de
zoom
Vous
pouvez
enregistrer
trois
réglages
de
zoom
différents
pour
chaque
fenêtre
au
moyen
des
raccourcis
clavier
Sauver
zoom
1-3.
Utilisez
les
raccourcis
clavier
Rappel
zoom
1-3
pour
rappeler
vos
réglages
de
zoom.
Ces
raccourcis
s’appliquent
uniquement
à
la
fenêtre
ou
zone
de
fenêtre
active.
Zoom
avant
sur
une
rubrique
de
l’écran
Pour
agrandir
une
rubrique
de
l’écran
afin
qu’elle
occupe
l’intégralité
de
la
fenêtre,
sélectionnez-la
par
étirement
avec
l’outil
Zoom.
Vous
pouvez
répéter
cette
opération
si
vous
devez
effectuer
un
autre
zoom
avant.
Π Conseil
:
vous
pouvez
accéder
à
l’outil
Zoom
lorsque
d’autres
outils
sont
sélectionnés
en
maintenant
les
touches
Contrôle
et
Option
enfoncées.
Rétablissement
du
réglage
de
zoom
précédent
Cliquez
sur
l’arrière-plan
de
la
fenêtre
avec
l’outil
Zoom.
Vous
rétablissez
le
réglage
initial
du
niveau
de
zoom
ou
revenez
aux
niveaux
de
zoom
précédents
si
l’outil
a
été
utilisé
plusieurs
fois.
74 Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres
Raccourcis
clavier
de
navigation
dans
les
réglages
de
zoom
Vous
pouvez
définir
et
rappeler
jusqu’à
trente
niveaux
de
zoom
et
positions
de
barre
de
défilement
pour
chaque
fenêtre.
Vous
avez
ainsi
la
possibilité
de
naviguer
entre
plusieurs
niveaux
de
zoom
et
positions
de
barre
de
défilement,
de
façon
à
accélérer
les
tâches
d’édition
répétitives.
Vous
avez
la
possibilité
d’utiliser
les
commandes
ci-dessous
pour
effectuer
un
zoom
sur
les
événements
sélectionnés
ou
sur
une
région
définie
par
les
locators,
afin
d’adapter
leur
taille
à
l’écran.
L’utilisation
de
toutes
les
commandes
de
zoom
crée
une
nouvelle
étape
dans
le
chemin
de
navigation.
 Réduire/agrandir
pour
cadrer
la
sélection
verticalement
et
horizontalement,
enregistrer
le
réglage
de
navigation
:
affiche
la
sélection
actuelle
avec
la
taille
la
plus
grande
possible
et
l’enregistre
dans
le
chemin
de
navigation.
 Zoom
pour
afficher
la
sélection
horizontale,
enregistrer
réglage
de
navigation
:
affiche
la
sélection
actuelle
avec
la
taille
horizontale
la
plus
grande
possible
et
l’enregistre
dans
le
chemin
de
navigation.
 Agrandir
pour
afficher
les
locators,
enregistrer
réglage
de
navigation
:
affiche
la
zone
de
locator
actuelle
avec
la
taille
la
plus
grande
possible
et
l’enregistre
dans
le
chemin
de
navigation.
Les
raccourcis
clavier
de
navigation
vous
permettent
de
rappeler
les
réglages
de
zoom
précédents
ou
suivants.
 Enregistrer
réglage
de
navigation
:
les
réglages
actuels
du
zoom
et
de
la
barre
de
défilement
(position
de
la
fenêtre)
sont
enregistrés
en
tant
qu’étape
du
chemin
de
navigation.
 Navigation
:
arrière
:
rappelle
l’étape
précédente
du
chemin
de
navigation.
 Navigation
:
avance
rapide
:
passe
à
l’étape
suivante
du
chemin
de
navigation.
Les
commandes
associées
au
chemin
de
navigation
peuvent
par
exemple
être
utiles
si
vous
souhaitez
couper
et
coller
des
rubriques
d’une
région
audio
dans
plusieurs
autres
emplacements,
dans
le
cadre
d’un
projet
comportant
des
centaines
de
pistes.
Une
étape
de
votre
chemin
de
navigation
est
une
vue
de
la
région
audio
sur
laquelle
vous
effectuez
un
zoom.
Une
autre
étape
peut
être
une
version
de
plusieurs
pistes
sur
laquelle
vous
effectuez
un
zoom
avant
verticalement
(pistes
cibles
des
rubriques
de
région
collées).
Une
étape
postérieure
peut
correspondre
à
une
rubrique
sur
laquelle
vous
effectuez
un
zoom
arrière
horizontalement,
ce
qui
permet
de
coller
les
segments
de
la
région
sur
une
position
ultérieure.
Remarque
:
étant
donné
qu’il
n’existe
pas
de
raccourci
clavier
par
défaut
pour
la
plupart
de
ces
options
de
navigation,
vous
devez
les
définir
dans
la
fenêtre
Raccourcis
clavier.
Choisissez
Logic
Express
>
Préférences
>
Raccourcis
clavier
et
saisissez
«
nav
»
dans
la
zone
Trouver.
Les
entrées
décrites
ci-dessus
s’affichent.
Pour
plus
en
savoir
plus
sur
l’affectation
des
raccourcis
clavier,
reportez-vous
à
la
rubrique
«
Attribution
de
raccourcis
clavier
à
des
touches
de
l’ordinateur
»
à
la
page
178.
Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres 75
Relations entre les fenêtres
Logic
Express
permet
d’associer
ou
de
dissocier
indépendamment
des
fenêtres,
offrant
ainsi
des
options
d’affichage
flexibles.
De
cette
façon,
vous
pouvez
par
exemple
configurer
deux
fenêtres
Liste
d’événements,
l’une
affichant
les
régions
Arrangement
et
l’autre
présentant
le
contenu
des
régions.
Il
vous
suffit
de
cliquer
sur
le
nom
de
région
de
votre
choix
pour
mettre
à
jour
le
contenu
de
la
deuxième
liste
d’événements.
Les
deux
boutons
situés
dans
l’angle
supérieur
gauche
de
la
plupart
des
fenêtres
déterminent
leur
position
par
rapport
à
:
 la
position
de
la
tête
de
lecture
(Capture),
 d’autres
fenêtres
(Pas
de
lien,
«
Lien
de
même
niveau
»
ou
Lien
de
contenu).
Capture
Activez
le
bouton
Capture
pour
vous
assurer
que
la
rubrique
visible
d’une
fenêtre
suit
la
tête
de
lecture
lors
de
la
lecture
ou
de
l’enregistrement.
Si
le
bouton
est
désactivé,
l’affichage
n’est
pas
mis
à
jour,
même
lorsque
la
tête
de
lecture
se
déplace
au-delà
du
bord
droit
de
la
partie
visible
de
la
fenêtre.
L’option
«
Capturer
au
démarrage
de
Logic
»
(Logic
Express
>
Préférences
>
Globales
>
Capturer)
permet
d’activer
le
mode
Capture
chaque
fois
que
vous
appuyez
sur
la
touche
Lecture
ou
Pause.
Quant
à
la
préférence
«
Capturer
lors
du
déplacement
de
la
tête
de
lecture
»,
elle
active
le
mode
Capture
chaque
fois
que
vous
déplacez
la
tête
de
lecture.
Glissement
en
lecture
Les
menus
Présentation
de
toutes
les
fenêtres
affichant
la
durée
horizontalement
(zone
Arrangement,
éditeur
de
partition,
«
Éditeur
de
piano
roll
»
et
Éditeur
Hyper)
comportent
le
réglage
Présentation
>
Glissement
en
lecture.
Si
la
fonction
Capture
de
la
fenêtre
est
également
activée,
la
tête
de
lecture
reste
au
milieu
de
la
fenêtre,
tandis
que
l’arrière-plan
défile
doucement
de
la
droite
vers
la
gauche.
76 Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres
Modes
Pas
de
lien,
Lien
de
même
niveau
et
Lien
au
contenu
Ces
options
d’affichage
permettent
de
définir
la
façon
dont
les
informations
sont
présentées
lorsque
vous
utilisez
des
fenêtres
d’éditeurs
connexes.
Pour
définir
l’un
de
ces
modes
:
m Cliquez
sur
le
bouton
Lien
tout
en
maintenant
la
touche
Contrôle
enfoncée
(ou
avec
le
bouton
droit
de
la
souris),
puis
choisissez
le
mode
requis
dans
le
menu.
 Pas
de
lien
:
dissocie
la
fenêtre
des
autres
fenêtres.
 Lien
de
même
niveau
:
lorsque
ce
mode
est
activé
dans
une
fenêtre
donnée,
celle-ci
affiche
toujours
un
contenu
identique
à
celui
de
la
fenêtre
active.
L’affichage
est
mis
à
jour
chaque
fois
que
la
sélection
(de
données)
change
dans
la
fenêtre
active.
Exemple
:
supposons
que
la
fenêtre
active
soit
l’Éditeur
de
piano
roll.
En
mode
«
Lien
de
même
niveau
»,
l’éditeur
de
partition
et
la
Liste
des
événements
affichent
les
mêmes
données
sous
une
autre
forme.
 Lien
au
contenu
:
dans
ce
mode,
la
fenêtre
affiche
toujours
le
contenu
de
la
région
sélectionnée
dans
la
fenêtre
active.
L’affichage
est
par
conséquent
toujours
situé
juste
au-dessous
de
la
fenêtre
supérieure.
Voici
un
exemple
de
lien
de
contenu
:
si
la
zone
Arrangement
est
la
fenêtre
active,
toute
fenêtre
d’éditeur
MIDI
ouverte
affiche
les
événements
de
la
région
MIDI
sélectionnée.
Si
une
autre
région
MIDI
est
sélectionnée
dans
la
zone
Arrangement,
l’affichage
de
l’éditeur
lié
est
mis
à
jour
pour
présenter
le
contenu
de
cette
région.
Vous
pouvez
également
utiliser
le
mode
Lien
de
contenu
dans
une
zone
Arrangement
pour
afficher
le
contenu
des
dossiers
d’une
autre
zone
Arrangement.
Π Conseil
:
vous
avez
aussi
la
possibilité
de
passer
d’un
mode
à
un
autre
en
cliquant
sur
le
bouton
Lien
:
lorsque
vous
cliquez
une
seule
fois
sur
ce
bouton,
vous
passez
du
mode
Pas
de
lien
au
mode
«
Lien
de
même
niveau
»
ou
vice
versa.
Si
vous
cliquez
deux
fois
sur
le
bouton
Lien,
vous
activez
le
mode
Lien
de
contenu.
Le
symbole
figurant
sur
le
bouton
Lien
indique
le
mode
d’affichage
choisi
:
Mode
Lien
de
même
niveau Mode
Lien
au
contenu
Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres 77
Mode
Capture
du
contenu
Le
mode
Capture
du
contenu
est
généralement
utilisé
dans
la
zone
Arrangement,
avec
des
fenêtres
d’éditeurs
MIDI
liées
mises
à
jour
pour
présenter
les
événements
de
la
région
MIDI
en
cours
de
lecture
(sur
la
piste
Arrangement
sélectionnée).
Initialement,
ce
mode
équivaut
au
mode
Lien
de
contenu
;
toutefois,
lorsque
la
tête
de
lecture
atteint
la
région
suivante
de
la
même
piste,
le
contenu
de
cette
région
est
affiché.
Pour
activer
le
mode
Capture
du
contenu
:
1 Cliquez
sur
le
bouton
Capture
pour
l’activer.
2 Cliquez
sur
le
bouton
Lien
tout
en
maintenant
la
touche
Contrôle
enfoncée
(ou
avec
le
bouton
droit
de
la
souris)
et
choisissez
le
mode
Lien
de
contenu.
Personnalisation de la barre de transport
Vous
pouvez
personnaliser
la
barre
de
transport
en
ajoutant
ou
en
supprimant
dans
celle-ci
des
boutons
et
des
affichages,
de
façon
à
avoir
accès
aux
fonctions
dont
vous
avez
le
plus
souvent
besoin.
Cette
opération
a
toutefois
une
incidence
sur
la
taille
de
la
fenêtre
Transport.
Vous
avez
également
la
possibilité
d’ouvrir
une
fenêtre
d’affichage
de
la
barre
ou
SMPTE.
Pour
plus
d’informations,
reportez-vous
à
la
rubrique
«
Personnalisation
de
la
barre
de
transport
»
à
la
page
123.
Personnalisation de la barre d’outils de la fenêtre Arrangement
Vous
pouvez
personnaliser
la
barre
d’outils
en
ajoutant
des
boutons
pour
les
commandes
que
vous
utilisez
le
plus
souvent.
Il
est
également
possible
de
configurer
l’affichage
pour
visualiser
uniquement
les
icônes
des
boutons
ou
leur
libellé.
Pour
ajouter
un
bouton
à
la
barre
d’outils
Logic
Express
:
1 Cliquez
sur
la
barre
d’outils
de
la
fenêtre
Arrangement
tout
en
maintenant
la
touche
Contrôle
enfoncée
(ou
avec
le
bouton
droit
de
la
souris)
et
choisissez
«
Personnaliser
la
barre
d’outils
»
dans
le
menu
contextuel.
78 Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres
2 Faites
glisser
les
boutons
que
vous
souhaitez
ajouter
depuis
la
zone
de
dialogue
«
Personnaliser
la
barre
d’outils
»
vers
une
zone
vide
située
dans
la
partie
supérieure
de
la
fenêtre.
Si
vous
faites
glisser
un
bouton
vers
un
emplacement
situé
entre
deux
boutons,
ces
derniers
se
déplacent
afin
de
libérer
de
l’espace
pour
le
nouveau
bouton.
Remarque
:
vous
pouvez
également
choisir
de
faire
glisser
tout
l’ensemble
par
défaut
depuis
le
bas
de
la
zone
de
dialogue
«
Personnaliser
la
barre
d’outils
»,
si
vos
modifications
ne
fonctionnent
pas
aussi
bien
que
vous
l’espériez.
3 Cliquez
sur
Terminé
une
fois
l’opération
effectuée.
Pour
supprimer
un
bouton
de
la
barre
d’outils
:
m Cliquez
sur
le
bouton
de
votre
choix
tout
en
maintenant
la
touche
Contrôle
enfoncée,
puis
sélectionnez
l’option
Supprimer
dans
le
menu.
Pour
modifier
l’apparence
des
éléments
de
la
barre
d’outils
:
m Le
menu
contextuel
et
le
menu
Afficher
de
la
zone
de
dialogue
«
Personnaliser
la
barre
d’outils
»
vous
permettent
de
présenter
les
éléments
de
la
barre
d’outils
sous
différentes
formes
:
icône
et
texte,
Icône
seulement
ou
Texte
seulement.
Il
vous
suffit
de
choisir
l’option
d’affichage
que
vous
préférez.
Lorsque
vous
redimensionnez
la
fenêtre
Arrangement,
l’espace
disponible
dans
la
barre
d’outils
peut
s’avérer
insuffisant
pour
afficher
tous
les
boutons.
Pour
qu’un
bouton
de
la
barre
d’outils
reste
visible
lorsque
vous
redimensionnez
la
fenêtre
Arrangement
:
m Cliquez
sur
le
bouton
de
votre
choix
tout
en
maintenant
la
touche
Contrôle
enfoncée
(ou
avec
le
bouton
droit
de
la
souris),
puis
sélectionnez
«
Rendre
l’élément
visible
»
dans
le
menu.
Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres 79
Masquage ou affichage de l’Inspecteur
Vous
pouvez
masquer
toute
la
zone
Inspecteur
située
dans
la
partie
gauche
de
la
fenêtre
Arrangement
et
des
fenêtres
d’éditeurs,
de
façon
à
libérer
de
l’espace
pour
les
régions,
les
événements
et
d’autres
données.
Pour
masquer
ou
afficher
l’Inspecteur
dans
la
fenêtre
Arrangement,
effectuez
l’une
des
opérations
suivantes
:
m Cliquez
sur
le
bouton
Inspecteur
dans
la
barre
d’outils.
m Choisissez
Présentation
>
Inspecteur
(ou
utilisez
le
raccourci
clavier
Afficher/Masquer
l’inspecteur).
Pour
masquer
ou
afficher
l’Inspecteur
dans
les
fenêtres
d’édition
:
m Choisissez
Présentation
>
Inspecteur
(ou
utilisez
le
raccourci
clavier
Afficher/Masquer
l’inspecteur).
Si
l’espace
disponible
verticalement
est
insuffisant
pour
afficher
toutes
les
zones
de
l’Inspecteur,
vous
pouvez
cliquer
sur
les
triangles
d’affichage
pour
les
masquer
individuellement.
Réglage de l’affichage de la règle Mesure
Vous
pouvez
choisir
parmi
quatre
modes
d’affichage
de
la
règle
Mesure
:
 Temps
:
affiche
une
règle
de
temps
SMPTE
divisée
en
heures,
minutes,
secondes
et
images.
 Mesure
:
affiche
une
règle
Mesure
divisée
en
mesures,
battements,
divisions
et
ticks.
Selon
les
réglages
de
zoom
(voir
la
rubrique
«
Zoom
»
à
la
page
71),
les
mesures
sont
affichées
en
diverses
unités
(1,
4,
8
ou
16)
dans
la
partie
supérieure.
Les
modifications
apportées
à
la
signature
apparaissent
également
ici.
Une
ligne
verticale
s’affiche
pour
chaque
mesure
dans
le
tiers
inférieur.
Les
lignes
plus
courtes
représentent
un
battement,
mais
ne
sont
pas
toujours
visibles
(selon
le
réglage
du
zoom).
80 Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres
 Mesure
et
temps
:
affiche
la
règle
Mesure
au-dessus
de
la
règle
SMPTE.
 Temps
et
mesure
:
affiche
la
règle
SMPTE
au-dessus
de
la
règle
Mesure.
Pour
définir
le
mode
d’affichage
de
la
règle
Mesure
:
m Cliquez
sur
la
petite
icône
de
la
flèche
vers
le
bas
à
droite
de
la
règle
Mesure
et
choisissez
le
mode
d’affichage
souhaité
dans
le
menu
contextuel.
Le
réglage
Outil
Sélecteur
masque
ou
affiche
l’outil
sélecteur,
qui
permet
d’effectuer
les
tâches
de
sélection.
Pour
plus
d’informations,
reportez-vous
à
la
rubrique
«
Sélection
de
parties
d’une
région
»
à
la
page
342.
Vous
pouvez
également
utiliser
les
raccourcis
clavier
suivants
pour
modifier
l’affichage
de
la
règle
:
 Position
et
durée
de
l’événement
en
unités
SMPTE
:
permet
de
basculer
entre
l’affichage
de
la
règle
Mesure
et
de
la
règle
SMPTE
si
une
règle
est
affichée
et
inverse
la
position
de
ces
règles
si
elles
sont
affichées
toutes
les
deux.
 Règle
secondaire
:
active/désactive
l’affichage
de
la
deuxième
règle.
Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres 81
Affichage des pistes globales
Toutes
les
fenêtres
d’édition
linéaire
peuvent
afficher
des
pistes
globales
sous
la
règle
Mesure.
Vous
pouvez
limiter
l’affichage
à
des
pistes
globales
particulières,
redimensionner
les
pistes
et
les
déplacer.
Pour
masquer
ou
afficher
des
pistes
globales,
procédez
de
l’une
des
manières
suivantes
:
m Cliquez
sur
le
triangle
d’affichage
Pistes
globales
à
gauche
de
la
règle
Mesure.
m Choisissez
Présentation
>
Pistes
globales
(ou
utilisez
le
raccourci
clavier
Activer/Désactiver
pistes
globales).
m Utilisez
l’un
des
raccourcis
clavier
suivants
:
 Masquer
toutes
les
pistes
globales
 Afficher
toutes
les
pistes
globales
Affichage
et
masquage
de
pistes
globales
individuelles
Par
défaut,
les
pistes
globales
de
marqueur,
d’articulation
et
de
tempo
s’affichent
dès
que
vous
ouvrez
les
rangées
de
pistes
globales
à
l’aide
des
méthodes
décrites
ci-dessus.
Pour
masquer
ou
afficher
des
pistes
globales
particulières
:
1 Effectuez
l’une
des
opérations
suivantes
:
 Cliquez
n’importe
où
dans
la
zone
d’en-tête
des
pistes
globales
tout
en
maintenant
la
touche
Contrôle
enfoncée
(ou
avec
le
bouton
droit
de
la
souris),
puis
choisissez
«
Configurer
les
pistes
globales
»
dans
le
menu
contextuel.
82 Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres
 Choisissez
Présentation
>
Configurer
les
pistes
globales
(ou
utilisez
le
raccourci
clavier
Configurer
les
pistes
globales).
2 Effectuez
l’une
des
opérations
suivantes
dans
la
zone
de
dialogue
«
Configurer
les
pistes
globales
»
:
 Cochez
les
cases
correspondantes
pour
afficher
ou
masquer
chaque
type
de
piste
globale.
 Cliquez
sur
les
boutons
Tout
activer
ou
Tout
désactiver
pour
respectivement
afficher
ou
masquer
toutes
les
pistes
globales.
Tous
les
réglages
effectués
dans
la
zone
de
dialogue
«
Configurer
les
pistes
globales
»
n’affectent
que
la
fenêtre
active.
En
effet,
chaque
fenêtre
peut
disposer
de
sa
propre
configuration
de
l’affichage
des
pistes
globales.
Remarque
:
vous
pouvez
également
affecter
et
utiliser
les
raccourcis
clavier
suivants
pour
activer
ou
désactiver
chaque
piste
globale
:
Marqueur,
Transposition,
Accord,
articulation,
Tempo,
Table
de
battements
et
Vidéo.
Cette
opération
a
un
effet
immédiat
et
la
zone
de
dialogue
«
Configurer
les
pistes
globales
»
ne
s’ouvre
pas.
Redimensionnement
et
déplacement
des
pistes
globales
Vous
pouvez
redimensionner
chaque
piste
globale
ou
bien
encore
l’intégralité
de
la
zone
des
pistes
globales.
Pour
redimensionner
des
pistes
globales
individuelles,
effectuez
l’une
des
opérations
suivantes :
m Cliquez
sur
le
triangle
d’affichage
dans
l’angle
supérieur
gauche
de
chaque
piste
globale.
La
hauteur
des
pistes
augmente
et
d’autres
contrôles
s’affichent.
Si
vous
cliquez
de
nouveau
sur
le
triangle,
la
hauteur
des
pistes
diminue.
Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres 83
m Placez
le
pointeur
de
la
souris
sur
l’un
des
diviseurs
de
voie
situés
entre
les
pistes
globales
dans
la
zone
d’en-tête,
puis
faites-le
glisser
vers
le
haut
ou
le
bas.
Pour
redimensionner
l’intégralité
de
la
zone
des
pistes
globales
:
m Placez
le
pointeur
de
la
souris
sur
la
ligne
de
séparation
entre
les
pistes
globales
et
les
pistes
Arrangement,
puis
faites-le
glisser
vers
le
haut
ou
le
bas.
Pour
changer
l’ordre
des
pistes
globales :
m Cliquez
n’importe
où
(sauf
sur
les
commandes)
dans
la
zone
d’en-tête
de
la
piste
globale
que
vous
souhaitez
déplacer
et
maintenez
le
bouton
de
la
souris
enfoncé,
puis
glissez
vers
le
haut
ou
le
bas.
L’ordre
d’affichage
des
pistes
globales
est
enregistré
indépendamment
pour
chaque
fenêtre.
Π Conseil
:
si
les
sélecteurs
de
protection
de
piste
sont
visibles
(Présentation
>
Configurer
l’en-tête
de
piste
>
Sélecteurs
de
protection),
vous
pouvez
empêcher
que
des
modifications
ne
soient
apportées
accidentellement
à
des
pistes
globales
individuelles
en
cliquant
sur
le
sélecteur
de
protection
correspondant.
Utilisation des screensets
Vous
allez
positionner
les
fenêtres
de
façon
choisir
une
disposition
adaptée
à
vos
méthodes
de
travail.
Cette
présentation
des
diverses
fenêtres,
et
notamment
la
taille
de
l’affichage,
les
niveaux
de
zoom
et
la
position
de
chaque
fenêtre
(et
d’autres
réglages),
est
appelée
«
screenset
».
Une
fois
que
vous
avez
défini
des
screensets,
vous
pouvez
les
enregistrer
et
passer
librement
de
l’un
à
l’autre,
tout
comme
vous
le
feriez
avec
des
écrans
d’ordinateur.
84 Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres
Enregistrement
et
rappel
des
screensets
Les
screensets
sont
numérotés
de
1
à
99
(exclusivement
au
moyen
des
touches
d’ordinateur
1
à
9,
la
touche
0
étant
affectée
par
défaut
à
la
commande
Arrêter).
Vous
n’êtes
pas
obligé
d’enregistrer
les
screensets
avec
une
commande
explicite.
L’enregistrement
s’effectue
automatiquement
dès
lors
que
vous
passez
à
un
autre
screenset.
Par
conséquent,
la
vue
de
travail
actuelle
est
toujours
enregistrée
en
tant
que
screenset
actif,
sans
que
vous
ayez
à
intervenir.
Pour
créer
un
screenset
:
1 Appuyez
sur
une
touche
numérique,
telle
que
7.
Pour
les
screensets
à
deux
chiffres,
maintenez
la
touche
Contrôle
enfoncée
tout
en
saisissant
le
premier
chiffre.
2 Choisissez
la
disposition
souhaitée
pour
vos
fenêtres
(modifications
des
réglages
de
zoom,
relation
entre
la
zone
Arrangement
et
les
zones
d’éditeurs,
zones
Inspecteur,
Média
ou
Listes
ouvertes
ou
fermées,
etc.).
Remarque
:
lorsque
vous
choisissez
le
numéro
d’un
screenset
qui
n’a
pas
été
enregistré,
une
fenêtre
Arrangement
agrandie
s’ouvre.
Pour
rappeler
un
screenset
ou
passer
d’un
screenset
à
un
autre,
effectuez
l’une
des
opérations
suivantes
:
m Saisissez
le
numéro
du
screenset
souhaité
(1
à
9).
Pour
les
screensets
à
deux
chiffres,
maintenez
la
touche
Contrôle
enfoncée
tout
en
saisissant
le
premier
chiffre.
m Sélectionnez
le
screenset
de
votre
choix
dans
le
menu
Screenset.
m Utilisez
le
raccourci
clavier
Screenset
suivant
ou
Screenset
précédent.
Rappel des screensets 1 à 9 au moyen des raccourcis clavier
Les
screensets
1
à
9
peuvent
être
rappelés
au
moyen
de
raccourcis
clavier
librement
définis,
et
pas
uniquement
des
touches
numérotées
du
clavier
de
votre
ordinateur.
Cela
vous
permet
d’utiliser
les
touches
numérotées
à
d’autres
fins,
telles
que
l’ouverture
ou
la
fermeture
des
fenêtres.
Les
raccourcis
clavier
1
à
9
correspondent
respectivement
à
Rappeler
screenset
1
(jusqu’à
9)
dans
la
fenêtre
Raccourcis
clavier.
Changement de screenset contrôlé par le séquenceur
Vous
pouvez
passer
automatiquement
d’un
screenset
à
un
autre
par
le
biais
du
métaévénement
n°
49
;
il
vous
suffit
de
l’ajouter
à
une
région
MIDI
de
la
Liste
d’événements.
Pour
passer
automatiquement
d’un
screenset
à
un
autre
:
1 Sélectionnez
la
région
MIDI
dans
laquelle
vous
souhaitez
insérer
le
méta-événement.
2 Placez
la
tête
de
lecture
sur
le
point
à
partir
duquel
vous
souhaitez
changer
de
screenset.
Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres 85
3 Cliquez
sur
le
bouton
Créer
dans
la
Liste
d’événements,
puis
sur
le
bouton
Méta-événements.
La
valeur
par
défaut
du
méta-événement
est
de
50
(sélection
du
projet).
4 Remplacez
le
nombre
50
figurant
dans
la
colonne
Nombre
par
49.
Le
nom
«
screenset
»
s’affiche.
5 Saisissez
le
numéro
du
screenset
souhaité
dans
la
colonne
Valeur.
Vous
pouvez
arrêter
le
processus
de
changement
de
screenset
en
désactivant
la
région
MIDI
contenant
le
méta-événement
49.
Protection,
copie,
changement
de
nom
et
suppression
de
screensets
Logic
Express
vous
permet
de
protéger,
copier,
renommer
et
supprimer
des
screensets,
ce
qui
simplifie
leur
gestion.
Pour
empêcher
toute
modification
du
screenset
actif
:
m Choisissez
Screensets
>
Verrouiller
screenset
(ou
utilisez
le
raccourci
clavier
Verrouiller/
Déverrouiller
screenset
actuel
correspondant,
par
défaut
:
Maj
+
L).
Une
puce
apparaît
devant
le
numéro
du
screenset
pour
indiquer
qu’il
est
verrouillé.
Réutilisez
le
raccourci
clavier
ou
la
commande
de
menu
pour
déverrouiller
le
screenset.
Important
:
la
commande
Fichier
>
Nouveau
désactive
tous
les
verrous
de
screenset.
Pour
copier
des
screensets :
1 Activez
le
screenset
que
vous
souhaitez
copier,
puis
choisissez
Screensets
>
Dupliquer
(ou
utilisez
le
raccourci
clavier
correspondant).
86 Chapitre
3
Personnalisation
de
la
configuration
de
vos
fenêtres
2 Dans
la
fenêtre
Duplication
de
screenset
qui
s’ouvre
:
saisissez
le
numéro
du
screenset
cible
(vers
lequel
vous
souhaitez
effectuer
la
copie)
et
un
nom.
Pour
renommer
le
screenset
actuel :
m Choisissez
Screensets
>
Renommer
(ou
utilisez
le
raccourci
clavier
correspondant),
puis
saisissez
un
nouveau
nom
dans
la
fenêtre
Renommer
le
screenset.
Cliquez
sur
le
bouton
Nom
automatique
pour
attribuer
automatiquement
un
nom
au
screenset.
Les
noms
de
fenêtres
visibles
définis
par
défaut
sont
utilisés
(par
exemple,
Arrangement/Piano
roll
ou
Arrangement/Table
de
mixage).
Le
nom
est
automatiquement
mis
à
jour
chaque
fois
qu’une
fenêtre
ou
une
vue
est
ouverte
ou
fermée.
Pour
supprimer
le
screenset
actuel :
m Choisissez
Screensets
>
Supprimer
(ou
utilisez
le
raccourci
clavier
correspondant).
Importation
de
screensets
à
partir
d’un
autre
projet
Vous
pouvez
importer
des
screensets
d’un
autre
projet.
Pour
importer
tous
les
screensets
d’un
autre
projet
:
1 Ouvrez
la
fenêtre
Importation
de
réglages
en
effectuant
l’une
des
opérations
suivantes
:
 Choisissez
Fichier
>
Réglages
du
projet
>
Importer
réglages
(ou
utilisez
le
raccourci
clavier
Importer
réglages).
 Cliquez
sur
le
bouton
de
barre
d’outils
Réglages,
puis
choisissez
Importer
réglages
dans
le
menu
local.
2 Dans
la
zone
de
dialogue
Importation,
cliquez
sur
l’option
Screensets.
3 Accédez
au
projet
voulu
(celui
depuis
lequel
vous
voulez
importer)
et
sélectionnez-le.
4 Cliquez
sur
Ouvrir
(ou
double-cliquez
sur
le
nom
du
projet
source).
Les
réglages
sont
importés
dans
le
projet
actif.
Rétablissement
des
screensets
enregistrés
La
commande
de
menu
«
Revenir
au
screenset
enregistré
»
(ou
le
raccourci
clavier
correspondant)
restaure
l’écran
à
son
état
initial,
c’est-à-dire
avant
toute
modification
de
l’aspect
du
screenset
actuel.
4
87
4 Configuration
du
système
Logic Express recherche et configure automatiquement le
matériel MIDI et audio pris en charge lors de sa première
exécution, à la suite de son installation. Il existe de nombreuses
situations dans lesquelles vous souhaiterez sans doute améliorer
ou étendre cette configuration automatique de base.
Le
présent
chapitre
vous
permettra
d’optimiser
votre
matériel
afin
de
l’utiliser
avec
Logic
Express.
Il
contient
également
de
nombreuses
informations
de
base
sur
les
composants
que
votre
système
de
production
musicale
peut
intégrer.
Si
c’est
la
première
fois
que
vous
utilisez
Logic
Express,
et
que
vous
souhaitez
vous
familiariser
avec
l’application,
ignorez
ces
informations
et
poursuivez.
Vous
pourrez
toujours
revenir
aux
rubriques
suivantes
lorsque
vous
envisagerez
d’ajouter
un
composant
à
votre
système.
Il
n’est
toutefois
pas
nécessaire
d’en
prendre
connaissance
pour
utiliser
Logic
Express.
Conception de votre système de production musicale
Votre
système
de
production
musicale
peut
intégrer
bien
davantage
que
votre
ordinateur
et
le
logiciel
Logic
Express.
Un
studio
Logic
Express
complet
peut
parfaitement
être
constitué
de
l’un
des
composants
suivants,
voire
de
l’ensemble
de
ces
composants
:
 Un
ordinateur
Macintosh
et
des
périphériques
connexes,
tels
qu’une
souris
ou
tout
autre
dispositif
de
pointage,
un
clavier,
des
écrans,
etc.
 Des
interfaces
MIDI
et
audio.
 Des
générateurs
de
sons
MIDI
externes,
tels
que
des
échantillonneurs
et
des
synthétiseurs.
 Des
périphériques
audio
externes,
tels
que
des
tables
de
mixage,
des
convertisseurs
audio,
des
préamplificateurs,
des
bandes
de
canaux,
des
unités
d’effets,
etc.
 Des
claviers
et
des
surfaces
de
contrôle
MIDI
externes.
Un
éclairage
externe
contrôlé
via
MIDI
peut
également
être
géré
par
Logic
Express.
 Un
système
d’amplification
et
des
haut-parleurs.
88 Chapitre
4
Configuration
du
système
 Un
logiciel
supplémentaire
qui
s’exécute
et
s’intègre
avec
Logic
Express.
Par
exemple,
une
série
d’applications
ReWire
et
un
logiciel
MIDI
ou
audio.
 Des
modules
d’instrument
et
d’effets
supplémentaires,
notamment
ceux
qui
sont
accélérés
via
DSP
tels
que
PowerCore.
Prenez
connaissance
de
cette
rubrique
si
vous
envisagez
d’intégrer
certains
de
ces
composants
à
votre
système
de
production
musicale
Logic
Express.
Si
vous
disposez
déjà
de
tous
ces
composants,
et
que
leur
intégration
vous
donne
satisfaction,
vous
pouvez
ignorer
cette
rubrique.
Ordinateur
Cette
rubrique
présente
plusieurs
facteurs
informatiques
dont
vous
devez
tenir
compte
pour
votre
système
Logic
Express.
La
configuration
requise
est
décrite
dans
le
document
Avant
d’installer,
situé
dans
le
dossier
Documentation
des
disques
d’installation
de
Logic
Express.
Remarque
:
la
configuration
requise
peut
varier
d’une
version
de
Logic
Express
à
une
autre
;
il
est
donc
conseillé
de
toujours
consulter
le
site
web
d’Apple
et
le
dernier
document
Avant
d’installer
figurant
dans
les
mises
à
jour
de
Logic
Express.
Puissance
requise
Le
traitement
audio
est
complexe,
de
sorte
que
la
règle
qui
s’applique
généralement
est
la
suivante
:
plus
votre
ordinateur
est
puissant,
mieux
c’est.
Cette
règle
ne
concerne
pas
seulement
la
vitesse
de
la
ou
des
UC
de
votre
Macintosh,
mais
aussi
la
taille
des
mémoires
principales,
la
vitesse
des
bus
et
l’efficacité
de
la
communication
avec
les
périphériques
connectés.
Un
studio
mobile
ou
fixe
?
Vous
hésitez
peut-être
entre
un
ordinateur
Macintosh
de
bureau
ou
portable
pour
installer
votre
système
Logic
Express
et
réfléchissez
sans
doute
à
l’utilité
d’un
ordinateur
portable
pour
réaliser
des
compositions
lors
de
vos
déplacements.
Sachez
que
les
ordinateurs
portables
Macintosh
sont
parfaitement
adaptés
à
l’utilisation
de
Logic
Express.
Ils
offrent
d’excellentes
capacités
d’extension
pour
le
matériel
MIDI
et
audio
sous
forme
de
connecteurs
FireWire
et
USB.
Ils
sont
également
suffisamment
rapides
pour
permettre
une
large
utilisation
des
effets
et
des
instruments
logiciels.
Les
ordinateurs
portables
étant
économes
en
énergie
par
nature,
ils
comportent
généralement
des
disques
durs
plus
lents,
ce
qui
entraîne
un
nombre
de
pistes
inférieur
par
rapport
à
un
ordinateur
de
bureau.
Bien
évidemment,
les
ordinateurs
de
bureau
sont
munis
de
logements
d’extension
supplémentaires,
ce
qui
offre
plus
de
possibilités
en
matière
de
matériels
MIDI
et
audio.
Ils
peuvent
aussi
être
équipés
de
plusieurs
processeurs.
Les
vitesses
du
disque
dur
et
du
processeur
sont
généralement
plus
élevées,
ce
qui
permet
un
nombre
de
lectures
de
pistes
supérieur
ainsi
que
l’utilisation
simultanée
d’un
plus
grand
nombre
d’effets
et
d’instruments
logiciels.
Chapitre
4
Configuration
du
système 89
Π Conseil
:
si
vous
disposez
à
la
fois
d’un
ordinateur
portable
et
d’un
ordinateur
de
bureau
Macintosh,
vous
pouvez
aisément
transférer
les
projets
et
autres
données
de
l’un
à
l’autre.
Emplacements
de
stockage
et
disques
durs
La
production
musicale
génère
un
nombre
considérable
de
gros
fichiers.
Ces
derniers
comportent
des
échantillons
pour
instruments
audio,
des
bibliothèques
de
boucles,
des
enregistrements
audio,
des
fichiers
vidéo,
etc.
Il
vous
faudra
envisager
d’acheter
séparément
un
(voire
plusieurs)
disque
dur
de
grande
capacité
pour
vos
fichiers
audio.
Vous
devrez
également
réfléchir
à
un
système
de
sauvegarde
de
haute
capacité,
et
automatiser
votre
routine
de
sauvegarde,
sur
une
fréquence
quotidienne
de
préférence.
Interfaces
MIDI
et
audio
Une
interface
audio
est
nécessaire
pour
transmettre
des
signaux
sonores
à
votre
ordinateur,
ou
pour
qu’il
en
restitue.
Une
interface
MIDI
est
nécessaire
pour
des
signaux
MIDI
d’entrée
et
de
sortie.
Lorsque
vous
utilisez
des
interfaces
MIDI
et
audio,
vous
devez
installer
leurs
gestionnaires
avant
de
démarrer
Logic
Express.
Logic
Express
peut
ainsi
identifier
et
utiliser
ces
périphériques
au
démarrage.
Les
interfaces
audio
doivent
être
prises
en
charge
par
un
gestionnaire
Core
Audio
et
les
interfaces
MIDI
doivent
être
prises
en
charge
par
un
gestionnaire
Core
MIDI.
Contactez
le
fabricant
de
votre
équipement
pour
plus
de
détails
sur
la
prise
en
charge
de
Mac
OS
X.
Interface audio
Lorsqu’un
signal
audio
analogique
arrive
aux
entrées
de
l’interface
audio
de
votre
ordinateur,
il
doit
être
converti
en
données
numériques
pour
que
l’ordinateur
puisse
l’utiliser.
Ce
processus
appelé
conversion
analogique-numérique
est
géré
par
le
convertisseur
prévu
à
cet
effet
de
votre
interface
audio.
Il
existe
un
nombre
considérable
d’interfaces
audio
externes
disponibles
sur
le
marché,
et
presque
autant
de
façons
de
les
configurer
et
de
les
utiliser
avec
Logic
Express
et
des
appareils
audio
externes.
Compte
tenu
de
la
diversité
des
besoins
et
des
méthodes
de
travail,
qui
varient
d’un
utilisateur
à
l’autre
et
d’un
pays
à
l’autre,
il
n’existe
aucun
branchement
«
universel
»
s’appliquant
à
toutes
les
interfaces
audio.
Dans
le
scénario
le
plus
simple,
il
suffit
d’utiliser
l’interface
audio
interne
de
votre
ordinateur
pour
enregistrer
et
reproduire
les
données
audio.
Lors
du
choix
de
votre
interface
audio,
assurez-vous
qu’elle
peut
s’exécuter
sur
du
matériel
Macintosh.
Si
le
périphérique
nécessite
un
gestionnaire,
vérifiez
qu’il
est
compatible
avec
la
version
Mac
OS
X
requise
par
Logic
Express.
90 Chapitre
4
Configuration
du
système
Logic
Express
prend
en
charge
les
entrées
provenant
d’interfaces
audio
numériques,
avec
une
fréquence
d’échantillonnage
et
une
profondeur
de
bits
maximales
de
192
kHz
et
24
bits.
Vous
trouverez
des
informations
détaillées
sur
la
configuration
de
votre
interface
audio,
notamment
des
informations
sur
les
optimisations,
les
gestionnaires,
etc.,
dans
la
rubrique
«
Configuration
de
votre
matériel
audio
»
à
la
page
103
et
les
rubriques
suivantes.
Interface MIDI
Votre
ordinateur
Macintosh
ne
fournit
ni
sorties,
ni
entrées
MIDI.
Si
vous
souhaitez
utiliser
des
périphériques
MIDI
équipés
de
ports
MIDI,
une
interface
MIDI
est
nécessaire
pour
communiquer
avec
votre
ordinateur.
Les
interfaces
MIDI
sont
généralement
connectées
à
vos
ports
USB
Macintosh.
Certaines
interfaces
MIDI
nécessitent
l’installation
d’un
logiciel
pilote,
d’autres
sont
automatiquement
reconnues
par
votre
Macintosh.
Remarque
:
de
nombreux
appareils
MIDI
modernes,
en
particulier
les
claviers,
comprennent
un
port
de
connexion
FireWire
ou
USB
qui
permet
la
communication
MIDI
(et
audio
dans
certains
cas)
avec
votre
ordinateur.
Les
appareils
de
ce
type
ne
nécessitent
pas
d’interface
MIDI
(ou
audio)
supplémentaire.
Certains
appareils
nécessitent
l’installation
d’un
logiciel
pilote,
d’autres
sont
automatiquement
reconnus
par
Mac
OS
X.
Pour
en
savoir
davantage,
consultez
les
sites
web
des
fabricants
d’appareils
MIDI.
Types
d’appareils
MIDI
Il
existe
une
large
gamme
d’appareils
MIDI
:
générateurs
de
sons,
claviers,
surfaces
de
contrôle,
processeurs
d’effets,
tables
de
mixage,
contrôleurs
d’éclairage
MIDI,
etc.
Clavier MIDI
Voici
le
candidat
le
plus
probable
à
une
intégration
dans
votre
système
Logic
Express.
Les
claviers
MIDI
sont
utilisés
pour
entrer
des
informations
de
notes
(et
de
contrôleur)
dans
Logic
Express.
Certains
claviers
MIDI
sont
de
simples
périphériques
d’entrée
(également
appelés
«
claviers
de
contrôleur
»),
d’autres
comprennent
leurs
propres
moteurs
de
synthèse
(synthétiseurs
et
claviers
arrangeurs).
Logic
Express
peut
être
utilisé
pour
enregistrer
les
performances
du
clavier
sous
forme
de
données
MIDI,
et
peut
les
rejouer
via
un
instrument
logiciel
interne
ou
un
appareil
MIDI
connecté.
Pas
de
panique
si
votre
clavier
MIDI
n’est
pas
très
pratique
!
Logic
Express
offre
un
clavier
avec
verrouillage
des
majuscules
qui
vous
permet
d’utiliser
le
clavier
de
votre
ordinateur
pour
entrer
les
notes
MIDI.
Reportez-vous
à
la
rubrique
«
Utilisation
du
clavier
avec
verrouillage
majuscules
»
à
la
page
439.
Chapitre
4
Configuration
du
système 91
Surfaces de contrôle
Les
surfaces
de
contrôle
sont
des
périphériques
équipés
de
diverses
commandes,
dont
des
curseurs,
des
sélecteurs
rotatifs,
des
commutateurs
et
des
écrans.
Ces
commandes
peuvent
être
mappées
à
des
fonctions
de
Logic
Express,
ce
qui
permet
de
modifier
des
paramètres
de
manière
plus
précise
et
plus
rapide
que
cela
n’est
possible
avec
la
souris
et
le
clavier
de
l’ordinateur.
Vous
pouvez
également
contrôler
plusieurs
paramètres
simultanément.
Vous
trouverez
des
informations
détaillées
sur
la
configuration
et
l’utilisation
des
surfaces
de
contrôle
dans
le
manuel
relatif
aux
surfaces
de
contrôle.
Synthétiseurs et effets MIDI contrôlés
Logic
Express
fournit
de
nombreux
effets
et
instruments
logiciels
et
peut
également
être
utilisé
comme
hôte
pour
les
modules
Audio
Unit
de
fabricants
tiers.
Vous
trouverez
plus
d’informations
sur
l’utilisation
des
effets
et
des
instruments
de
modules
au
chapitre
10,
«
Utilisation
des
instruments
et
des
effets
»
à
la
page
229.
Vous
pouvez
également
intégrer
des
unités
d’effets
contrôlés
MIDI
et
des
instruments
matériels
MIDI
à
votre
système
de
production
musicale
Logic
Express.
Ceux-ci
sont
connectés
via
une
interface
MIDI,
à
l’aide
de
câbles
MIDI
(voir
«
Branchement
de
vos
appareils
MIDI
et
audio
»
à
la
page
94).
Les
unités
d’effets
contrôlés
MIDI
ne
traitent
pas
les
données
MIDI.
Il
existe,
en
revanche,
des
processeurs
audio
(tels
que
des
appareils
à
multi-effets
ou
de
réverbération)
qui
peuvent
être
gérés
via
des
messages
MIDI.
Cela
vous
permet
d’automatiser
les
paramètres
de
ces
appareils,
tels
que
le
décalage
ou
la
vitesse
du
flanger,
depuis
Logic
Express.
En
règle
générale,
tous
les
périphériques
externes,
tels
que
les
synthétiseurs
et
les
unités
d’effets
contrôlées
MIDI,
sont
connectés
à
l’interface
audio
ou
à
une
console
matérielle
de
mixage.
Les
unités
d’effets
contrôlés
MIDI
sont
connectées
au
sein
d’une
boucle
envoi/retour,
en
utilisant
:
 Une
paire
d’entrée/sortie
audio
(ou
d’entrée/sortie
auxiliaire,
le
cas
échéant)
sur
votre
interface
audio
 Une
paire
d’entrée/sortie
auxiliaire
(parfois
appelée
FX
envoi/retour)
sur
votre
console
de
mixage
Les
deux
méthodes
permettent
d’utiliser
le
module
In/Out
de
Logic
Express
;
vous
pouvez
ainsi
acheminer
librement
des
informations
audio
via
l’unité
d’effets
externe
;
la
connexion
MIDI
fournit
un
contrôle
sur
les
paramètres
des
effets.
Sous
de
nombreux
aspects,
cela
revient
à
utiliser
les
modules
d’effets
internes
de
Logic
Express.
Remarque
:
le
module
d’entrée/sortie
pour
l’acheminement
de
périphériques
externes
est
utile
lorsque
vous
disposez
d’une
interface
audio
équipée
de
plusieurs
ports
d’entrée/sortie.
92 Chapitre
4
Configuration
du
système
Les
effets
et
les
instruments
MIDI
permettent
une
sélection
des
correctifs
à
distance
(présélection)
depuis
Logic
Express.
Cette
sélection,
ainsi
que
d’autres
informations
(de
contrôle)
peuvent
être
stockées
sous
forme
de
fichiers
du
projet
Logic
Express,
garantissant
une
lecture
parfaite
depuis
vos
appareils
MIDI
lors
du
prochain
chargement
du
projet.
Appareils
audio
auxiliaires
Toute
discussion
à
propos
d’un
système
audio
Logic
Express
serait
incomplète
sans
aborder
un
certain
nombre
d’options
que
vous
devrez
bien
connaître
pour
exploiter
pleinement
l’application.
Système de lecture audio
Votre
interface
audio
fournit
des
entrées
et
des
sorties
entre
le
monde
réel
et
votre
ordinateur.
Lors
de
la
lecture
audio,
l’interface
audio
convertit
les
données
informatiques
en
données
audibles
et
compréhensibles
:
des
sons
et
de
la
musique.
Pour
faciliter
cette
opération,
un
amplificateur
et
des
haut-parleurs
sont
requis.
Vous
pouvez
certainement
utiliser
des
écouteurs,
connectés
à
la
prise
casque
de
votre
interface
audio,
ou
votre
chaîne
hi-fi
pour
écouter
le
morceau
Logic
Express,
mais
cela
n’est
pas
recommandé
sur
le
long
terme.
Il
faudra
vous
procurer
un
ensemble
de
moniteurs
de
référence
dédié
(haut-parleurs)
et
l’amplificateur
de
référence
correspondant.
Actuellement,
de
nombreux
systèmes
de
contrôle
disposent
de
haut-parleurs
amplifiés.
Dans
ce
cas,
un
amplificateur
séparé
n’est
pas
nécessaire.
Remarque
:
des
moniteurs
de
référence
sont
des
haut-parleurs
spécialement
conçus
qui
offrent
une
réponse
en
fréquence
plate
parmi
une
large
gamme
(généralement
de
20
Hz
à
20
kHz).
Il
ne
s’agit
en
aucun
cas
de
vos
haut-parleurs
hi-fi
personnels.
Ces
moniteurs
sont
généralement
disponibles
auprès
de
revendeurs
de
matériel
musical
professionnel
ou
d’équipement
pour
studios.
Ce
type
de
système
est
recommandé
en
raison
de
sa
précision.
Logic
Express
permet
d’obtenir
un
son
au
moins
de
qualité
CD
;
généralement,
les
morceaux
créés
sur
une
chaîne
hi-fi
classique
ne
sont
pas
correctement
équilibrés.
En
effet,
la
plupart
des
haut-parleurs
de
chaîne
hi-fi
personnelle
ont
tendance
à
renforcer
certaines
zones
du
spectre
des
fréquences
;
les
morceaux
ainsi
créés
ont
trop
de
fréquences
basses,
moyennes
ou
aiguës
lorsqu’ils
sont
joués
sur
d’autres
systèmes.
Les
amplificateurs
et
les
moniteurs
de
référence
sont
conçus
pour
fournir
une
réponse
en
fréquence
plate,
sans
accentuer
certaines
zones
de
votre
morceau.
Vous
disposez
ainsi
d’un
produit
dont
le
son
est
de
bonne
qualité
(ou,
tout
du
moins,
de
qualité
acceptable)
sur
la
plupart
des
systèmes
de
contrôle,
tels
que
les
équipements
stéréo
utilisés
dans
les
voitures,
les
chaînes
hi-fi,
les
lecteurs
portables,
etc.
Chapitre
4
Configuration
du
système 93
Écouteurs
Un
bon
ensemble
d’écouteurs
de
type
studio
est
utile
pour
certaines
tâches,
telles
que
l’édition
d’échantillons
et
l’égalisation
précise.
De
par
la
conception
de
la
plupart
écouteurs
et
du
fait
qu’ils
sont
utilisés
si
près
des
oreilles,
la
majorité
des
gens
estiment
qu’ils
rendent
les
morceaux
trop
nets
ou
trop
lourds.
C’est
pourquoi
il
n’est
pas
recommandé
de
les
utiliser
pour
des
tâches
de
contrôle
courantes.
Ils
restent
toutefois
de
précieux
outils.
Si
vous
enregistrez
plusieurs
groupes
de
personnes,
vous
aurez
probablement
besoin
de
plusieurs
paires
d’écouteurs,
d’un
amplificateur
de
distribution
pour
écouteurs
et
d’une
console
de
mixage.
Π Conseil
:
il
ne
faut
pas
utiliser
les
écouteurs
pendant
plus
de
10
à
20
minutes
en
continu,
car
ils
peuvent
générer
une
fatigue
auditive
et
vous
amener
à
faire
des
choix
inappropriés
pour
votre
morceau.
Consoles de mixage audio
L’ajout
d’une
table
de
mixage
audio
(analogique
ou
numérique)
dépend
surtout
de
l’utilisation
que
vous
faites
de
votre
studio
en
général.
Il
dépend
également
du
nombre
d’entrées
et
de
sorties
fournies
par
votre
interface
audio
et
de
vos
préférences
de
travail.
Par
exemple,
si
vous
envisagez
d’enregistrer
des
groupes,
plusieurs
synthétiseurs
MIDI
ou
de
la
batterie
dans
votre
studio,
vous
aurez
besoin
de
plusieurs
micros
et
de
plusieurs
entrées
de
niveau
de
ligne
pour
enregistrer
simultanément
les
interprétations
des
musiciens
et
des
chanteurs
du
groupe.
Les
entrées
des
micros
varient
entre
les
différentes
entrées
de
niveau
de
ligne
sur
le
plan
de
l’alimentation
fournie
(appelée
alimentation
fantôme),
qui
est
utilisée
pour
amplifier
le
signal
entrant
provenant
des
micros
à
condensateur.
Plusieurs
sorties
de
table
de
mixage
et
un
amplificateur
de
distribution
pour
écouteurs
sont
également
utiles
lorsque
vous
enregistrez
des
groupes,
car
différents
signaux
peuvent
être
envoyés
à
chaque
interprète.
Exemples
:
une
piste-métronome
pour
le
batteur,
une
version
mixée
de
la
batterie
et
une
piste-métronome
pour
le
bassiste,
une
version
mixée
composée
pour
le
chanteur
et
le
guitariste,
avec
une
pointe
de
réverbération
pour
le
chanteur,
etc.
Cette
approche
en
différentes
phases
est
couramment
utilisée,
car
elle
permet
d’obtenir
la
meilleure
interprétation
de
chaque
membre
du
groupe.
Les
tables
de
mixage
peuvent
également
comporter
plusieurs
canaux
de
bus
ou
canaux
auxiliaires
qui
permettent
de
simplifier
un
certain
nombre
de
tâches.
Par
exemple
:
envoyer
différents
signaux
(ou
versions
mixées
si
vous
préférez)
vers
plusieurs
emplacements,
tels
qu’un
système
de
sonorisation
Front
of
House
et
un
enregistreur
multipistes,
ajouter
des
effets
individuels
à
plusieurs
canaux,
réacheminer
un
fichier
audio
traité
vers
une
autre
position
sur
le
chemin
du
signal,
etc.
94 Chapitre
4
Configuration
du
système
Une
grande
partie
de
ces
tâches
de
mixage
peuvent
être
effectuées
avec
une
interface
audio
à
plusieurs
entrées/sorties,
en
utilisant
Logic
Express
(et
le
logiciel
de
contrôle
d’interface,
le
cas
échéant)
pour
ajuster
les
niveaux
et
les
routages.
Cette
méthode
présente
toutefois
deux
inconvénients
:
elle
n’est
pas
aussi
instantanée
que
le
fait
de
déplacer
physiquement
un
curseur
ou
un
bouton
sur
une
console
de
mixage,
et
votre
ordinateur
doit
être
mis
sous
tension
pour
permettre
le
contrôle.
Pour
équilibrer
l’équation,
vous
pouvez
ajouter
une
surface
de
contrôle
à
votre
système
Logic
Express
afin
de
rendre
son
fonctionnement
plus
pratique.
Enfin,
un
certain
nombre
d’interfaces
audio
actuelles
peuvent
être
utilisées
en
mode
autonome,
mais
le
problème
du
contrôle
de
niveaux
demeure,
à
moins
que
l’ordinateur
ne
soit
sous
tension.
Des microphones
Si
vous
enregistrez
des
performances
acoustiques
(parlées,
chantées
ou
jouées)
dans
Logic
Express,
vous
devez
disposer
d’un
ou
de
plusieurs
micros.
La
gamme
de
micros
actuellement
disponible
est
considérable.
En
résumé,
elle
se
divise
en
deux
catégories
:
les
micros
à
condensateur
et
les
micros
dynamiques.
 D’une
manière
générale,
les
micros
à
condensateur
sont
plus
sensibles,
et
sont
couramment
utilisés
pour
des
enregistrements
de
voix.
Ils
sont
également
utilisés
pour
l’enregistrement
d’ambiances
et
pour
les
instruments
tels
que
des
guitares
et
les
instruments
à
vent
en
bois.
 Les
micros
dynamiques
sont
souvent
utilisés
pour
les
enregistrements
avec
des
niveaux
de
pression
sonore
élevés
(c’est-à-dire
des
signaux
lourds),
tels
que
de
la
batterie
ou
des
percussions.
Enfin,
les
deux
types
de
micros
peuvent
être
utilisés
pour
tout
travail
d’enregistrement,
mais
chacun
présente
un
avantage
spécifique
(du
point
de
vue
de
la
sonorité)
dans
différentes
situations
d’enregistrement.
En
bref,
les
deux
types
de
micros,
à
condensateur
et
dynamiques,
sont
disponibles
sous
diverses
formes,
dont
beaucoup
sont
tout
spécialement
conçues
pour
l’enregistrement
de
certains
instruments.
De
ce
fait,
il
n’existe
pas
de
micro
universel
pour
tous
les
enregistrements
que
vous
réaliserez.
Il
est
donc
conseillé
d’acheter
ou
de
louer
différents
micros
en
fonction
des
projets
réalisés.
Remarque
:
les
micros
à
condensateur
nécessitent
une
alimentation
électrique.
Celle-ci
peut
être
fournie
par
un
préamplificateur
ou
une
console
de
mixage
reliée
à
une
alimentation
fantôme.
Branchement de vos appareils MIDI et audio
Pour
permettre
la
communication
entre
Logic
Express
et
les
différents
appareils,
vous
devez
brancher
vos
appareils
MIDI
et
audio
externes
à
votre
ordinateur.
La
rubrique
suivante
vous
présente
les
capacités
d’extension
d’un
ordinateur
Macintosh,
le
câblage
MIDI
et
audio
ainsi
que
d’autres
éléments
à
prendre
en
compte
lors
du
branchement
des
interfaces
MIDI
et
audio
à
votre
système.
Chapitre
4
Configuration
du
système 95
Extensions
de
l’ordinateur
Les
ordinateurs
Macintosh
actuels
offrent
les
capacités
d’extension
suivantes,
pouvant
être
utilisées
pour
des
interfaces
MIDI
et
audio
:
 FireWire
 USB
 PCI
 ExpressCard
Remarque
:
les
taux
de
transfert
des
données
évoqués
dans
les
rubriques
suivantes
correspondent
au
maximum
théorique.
En
réalité,
ces
taux
sont
réduits
à
cause
des
temps
système.
En
général,
les
protocoles
associés
à
un
maximum
théorique
plus
rapide
transmettent
les
données
plus
rapidement
que
les
protocoles
plus
lents.
FireWire (IEEE 1394)
FireWire
est
une
norme
grand
public
et
professionnelle
qui
peut
être
utilisée
pour
les
types
d’appareils
MIDI
et
audio,
ainsi
que
pour
des
disques
durs
et
autres
périphériques.
Elle
combine
des
taux
de
transfert
de
données
rapides,
de
hautes
capacités
de
stockage
et
une
connexion
plug-and-play
(prête
à
l’emploi).
Tous
les
ordinateurs
Macintosh
actuels
s’accompagnent
de
connecteurs
FireWire,
et
un
certain
nombre
d’interfaces
MIDI
et
audio
FireWire
sont
disponibles.
FireWire
1.0
transfère
les
données
à
une
vitesse
de
400
Mbits/sec.
FireWire
2.0
transfère
les
données
à
une
vitesse
de
800
Mbits/sec.
Il
existe
deux
types
de
connecteurs
FireWire
:
un
connecteur
à
4
broches
(généralement
utilisé
pour
les
équipements
vidéo,
comme
les
caméscopes)
et
un
connecteur
à
6
broches
(celui
des
ordinateurs
et
des
équipements
audio).
USB (Universal Serial Bus)
USB
est
une
norme
grand
public
destinée
aux
périphériques
et
autres
dispositifs
informatiques.
La
norme
USB
1.1
permet
un
débit
de
transmission
de
données
très
inférieur
à
celui
de
FireWire
(11
Mbits/sec).
USB
2.0,
toutefois,
transfère
les
données
à
une
vitesse
de
480
Mbits/sec.
Elle
permet
un
fonctionnement
plug-and-play
et
la
connexion
de
plusieurs
appareils
en
série
(chaîne).
Certains
périphériques
USB
tirent
leur
alimentation
d’un
câble
USB,
d’autres
requièrent
une
alimentation
séparée.
Tous
les
ordinateurs
Macintosh
actuels
comportent
des
ports
USB
2.0.
FireWire 400 (6 broches)
(parfois étiqueté iLINK)
FireWire 400 (4 broches)
96 Chapitre
4
Configuration
du
système
Il
existe
deux
types
de
connecteurs
USB
:
 Connecteur
A,
généralement
utilisé
pour
connecter
un
appareil
à
un
concentrateur
USB.
 Connecteur
B,
généralement
utilisé
pour
connecter
des
appareils
les
uns
aux
autres,
et
également
pour
connecter
un
appareil
à
un
ordinateur.
Remarque
:
les
interfaces
audio
USB
doivent
toujours
être
connectées
directement
à
votre
ordinateur.
Évitez
systématiquement
les
connexions
via
un
concentrateur,
l’écran,
le
clavier
ou
tout
autre
périphérique
raccordé
à
votre
ordinateur.
PCI
Contrairement
aux
interfaces
FireWire
et
USB,
les
interfaces
PCI
(Peripheral
Component
Interconnect)
nécessitent
l’installation
d’une
carte
dédiée
sur
votre
ordinateur.
Les
PCI
fournissent
des
taux
de
transfert
de
données
rapides
et
une
bande
passante
très
élevée,
ce
qui
vous
permet
d’enregistrer
et
de
lire
un
grand
nombre
de
fichiers
aux
fréquences
d’échantillonnage
et
aux
profondeurs
de
bits
les
plus
élevées
possibles.
ExpressCard
ExpressCard
est
une
version
mise
à
jour
des
cartes
PC
(PCMCIA
ou
CardBus)
installées
sur
les
ordinateurs
MacBook
Pro.
ExpressCard
ressemble
beaucoup
aux
interfaces
PCI
décrites
ci-dessus,
mais
les
cartes
de
ce
format
s’insèrent
dans
un
logement
situé
à
l’extérieur
de
votre
ordinateur
portable.
Les
cartes
ExpressCard
et
PC
disponibles
comportent
des
interfaces
audio,
des
disques
durs,
des
interfaces
réseau
et
SCSI,
des
adaptateurs
sans
fil,
etc.
Câblage
audio
Les
types
de
connecteurs
et
câbles
audio
suivants
sont
généralement
utilisés
sur
des
équipements
audio
grand
public
et
professionnels
:
 XLR
 Jack
audio
d’1/4
de
pouce
et
mini-jack
d’1/8
de
pouce
 RCA
(Cinch)
 Toslink
 AES-EBU,
S/PDIF,
ADAT
USB (Universal Serial Bus)
Chapitre
4
Configuration
du
système 97
XLR
Les câbles et connecteurs XLR sont utilisés avec des micros de qualité professionnelle,
des moniteurs et d’autres équipements de musique. Ils assurent un signal stable et de
haute qualité à un niveau de + 4 dB.
Jack audio d’1/4 de pouce
Les
connecteurs
d’1/4
de
pouce
(parfois
appelés
phono
ou
prises
phono)
sont
utilisés
par
un
grand
nombre
d’équipements
musicaux
professionnels
et
grand
public,
y
compris
des
instruments
de
musique,
des
amplificateurs,
des
haut-parleurs
et
des
périphériques
d’effets
externes.
Ils
peuvent
être
équilibrés
ou
déséquilibrés.
Certains
appareils
nécessitent
des
connecteurs
TRS
(Tip-Ring-Sleeve).
Ces
connecteurs
à
trois
contacts
sont
utilisés
pour
des
signaux
mono
équilibrés
et
des
signaux
stéréo
déséquilibrés.
Mini-jack d’1/8 de pouce
Les
connecteurs
mini-jack
sont
utilisés
pour
des
entrées/sorties
audio
vers
des
ordinateurs,
et
sur
certains
appareils
électroniques
destinés
au
grand
public,
en
particulier
les
appareils
portables.
RCA (Cinch)
Les
connecteurs
RCA
sont
utilisés
sur
les
équipements
audio
grand
public,
tels
que
les
chaînes
hi-fi
et
les
magnétoscopes.
Connecteur XLR (symétrique)
Prise 1/4 de po (TRS)
Prise 1/4 de po (TR)
Miniprise stéréo (asymétrique)
Prise RCA (asymétrique)
98 Chapitre
4
Configuration
du
système
AES/EBU, S/PDIF et ADAT
Les
protocoles
AES/EBU,
S/PDIF
et
ADAT
fournissent
une
connexion
numérique
entre
des
équipements
audio
grand
public
et
professionnels,
notamment
des
interfaces
audio,
des
machines
DAT
(bande
audionumérique),
des
consoles
de
mixage,
des
échantillonneurs,
etc.
S/PDIF
et
AES/EBU
fournissent
deux
canaux
audio,
lorsque
le
format
ADAT
optique
en
fournit
huit.
Vous
pouvez
utiliser
des
connecteurs
optiques
TOSLINK
pour
transporter
des
flux
audio
numériques
entre
des
composants
S/PDIF
et
ADAT.
Connexion
de
votre
interface
audio
Logic
Express
prend
en
charge
la
fonction
plug-and-play
pour
les
interfaces
audio,
ce
qui
permet
de
se
connecter
et
de
basculer
sur
une
nouvelle
interface
audio
lorsque
Logic
Express
est
en
cours
d’exécution.
Lorsque
vous
vous
connectez
à
un
nouvel
appareil,
une
alerte
apparaît,
vous
invitant
à
sélectionner
et
confirmer
le
gestionnaire
et
l’interface
audio
que
vous
souhaitez
utiliser.
Toutes
les
interfaces
audio
numériques
sont
susceptibles
de
subir
un
temps
de
latence,
c’est-à-dire
un
retard
notable
entre
le
moment
où
le
signal
audio
est
émis
et
celui
où
vous
l’entendez.
Une
interface
audio
doit
toujours
être
connectée
directement
à
l’ordinateur,
et
non
via
un
concentrateur
ou
en
chaîne
par
l’intermédiaire
d’un
autre
appareil.
Cela
peut,
en
effet,
générer
un
temps
de
latence
considérable,
en
particulier
avec
les
appareils
USB
1.1
qui
sont
plus
lents.
Branchement
MIDI
MIDI
signifie
Musical
Instrument
Digital
Interface
(interface
numérique
pour
instruments
de
musique).
Il
s’agit
d’une
norme
de
connexion
universelle
à
5
broches
et
d’un
langage
informatique,
qui
permettent
la
communication
entre
des
appareils
MIDI.
Prise numérique optique Toslink
Prise MIDI
Chapitre
4
Configuration
du
système 99
Connexion
des
modules
et
des
claviers
MIDI
Si
vous
utilisez
un
simple
clavier
maître
MIDI,
n’intégrant
pas
de
fonctions
de
génération
audio
internes,
il
suffit
de
connecter
son
port
de
sortie
MIDI
Out
au
port
d’entrée
MIDI
In
de
votre
interface
MIDI,
en
utilisant
un
câble
MIDI.
Si
le
clavier
peut
générer
ses
propres
sons,
vous
devez
également
connecter
le
port
de
sortie
MIDI
Out
de
l’interface
MIDI
au
port
d’entrée
MIDI
In
du
clavier.
Si
votre
interface
MIDI
dispose
de
plusieurs
sorties
MIDI,
connectez
d’autres
générateurs
de
sons
(ou
d’autres
appareils
MIDI,
tels
que
des
surfaces
de
contrôle
qui
nécessitent
une
communication
MIDI
bidirectionnelle)
à
ces
sorties.
Ordinateur
Interface
MIDI
Sortie
Clavier
Entrée
Ordinateur
Interface
MIDI Générateur
audio
Sortie
Sortie
Clavier
Entrée
Entrée
Entrée
100 Chapitre
4
Configuration
du
système
Si
l’interface
MIDI
connectée
à
votre
ordinateur
ne
dispose
que
d’une
seule
sortie
MIDI,
vous
devez
connecter
l’entrée
MIDI
In
du
second
générateur
de
sons
au
port
MIDI
Thru
du
clavier.
Un
troisième
appareil
pourra
être
relié
au
port
MIDI
Thru
de
la
seconde
unité
et
ainsi
de
suite.
Le
port
MIDI
Thru
délivre
toujours
une
copie
des
signaux
reçus
via
le
port
d’entrée
MIDI
In
de
l’appareil.
Il
est
préférable
d’utiliser
une
connexion
directe
entre
la
sortie
MIDI
Out
de
l’ordinateur
et
l’appareil,
plutôt
que
de
mettre
en
chaîne
un
trop
grand
nombre
d’appareils,
les
uns
après
les
autres.
Cela
peut,
en
effet,
entraîner
d’éventuels
problèmes
de
décalage
temporel
dans
la
chaîne
si
de
nombreuses
commandes
MIDI
sont
envoyées
sur
une
courte
période.
Cela
s’explique
par
le
léger
retard
induit
par
chaque
relais
du
MIDI
In
au
MIDI
Thru.
C’est
pourquoi
il
est
recommandé
d’utiliser
une
interface
MIDI
à
plusieurs
entrées/sorties
dans
les
studios
disposant
de
plusieurs
contrôleurs
et
générateurs
de
sons
MIDI.
Utilisation d’appareils MIDI multicanaux
La
plupart
des
générateurs
de
sons
MIDI
modernes
peuvent
recevoir
simultanément
des
données
MIDI
sur
plusieurs
canaux
MIDI
(appareils
MIDI
multitimbraux).
Chaque
canal
MIDI
peut
être
affecté
à
une
tonalité
ou
à
un
son,
tel
que
le
piano,
les
instruments
à
cordes,
la
basse,
etc.
Pour
tirer
pleinement
parti
des
fonctionnalités
de
chaque
appareil
multitimbral
connecté,
vous
devez
utiliser
des
ports
de
sortie
MIDI
Out
séparés
(de
l’interface
MIDI
de
l’ordinateur
aux
ports
d’entrée
MIDI
In)
pour
chaque
appareil.
Pour
bien
comprendre,
imaginez
un
scénario
où
:
 Il
y
a
quatre
générateurs
de
sons
MIDI
capables
de
recevoir
des
données
sur
plusieurs
canaux.
 Tous
les
appareils
disposent
de
16
canaux
MIDI
pour
la
réception.
 L’ordinateur
ne
dispose
que
d’une
sortie
MIDI
Out,
et
tous
les
appareils
sont
connectés
en
chaîne
via
des
connexions
MIDI
Thru
vers
MIDI
In.
Ordinateur
Interface
MIDI
Sortie
Sortie
Clavier
Entrée
Entrée
Entrée
Entrée
Port
MIDI
Thru
Générateur
audio
2
Générateur
audio
3
Chapitre
4
Configuration
du
système 101
Logic
Express
permet
de
canaliser
les
données
MIDI
(en
les
acheminant
via
les
canaux
MIDI
1
à
16)
et
d’envoyer
ces
données
canalisées
vers
des
ports
de
sortie
MIDI
Out
spécifiques.
Malheureusement,
dans
le
scénario
ci-dessus,
nous
ne
disposons
que
d’un
seul
port
de
sortie
MIDI
Out.
Dès
lors,
toutes
les
données
envoyées
sur
le
canal
MIDI
1
seront
envoyées
aux
quatre
générateurs
de
sons
MIDI
installés
en
chaîne.
Chaque
générateur
de
sons
MIDI
lira
les
données
d’entrée
avec
le
son
assigné
au
canal
1,
qui
peut
être
:
 Une
cornemuse
sur
le
module
1
 Une
batterie
sur
le
module
2
 Un
effet
d’hélicoptère
sur
le
module
3,
etc.
Le
résultat
sera
sans
doute
coloré,
mais
certainement
pas
musical,
à
moins
que
vous
ne
soyez
adepte
de
l’avant-garde.
Le
même
processus
s’applique
aux
15
autres
canaux
MIDI.
Comme
vous
avez
pu
le
constater
dans
cet
exemple,
l’interface
MIDI
peut
être
divisée
en
16
canaux
distincts,
mais
elle
ne
peut
être
divisée
entre
appareils,
à
moins
d’utiliser
une
interface
MIDI
à
plusieurs
sorties.
Prenons
le
scénario
décrit
ci-dessus,
en
remplaçant
l’interface
MIDI
à
une
seule
sortie
par
une
interface
MIDI
à
4
sorties,
connectée
via
les
ports
de
sortie
MIDI
Out
A,
B,
C
et
D
aux
ports
d’entrée
MIDI
In
respectifs
de
chaque
appareil.
Il
n’y
a
pas
de
connexions
MIDI
Thru,
ce
qui
permet
à
Logic
Express
d’assigner
et
d’envoyer
:
 un
enregistrement
ou
une
interprétation
sur
le
canal
MIDI
1
vers
le
port
A/module
1,
 un
autre
enregistrement
ou
une
interprétation
(également
sur
le
canal
MIDI
1)
vers
le
port
B/module
2,
 un
autre
enregistrement
encore,
ou
une
autre
interprétation
sur
le
canal
MIDI
1
vers
le
port
C/module
3,
et
ainsi
de
suite
sur
les
canaux
et
modules
suivants.
En
réalité,
disposer
d’une
interface
MIDI
à
plusieurs
sorties
revient
à
disposer
de
plusieurs
canaux
MIDI.
Dans
le
présent
scénario,
cela
revient
à
avoir
64
canaux
MIDI
indépendants,
avec
16
canaux
par
port
(A,
B,
C
et
D).
Cela
permet
de
jouer
jusqu’à
64
sons
différents
en
même
temps
via
les
générateurs
de
sons,
mais
cela
permet
également
un
contrôle
MIDI
complet
pour
chacun
des
canaux
de
chaque
appareil.
Cette
option
devient
primordiale
lors
de
l’arrangement
et
de
l’orchestration
d’un
grand
nombre
de
morceaux
instrumentaux.
Si
votre
ordinateur
dispose
de
plusieurs
entrées
MIDI,
vous
pouvez
lui
connecter
les
sorties
MIDI
d’autres
contrôleurs
et
expandeurs
MIDI.
102 Chapitre
4
Configuration
du
système
Claviers MIDI USB
Si
le
clavier
MIDI
dont
vous
disposez
est
pourvu
d’un
connecteur
USB,
il
n’est
pas
nécessaire
d’utiliser
une
interface
MIDI
séparée,
car
elle
est
déjà
intégrée
au
clavier.
Veillez
simplement
à
bien
installer
le
gestionnaire,
si
nécessaire,
et
à
connecter
le
clavier
à
votre
ordinateur
à
l’aide
d’un
câble
USB.
Certains
contrôleurs
et
claviers
USB
modernes
sont
automatiquement
reconnus
par
Mac
OS
X.
Séparation d’un clavier MIDI de son générateur de sons
Si
votre
clavier
dispose
de
sons
internes,
il
est
important
de
désactiver
le
déclenchement
de
ces
sons
dès
lors
que
vous
appuyez
sur
les
touches.
Autrement
dit
:
si
vous
achetez
un
nouveau
clavier
prévu
pour
être
utilisé
sans
séquenceur
et
que
vous
le
connectez
à
un
amplificateur,
vous
en
attendrez
sans
doute
qu’il
produise
un
son
lorsque
vous
jouez
sur
les
touches.
En
d’autres
termes,
qu’il
soit
directement
connecté
au
générateur
de
sons.
À
l’inverse,
cela
n’est
pas
souhaitable
lorsque
vous
utilisez
un
clavier
MIDI
avec
Logic
Express.
Dans
ce
cas,
le
clavier
est
utilisé
comme
un
appareil
d’entrée
de
données
informatiques,
et
Logic
Express
retransmettra
les
informations
entrantes
de
l’interprétation
au
générateur
de
sons
du
clavier
(ou
à
un
instrument
logiciel
interne
ou
encore
à
un
autre
module
de
sons
connecté,
si
vous
le
souhaitez).
Si
la
connexion
directe
entre
le
clavier
et
son
générateur
de
sons
n’est
pas
coupée,
chaque
note
est
jouée
en
double
:
l’une
est
jouée
directement
par
le
clavier
vers
le
générateur
de
sons
interne
et
l’autre
est
renvoyée
vers
le
générateur
de
sons
par
Logic
Express.
Non
seulement
cela
génère
un
son
phasé,
mais
cela
réduit
en
outre
de
moitié
la
polyphonie
du
générateur
de
sons
du
clavier.
Si
vous
vouliez
contrôler
ou
enregistrer
un
autre
module
de
sons
ou
instrument
logiciel
via
votre
clavier,
les
sons
de
ce
dernier
et
ceux
de
l’instrument
MIDI
ou
logiciel
seraient
également
entendus
(du
fait
de
la
connexion
directe
entre
le
clavier
et
le
générateur
de
sons).
C’est
pourquoi
le
clavier
doit
être
séparé
de
son
propre
générateur
de
sons.
Cette
fonction
est
appelée
Local
Off
et
peut
être
activée
directement
depuis
votre
clavier.
Pas
d’inquiétude,
vous
pourrez
toujours
utiliser
le
générateur
de
sons
de
votre
clavier.
Logic
Express
peut
toujours
communiquer
avec
le
générateur
de
sons
de
votre
clavier
comme
avec
n’importe
quel
instrument
logiciel
ou
module
de
sons,
dépourvu
de
clavier,
auquel
il
serait
connecté.
Remarque
:
si
vous
ne
trouvez
pas
la
fonction
Local
Off
dans
le
menu
MIDI
de
votre
clavier,
consultez
le
manuel
correspondant
pour
connaître
la
meilleure
utilisation
avec
un
séquenceur.
Certains
claviers
vous
donnent
le
choix
entreLocal,
MIDI
ou
Both
pour
chacune
de
leurs
parties
(sons/canaux
MIDI
individuels
des
appareils
MIDI
multitimbraux).
Le
réglage
MIDI,
s’il
est
disponible
sur
votre
clavier,
est
l’équivalent
de
la
fonction
Local
Off.
Chapitre
4
Configuration
du
système 103
Utilisation des appareils MIDI externes
Logic
Express
reconnaît
tous
les
appareils
MIDI
configurés
dans
l’utilitaire
AMS
(Audio
MIDI
Setup),
l’outil
de
configuration
audio
et
MIDI
intégré
de
Mac
OS
X.
Vous
trouverez
cet
utilitaire
dans
le
menu
Applications/Utilitaires.
Pour
en
savoir
plus
sur
son
utilisation,
consultez
l’Aide
d’AMS.
L’onglet
Bibliothèque
affiche
tous
les
appareils
MIDI
détectés
par
l’utilitaire
AMS
(divisés
en
canaux
MIDI,
dans
le
cas
d’appareils
multicanaux)
lorsqu’une
piste
MIDI
externe
est
sélectionnée.
Il
vous
suffit
de
sélectionner
l’appareil/le
sous-canal
MIDI
pour
l’assigner
à
la
piste.
Vous
pouvez
configurer
des
appareils
MIDI
externes
dans
l’Inspecteur.
Pour
en
savoir
plus,
reportez-vous
aux
rubriques
«
Instruments
standard
»
à
la
page
968,
«
Multi
Instruments
»
à
la
page
971
et
«
Instruments
mappés
»
à
la
page
977.
Utilisation d’effets audio externes
Si
vous
souhaitez
envoyer
un
son
vers
un
appareil
d’effets
audio
externes
(contrôlé
via
MIDI),
vous
devez
insérer
le
module
d’entrée/sortie
dans
l’un
des
emplacements
d’insertion
du
canal
audio
que
vous
voulez
traiter.
Pour
plus
d’informations,
reportezvous
à
la
rubrique
«
Utilisation
d’effets
audio
externes
»
à
la
page
277.
Remarque
:
le
module
d’entrée/sortie
pour
l’acheminement
de
périphériques
externes
est
utile
lorsque
vous
disposez
d’une
interface
audio
équipée
de
plusieurs
ports
d’entrée/sortie.
Configuration de votre matériel audio
Pour
utiliser
des
interfaces
audio
spécifiques
avec
Logic
Express,
le
pilote
de
l’appareil
doit
être
installé,
activé
et
configuré
correctement.
Les
gestionnaires
sont
des
programmes
logiciels
qui
permettent
d’utiliser
différents
matériels
et
logiciels
avec
Mac
OS
X.
Ils
permettent
la
reconnaissance
de
l’appareil
par
les
applications
telles
que
Logic
Express,
ainsi
que
la
transmission
des
données
entre
les
logiciels
et
le
matériel,
dans
un
format
compris
par
les
deux
parties.
Vous
pouvez
sélectionner,
activer
et
configurer
un
gestionnaire
audio
particulier
via
les
préférences
des
périphériques
audio
de
Logic
Express.
Pour
ouvrir
les
préférences
relatives
aux
périphériques
audio,
effectuez
l’une
des
opérations
suivantes
:
m Choisissez
Logic
Express
>
Préférences
>
Audio
(ou
utilisez
le
raccourci
clavier
Ouvrir
les
Préférences
Audio),
puis
cliquez
sur
l’onglet
Périphériques.
104 Chapitre
4
Configuration
du
système
m Cliquez
sur
le
bouton
de
la
barre
d’outils
des
préférences,
choisissez
Audio
dans
le
menu
local,
puis
cliquez
sur
l’onglet
Périphériques.
Sous
Mac
OS
X,
l’accès
à
tous
les
périphériques
audio
se
fait
via
Core
Audio,
qui
fait
partie
intégrante
du
système
d’exploitation.
Core
Audio
est
un
système
audio
hautes
performances,
à
faible
temps
de
latence,
qui
permet
à
plusieurs
applications
d’utiliser
une
interface
audio
en
même
temps.
Logic
Express
est
compatible
avec
tous
les
appareils
audio
équipés
d’un
gestionnaire
Core
Audio.
Configuration
d’appareils
Core
Audio
Logic
Express
reconnaît
automatiquement
tout
matériel
Core
Audio
installé
et
utilise
les
réglages
par
défaut
définis
dans
l’utilitaire
Configuration
audio
et
MIDI
(Applications/
Utilitaires/Configuration
audio
et
MIDI).
Il
peut
toutefois
être
préférable
d’optimiser
les
réglages
de
configuration
de
votre
matériel
individuel,
en
particulier
si
vous
utilisez
plusieurs
interfaces
audio
ou
un
appareil
à
plusieurs
entrées/sorties.
Pour
cela,
cliquez
sur
Logic
Express
>
Préférences
>
Audio
>
onglet
Core
Audio.
Activé
Cochez
cette
case
pour
activer
le
gestionnaire
Core
Audio.
Remarque
:
dans
les
cas
où
le
matériel
souhaité
n’est
pas
disponible,
par
exemple,
lorsque
votre
interface
audio
n’est
pas
connectée
(ou
lorsqu’elle
est
désactivée),
Logic
Express
sélectionne
automatiquement
le
matériel
audio
intégré
à
votre
Macintosh.
Chapitre
4
Configuration
du
système 105
Mémoire
système
requise
La
quantité
de
mémoire
RAM
disponible
requise
(en
dehors
de
la
mémoire
assignée
à
Logic
Express)
est
indiquée
ici.
Le
volume
requis
change
dès
lors
que
vous
modifiez
les
paramètres
décrits
ci-dessous.
Périphérique
Cette
option
vous
permet
de
choisir
un
appareil
parmi
les
périphériques
Core
Audio
installés,
y
compris
le
matériel
audio
interne.
Il
peut
également
s’agir
d’appareils
audio
agrégés
qui
se
composent
de
plusieurs
interfaces
audio.
Pour
plus
d’informations
sur
les
appareils
agrégés,
reportez-vous
à
l’aide
sur
la
configuration
audio
et
MIDI.
Taille
mémoire
tampon
E/S
Ce
paramètre
détermine
la
taille
de
la
mémoire
tampon
utilisée
par
le
matériel
audio,
aussi
bien
en
entrée
qu’en
sortie.
Plus
la
mémoire
tampon
est
petite,
plus
le
temps
de
latence
est
réduit
lors
du
contrôle
en
cours
d’enregistrement
ou
de
l’utilisation
d’instruments
logiciels.
Quelques
points
à
prendre
en
compte
:
 Plus
ce
paramètre
est
réduit,
plus
la
pression
sur
l’unité
centrale
du
système
est
élevée.
 Il
peut
y
avoir
un
niveau
où
la
taille
de
la
mémoire
tampon
E/S
sélectionnée
est
trop
faible
pour
votre
système
et
altère
alors
la
lecture.
Cela
apparaît
généralement
sous
forme
de
cliquetis,
de
petits
bruits
secs
et
de
grésillements
sur
votre
morceau.
 Vous
devez,
par
conséquent,
utiliser
la
taille
de
mémoire
tampon
E/S
la
plus
faible
possible
sans
introduire
ce
type
de
phénomène.
Π Conseil
:
si
vous
trouvez
une
valeur
de
réglage
de
l’option
Taille
mémoire
tampon
E/S
plus
élevée
et
qui
génère
un
faible
temps
de
latence
lors
du
contrôle
de
l’enregistrement
et
de
la
lecture
d’instruments
logiciels,
utilisez-la.
Cela
permettra
de
minimiser
l’impact
sur
l’unité
centrale
de
votre
système.
Délai
d’Enregistrement
Ce
paramètre
vous
permet
de
retarder
l’enregistrement
audio
d’une
certaine
valeur
fixe,
afin
de
compenser
tout
retard
d’informations
causé
par
le
gestionnaire
audio.
Remarque
:
vous
n’avez
pas,
normalement,
à
modifier
ce
paramètre.
Mode
de
piste
Universelle
Le
mode
de
piste
universelle
est
activé
par
défaut.
Il
vous
permet
de
jouer
des
séquences
mono
et
stéréo
sur
une
seule
piste.
Vous
devez
le
laisser
activé.
106 Chapitre
4
Configuration
du
système
Enregistrement
24
Bit
Lorsque
ce
réglage
est
activé,
Logic
Express
peut
enregistrer
des
fichiers
24
bits.
Les
enregistrements
20
ou
24
bits
offrent
une
amélioration
significative
dans
la
plage
dynamique
disponible,
mais
nécessitent
des
composants
périphériques
de
haute
qualité
tels
que
des
micros,
des
préamplificateurs
et
des
convertisseurs
numériques-
analogiques/analogiques-numériques
de
haute
qualité.
Les
fichiers
20
et
24
bits
utilisent
une
fois
et
demie
l’espace
disque
utilisé
par
des
fichiers
16
bits
comparables.
Remarque
:
activer
ce
paramètre
est
utile
uniquement
si
vous
utilisez
une
interface
20
ou
24
bits.
Monitoring
Logiciel
Cette
option
vous
permet
d’activer
ou
de
désactiver
le
Monitoring
Logiciel
(en
écoutant
le
signal
d’entrée
réel).
Dans
la
plupart
des
cas,
vous
devez
la
laisser
activée.
Remarque
:
lorsque
l’option
Contrôle
logiciel
est
activée,
le
signal
audio
est
traité
via
le
logiciel
et
un
certain
retard
audible
(couramment
appelé
«
temps
de
latence
»)
est
inévitable.
Si
vous
écoutez
le
signal
enregistré
via
votre
console
de
mixage,
ou
si
votre
interface
audio
prend
en
charge
le
contrôle
matériel,
vous
devez
désactiver
cette
option.
Niveau
de
monitoring
indépendant
pour
les
bandes
de
canaux
activées
pour
l’enregistrement
Cochez
cette
case
pour
activer
l’utilisation
d’un
niveau
de
monitoring
indépendant
pour
les
bandes
de
canaux
audio
activées
pour
l’enregistrement.
Après
avoir
activé
une
piste
pour
l’enregistrement,
vous
pouvez
régler
le
curseur
sur
le
niveau
de
votre
choix.
Le
niveau
d’origine
sera
restauré
lorsque
vous
désactiverez
le
bouton
d’activation
pour
l’enregistrement.
Remarque
:
les
réglages
effectués
à
l’aide
ce
curseur
n’affectent
pas
le
niveau
lors
de
l’enregistrement,
mais
seulement
lors
du
monitoring.
Taille
de
la
mémoire
tampon
de
calcul
Ce
paramètre
détermine
la
taille
de
la
mémoire
tampon
utilisée
pour
calculer
les
effets
et
les
versions
mixées.
Vous
pouvez
choisir
entre
différentes
tailles
:
Petite,
Moyenne
et
Grande.
Remarque
:
les
mémoires
tampon
les
plus
grandes
génèrent
un
temps
de
latence
plus
important.
En
fonction
de
la
vitesse
de
l’unité
centrale,
les
mémoires
tampon
trop
petites
peuvent
compromettre
le
traitement
audio
en
temps
réel.
Chapitre
4
Configuration
du
système 107
Comportement
ReWire
Ce
menu
permet
de
configurer
le
comportement
ReWire
lors
de
l’envoi
de
données
MIDI
vers
un
instrument
logiciel
ReWire
compatible.
 Mode
Lecture
:
utilisé
lors
de
la
lecture
de
pistes
MIDI
via
ReWire.
Ce
réglage
nécessite
moins
de
puissance
d’unité
centrale.
 Mode
Live
:
utilisé
lors
de
la
lecture
en
direct
d’un
instrument
ReWire.
Ce
réglage
utilise
davantage
de
ressources
d’unité
centrale,
mais
permet
un
temps
de
latence
inférieur.
Vitesse
de
Scrub
Maximum
Ce
menu
local
vous
permet
de
définir
la
vitesse
de
défilement.
Vous
pouvez
choisir
entre
les
options
suivantes
:
 Normal
:
la
vitesse
de
lecture
normale
est
utilisée
pour
le
défilement.
 Double
:
la
vitesse
de
lecture
par
défilement
est
deux
fois
plus
rapide.
Réponse
du
Scrub
Ce
menu
détermine
le
temps
de
réaction
pour
le
défilement
audio.
Choisissez
la
valeur
la
mieux
adaptée
à
votre
configuration
système.
Les
options
sont
les
suivantes
:
Lente,
Normale,
Rapide,
Plus
rapide.
5
109
5 Navigation
dans
votre
projet
Dans ce chapitre, vous allez apprendre à lire et à répéter
différentes parties de votre projet, ainsi qu’à naviguer à
travers ces parties.
Logic
Express
offre
un
certain
nombre
de
méthodes
pour
contrôler
la
lecture
et
la
navigation
dans
les
différentes
rubriques
de
votre
projet.
Vous
pouvez
utiliser
la
barre
de
transport,
les
raccourcis
clavier,
la
règle
Mesure,
ainsi
que
les
marqueurs
pour
baliser
des
rubriques
de
votre
projet
et
passer
facilement
de
l’une
à
l’autre.
La
tête
de
lecture
indique
la
position
de
lecture
en
cours.
Ce
chapitre
se
concentre
sur
l’utilisation
de
la
barre
de
transport
et
de
la
règle
Mesure
pour
la
navigation.
Des
informations
sur
l’utilisation
de
marqueurs
se
trouvent
dans
le
chapitre
6,
«
Utilisation
des
marqueurs
»
à
la
page
131.
Réglage de la position de la tête de lecture
La
tête
de
lecture
est
une
ligne
verticale
qui
indique
la
position
en
cours
dans
toutes
les
fenêtres
temporelles
horizontales.
Tête
de
lecture
Locator
Locator
gauche droit
110 Chapitre
5
Navigation
dans
votre
projet
Pour
placer
la
tête
de
lecture
dans
la
règle
Mesure
:
m Cliquez
sur
la
position
voulue
dans
le
tiers
inférieur
de
la
règle
Mesure.
Double-cliquer
dans
le
tiers
inférieur
de
la
règle
Mesure
repositionne
la
tête
de
lecture
et
bascule
entre
les
modes
lecture
(ou
enregistrement)
et
arrêt.
Le
partie
supérieure
de
la
règle
Mesure
contient
deux
locators
affichés
sous
forme
de
bande
grise
semi-transparente
lorsqu’ils
sont
désactivés
et
sous
forme
de
bande
verte
lorsque
le
mode
Cycle
est
activé.
Le
point
de
départ
de
la
bande
est
déterminé
par
la
position
du
locator
gauche,
et
le
point
d’arrivée
par
celle
du
locator
droit.
Pour
en
savoir
plus
sur
l’utilisation
des
locators
au
moment
de
l’enregistrement
et
de
la
lecture,
consultez
le
présent
chapitre
et
les
chapitres
suivants.
Réglage
de
la
tête
de
lecture
avec
l’écran
de
position
L’écran
de
position
de
la
barre
de
transport
affiche
la
position
actuelle
de
la
tête
de
lecture
dans
deux
formats
:
 Temps
SMPTE
:
la
ligne
supérieure
affiche
la
position
de
la
tête
de
lecture
en
format
de
temps
SMPTE
;
heures:
minutes:
secondes:
trames/sous-trames.
 Division
musicale
du
temps
:
la
ligne
inférieure
affiche
la
position
de
la
tête
de
lecture
en
mesures,
battements,
division
et
ticks.
Un
battement
correspond
au
dénominateur
dans
la
signature
temporelle.
La
valeur
de
la
division
est
définie
dans
la
barre
de
transport,
en
dessous
de
la
signature
temporelle.
Un
tick
représente
la
plus
petite
subdivision
possible
d’une
mesure
;
le
tick
est
égal
à
1/3840e
de
note.
Valeur
de
division
Chapitre
5
Navigation
dans
votre
projet 111
Pour
définir
la
position
de
la
tête
de
lecture
dans
l’écran
de
position,
effectuez
l’une
des
opérations
suivantes
:
m Cliquez
sur
l’un
des
nombres
de
l’écran
de
position
en
maintenant
le
bouton
de
la
souris
enfoncé,
puis
déplacez
la
souris
vers
le
haut
ou
le
bas.
m Double-cliquez
sur
un
champ
d’affichage,
puis
tapez
une
nouvelle
position.
La
tête
de
lecture
bouge
pour
se
placer
à
la
position
d’affichage.
Ajuster
le
premier
nombre
dans
l’écran
de
mesure
déplace
la
tête
de
lecture
par
mesures
et
par
heures
dans
l’affichage
SMPTE.
Ajuster
le
second
nombre
entraîne
un
déplacement
par
battements
dans
l’écran
de
mesure
et
par
minutes
dans
l’affichage
SMPTE,
et
ainsi
de
suite,
en
divisions
de
plus
en
plus
petites
avec
les
autres
valeurs
affichées
dans
l’écran
de
position.
Lors
de
la
saisie
d’une
position
entière,
via
l’écran
de
mesure,
par
exemple,
procédez
comme
suit
:
 3
espace
3
espace
2
espace
2,
touche
Entrée
pour
quitter
le
mode
d’entrée
de
texte.
 3.3.2.2,
touche
Entrée
pour
quitter
le
mode
d’entrée
de
texte.
Si
vous
tapez
simplement
3322
et
que
vous
appuyez
ensuite
sur
la
touche
Entrée,
la
tête
de
lecture
se
déplace
jusqu’à
la
mesure
3322
et
non
à
la
mesure
3,
battement
3,
division
2,
tick
2.
L’avantage
de
cette
approche
est
que
vous
pouvez
naviguer
rapidement
jusqu’au
début
d’une
mesure
en
saisissant
simplement
le
premier
chiffre.
Réglage
de
la
tête
de
lecture
au
niveau
d’un
marqueur
Si
vous
avez
utilisé
un
marqueur
pour
étiqueter
un
passage,
cliquez
n’importe
où
sur
ce
marqueur
tout
en
maintenant
la
touche
Option
enfoncée
pour
positionner
la
tête
de
lecture
au
début
de
ce
marqueur.
Si
Logic
Express
est
arrêté,
vous
pouvez
démarrer
la
lecture
au
début
du
marqueur
en
double-cliquant
dessus
tout
en
maintenant
la
touche
Commande
enfoncée.
Ajustement
de
la
taille
de
la
tête
de
lecture
Vous
pouvez
ajuster
l’épaisseur
de
la
tête
de
lecture
dans
les
préférences
d’affichage
générales.
Pour
ajuster
l’écran
de
tête
de
lecture
:
1 Ouvrez
les
préférences
d’affichage
en
effectuant
l’une
des
opérations
suivantes
:
 Choisissez
Logic
Express
>
Préférences
>
Affichage
(ou
utilisez
le
raccourci
clavier
Ouvrir
les
préférences
d’affichage).
112 Chapitre
5
Navigation
dans
votre
projet
 Cliquez
sur
le
bouton
«
Barres
d’outils
de
préférences
»,
puis
choisissez
Affichage
dans
le
menu.
2 Cliquez
sur
l’onglet
Général
et
activez
la
case
«
Tête
de
lecture
large
».
Utilisation des boutons de transport
Vous
pouvez
utiliser
les
boutons
de
transport
de
la
barre
de
transport
pour
contrôler
la
lecture
ou
pour
définir
la
position
de
la
tête
de
lecture.
Vous
pouvez
cliquer
sur
les
boutons
pour
activer
ou
désactiver
des
fonctions
ou
mieux
encore,
utiliser
les
raccourcis
clavier
correspondants
(raccourcis
clavier
de
l’ordinateur)
pour
accélérer
votre
flux
de
production.
Remarque
:
la
capture
d’écran
ci-dessous
montre
tous
les
boutons
de
transport.
Les
boutons
disponibles
dans
la
barre
de
transport
de
votre
projet
peuvent
être
différents,
car
vous
pouvez
la
personnaliser.
Pour
plus
d’informations,
reportez-vous
à
la
rubrique
«
Personnalisation
de
la
barre
de
transport
»
à
la
page
123.
De
gauche
à
droite
:
 Aller
au
début
:
positionne
la
tête
de
lecture
au
début
du
projet.
Raccourci
clavier
par
défaut
:
Retour.
 Aller
à
la
position
:
ouvre
une
zone
de
dialogue
permettant
de
taper
la
position
de
la
tête
de
lecture
voulue
(cible)
sous
forme
numérique.
Tête
de
lecture
par
Tête
de
lecture
épaisse défaut
Chapitre
5
Navigation
dans
votre
projet 113
 Aller
au
locator
gauche
:
place
la
tête
de
lecture
au
niveau
du
locator
gauche.
 Aller
au
locator
droit
:
place
la
tête
de
lecture
au
niveau
du
locator
droit.
 Aller
au
début
de
la
sélection
:
place
la
tête
de
lecture
au
point
de
départ
de
la
première
région
ou
du
premier
événement
sélectionné
dans
la
fenêtre
active.
Raccourci
clavier
par
défaut
:
Maj
+
Retour
 Lire
depuis
le
début
:
démarre
la
lecture
au
début
du
projet.
 Lire
depuis
le
bord
de
fenêtre
gauche
:
lit
depuis
le
point
le
plus
à
gauche
de
la
zone
d’affichage
visible
dans
la
fenêtre
active.
 Lecture
depuis
locator
gauche
:
place
la
tête
de
lecture
sur
la
position
du
locator
gauche
et
commence
la
lecture.
 Lecture
depuis
locator
droit
:
place
la
tête
de
lecture
sur
la
position
du
locator
droit
et
commence
la
lecture.
 Lecture
depuis
la
sélection
:
place
la
tête
de
lecture
au
point
de
départ
des
régions
ou
des
événements
sélectionnés
et
commence
la
lecture.
Raccourci
clavier
par
défaut
:
Maj
+
Entrée.
 Rembobinage
et
Avance
rapide
:
un
clic
sur
l’un
des
boutons
permet
de
déplacer
la
tête
de
lecture
d’une
barre,
vers
l’avant
ou
vers
l’arrière.
Cliquer
en
maintenant
la
touche
Commande
enfoncée
permet
de
placer
la
tête
de
lecture
sur
le
marqueur
suivant
ou
précédent.
Cliquer
en
maintenant
l’un
des
boutons
enfoncés
permet
de
rembobiner
ou
d’effectuer
une
avance
rapide.
Cliquer
sur
l’un
des
boutons
tout
en
maintenant
le
bouton
de
la
souris
enfoncé,
puis
glisser
vers
la
gauche
ou
la
droite
pour
effectuer
un
une
avance
rapide
ou
un
retour
arrière
Shuttle
(ces
deux
boutons
permettent
des
déplacements
Shuttle
lorsqu’ils
sont
utilisés
de
cette
façon).
 Stop
:
arrête
l’enregistrement
ou
la
lecture.
Cliquer
une
seconde
fois
sur
le
bouton
Stop
place
la
tête
de
lecture
au
point
de
départ
du
projet
ou
à
la
position
du
locator
gauche
si
le
mode
Cycle
est
activé.
Raccourci
clavier
par
défaut
:
0.
 Lecture
:
lance
la
lecture
à
partir
de
la
position
actuelle
de
la
tête
de
lecture
ou
depuis
la
position
du
locator
de
gauche
en
mode
Cycle.
Raccourci
clavier
par
défaut
:
Entrée.
 Pause
:
interrompt
l’enregistrement
ou
la
lecture,
jusqu’à
ce
que
vous
cliquiez
sur
le
bouton
Pause
ou
Lecture.
 Enregistrement
:
cliquez
pour
commencer
l’enregistrement
(si
une
piste
est
activée
pour
l’enregistrement).
Raccourci
clavier
par
défaut
:
*.
Cliquez
tout
en
maintenant
la
touche
Contrôle
enfoncée
ou
cliquez
avec
le
bouton
droit
de
la
souris
pour
ouvrir
le
menu
Enregistrement.
 Capture
de
l’enregistrement
:
permet
de
conserver
la
performance
la
plus
récente,
même
si
Logic
Express
n’était
pas
en
mode
d’enregistrement
lors
de
celle-ci.
Remarque
:
tous
les
raccourcis
clavier
du
bouton
de
transport
ci-dessus,
à
l’exception
de
Rembobinage
et
Avance
rapide,
utilisent
le
pavé
numérique
du
clavier
de
votre
ordinateur.
114 Chapitre
5
Navigation
dans
votre
projet
Utilisation des raccourcis clavier de transport
Il
existe
un
certain
nombre
de
fonctions
de
transport
uniquement
disponibles
sous
forme
de
raccourcis
clavier.
La
plupart
des
raccourcis
clavier
correspondant
à
ces
fonctions
ne
sont
pas
attribués
par
défaut.
Vous
devrez
donc
les
définir.
Reportez-vous
à
la
rubrique
«
Attribution
de
raccourcis
clavier
à
des
touches
de
l’ordinateur
»
à
la
page
178.
 Lecture
ou
Stop
:
bascule
entre
la
lecture
et
l’arrêt,
en
fonction
de
l’état
de
lecture
ou
d’arrêt
au
moment
de
l’utilisation
de
la
commande.
Raccourci
clavier
par
défaut
:
Barre
d’espace.
Π Conseil
:
la
barre
d’espace
peut
être
utilisée
pour
démarrer
ou
arrêter
la
lecture
de
fichiers
audio
ou
de
régions
dans
l’Éditeur
des
échantillons,
le
chutier
audio
et
le
navigateur
de
boucles,
lorsque
ces
fenêtres
sont
au
premier
plan.
Ce
raccourci
clavier
particulièrement
pratique
mérite
d’être
mémorisé.
 Lecture
depuis
la
mesure
précédente
:
démarre
la
lecture
au
début
de
la
mesure
précédente.
 Arrêter
et
aller
au
locator
gauche
:
arrête
le
lecture
et
place
la
tête
de
lecture
à
la
position
du
locator
gauche.
 Aller
à
la
dernière
position
de
lecture
:
place
la
tête
de
lecture
à
la
dernière
position
atteinte
avec
une
commande
de
positionnement
ou
un
positionnement
direct
de
la
tête
de
lecture
à
l’aide
de
la
souris
ou
de
la
règle.
 Arrêter
et
aller
à
la
dernière
position
de
lecture
:
comme
ci-dessus
avec
arrêt
de
la
lecture.
 Retour
arrière
Shuttle
et
Avance
rapide
Shuttle
:
appuyer
à
plusieurs
reprises
sur
les
touches
augmente
la
vitesse
de
rembobinage.
Appuyer
à
plusieurs
reprises
sur
la
touche
«
shuttle
»
opposée
ralentit
la
vitesse
et,
à
terme,
modifie
le
sens
de
rembobinage.
Shuttle
désactive
le
mode
Cycle.
La
navigation
par
shuttle
est
arrêtée
par
la
commande
Stop.
 Aller
à
la
fin
de
la
sélection
:
place
la
tête
de
lecture
à
la
fin
de
la
première
région
ou
du
premier
événement
sélectionné
dans
la
fenêtre
active.
Remarque
:
il
existe
un
grand
nombre
de
raccourcis
clavier
«
Aller
à
»
disponibles
pour
les
marqueurs.
Pour
plus
d’informations,
reportez-vous
à
la
rubrique
«
Navigation
à
l’aide
de
marqueurs
»
à
la
page
142.
Chapitre
5
Navigation
dans
votre
projet 115
Utilisation du mode Cycle
Vous
pouvez
utiliser
le
mode
Cycle
pour
qu’un
passage
sélectionné
soit
lu
à
plusieurs
reprises.
Ce
mode
est
utile
pour
:
 composer
une
section
d’un
projet
(un
couplet
ou
un
refrain,
par
exemple)
;
 s’entraîner
avant
d’effectuer
un
enregistrement
;
 enregistrer
des
pistes
individuelles
de
manière
consécutive
;
 modifier
des
événements
;
 enregistrer
plusieurs
prises.
La
zone
de
lecture
en
boucle
est
définie
par
la
position
des
locators
gauche
et
droit.
Lorsque
le
mode
Cycle
est
activé,
il
est
affiché
sous
la
forme
d’une
bande
verte
dans
le
haut
de
la
règle
Mesure.
Pour
activer
et
désactiver
le
mode
Cycle,
procédez
de
l’une
des
manières
suivantes
:
m Cliquez
sur
le
bouton
Cycle
dans
la
barre
de
transport
(ou
utilisez
le
raccourci
clavier
du
mode
Cycle).
m Cliquez
sur
la
partie
supérieure
de
la
règle
Mesure
(sur
la
bande
grisée
des
locators).
Comportement
de
Logic
Express
en
mode
Cycle
:
 La
tête
de
lecture
passe
de
la
fin
du
cycle
au
début.
 La
commande
Lecture
commence
la
lecture
depuis
le
début
du
cycle.
Locator
gauche Locator
droit
Zone
de
lecture
en
boucle
116 Chapitre
5
Navigation
dans
votre
projet
 Pour
commencer
la
lecture
depuis
une
autre
position,
cliquez
deux
fois
sur
Pause
ou
sur
Pause,
puis
Lecture.
 Au
point
de
saut
de
cycle,
vous
pouvez
utiliser
la
fonction
Suivi
des
Événements
:
Fichier
>
Réglages
du
projet
>
MIDI
>
Suivi
>
«
Suivi
sur
le
saut
de
Cycle
».
Pour
en
savoir
plus
sur
le
suivi
des
événements,
reportez-vous
à
la
rubrique
«
Utilisation
de
la
fonction
Suivi
d’événements
»
à
la
page
121.
 Vous
pouvez
déterminer
la
façon
dont
fonctionne
l’enregistrement
en
mode
Cycle,
en
utilisant
les
différentes
options
de
la
sous-fenêtre
Fichier
>
Réglages
du
projet
>
Enregistrement.
Définition
du
cycle
Il
existe
plusieurs
façons
de
définir
un
cycle.
Vous
pouvez
:
 le
tracer
directement
dans
la
règle
Mesure
(définir
en
fait
les
positions
des
locators
gauche
et
droit),
 utiliser
les
affichages
des
locators
dans
la
barre
de
transport,
 créer
un
cycle
basé
sur
des
séquences
sélectionnées,
 créer
un
cycle
basé
sur
des
marqueurs.
Définition et ajustement d’un cycle dans la règle Mesure
Cliquez
dans
le
tiers
supérieur
de
la
règle
Mesure
tout
en
maintenant
le
bouton
de
la
souris
enfoncé,
puis
définissez
la
zone
du
cycle
en
faisant
glisser
le
pointeur
de
gauche
à
droite.
La
zone
de
lecture
en
boucle
s’affiche
sous
la
forme
d’une
bande
verte
dans
la
règle
Mesure
et
le
mode
Cycle
est
activé
automatiquement.
Pour
déplacer
le
cycle
:
m Placez
la
souris
au
milieu
de
la
bande
de
cycle
verte
(le
curseur
se
transforme
en
main),
puis
faites-la
glisser
vers
la
gauche
ou
la
droite.
Deux
lignes
s’étendent
sur
l’écran
depuis
les
points
de
début
et
de
fin
du
cycle.
Cela
facilite
l’alignement
du
cycle
avec
les
séquences
dans
la
zone
Arrangement
ou
des
événements
dans
l’Éditeur
de
piano
roll.
Pour
redimensionner
le
cycle
:
m Saisissez
les
poignées
(triangles)
à
chaque
extrémité
du
cycle
pour
déplacer
les
points
de
début
ou
de
fin
(vous
pouvez
même
le
faire
en
cours
d’exécution
de
Logic
Express).
Remarque
:
vous
pouvez
définir
le
début
ou
la
fin
d’un
cycle
(selon
ce
qui
est
le
plus
proche)
en
cliquant
sur
la
position
voulue
dans
la
règle
Mesure
tout
en
maintenant
la
touche
Maj
enfoncée.
Cela
fonctionne
même
si
la
bande
est
en
dehors
de
la
plage
visible
ou
si
le
mode
Cycle
est
désactivé.
Chapitre
5
Navigation
dans
votre
projet 117
Lorsque
vous
voulez
définir
la
taille
d’un
cycle
graphiquement
dans
la
règle
Mesure,
ses
points
de
début
et
de
fin
(et
donc
sa
taille)
sont
quantifiés
en
fonction
du
réglage
sélectionné
dans
le
menu
Alignement.
Pour
plus
d’informations,
reportez-vous
à
la
rubrique
«
Alignement
des
régions
modifiées
sur
des
positions
temporelles
»
à
la
page
329.
Définition d’un cycle via les écrans du locator de la barre de transport
Vous
pouvez
saisir
au
format
numérique
la
position
des
locators
et
ce
faisant,
définir
les
limites
du
cycle,
dans
l’affichage
des
locators
de
la
barre
de
transport.
Les
locators
sont
affichés
sur
la
droite
de
l’écran
Position
:
la
valeur
du
haut
indique
la
position
du
locator
de
gauche
et
celle
du
bas,
la
position
du
locator
de
droite.
Pour
définir
des
positions
de
locator
dans
la
barre
de
transport,
procédez
de
l’une
des
manières
suivantes
:
m Double-cliquez
sur
l’une
des
zones
de
l’écran
du
locator,
puis
tapez
directement
une
valeur
de
position
de
gauche
ou
de
droite.
Tapez
toutes
les
valeurs
de
mesure,
de
battement,
de
battement
secondaire
et
de
tick
(en
insérant
un
espace
ou
un
point
entre
les
numéros),
puis
appuyez
sur
Retour
pour
fermer
la
zone
d’entrée
et
définir
le
locator.
Remarque
:
vous
pouvez
définir
rapidement
le
locator
au
début
d’une
mesure
en
tapant
simplement
le
premier
chiffre.
m Cliquez
en
maintenant
le
bouton
de
la
souris
enfoncé
sur
l’une
des
zones
de
numéros
de
locator
gauche
ou
droit
dans
la
barre
de
transport,
puis
déplacez
la
souris
vers
le
haut
ou
vers
le
bas.
La
limite
de
cycle
correspondante
(si
elle
est
affichée
dans
la
règle
Mesure)
se
déplace
en
conséquence.
Locator
droit
Locator
gauche
Écran
de
position
118 Chapitre
5
Navigation
dans
votre
projet
Utilisation des boutons de mode de la barre de transport pour définir des locators
Vous
pouvez
utiliser
les
commandes
suivantes,
disponibles
sous
la
forme
de
boutons
de
la
barre
de
transport,
pour
définir
les
positions
de
locator.
Vous
pouvez
cliquer
sur
les
boutons
pour
activer
ou
désactiver
des
fonctions
ou
mieux
encore,
utiliser
les
raccourcis
clavier
correspondants
(raccourcis
clavier
de
l’ordinateur)
pour
accélérer
votre
flux
de
production.
Remarque
:
la
capture
d’écran
ci-dessous
montre
tous
les
boutons
pertinents.
Les
boutons
disponibles
dans
la
barre
de
transport
de
votre
projet
peuvent
être
différents,
car
vous
pouvez
la
personnaliser.
Pour
plus
d’informations,
reportez-vous
à
la
rubrique
«
Personnalisation
de
la
barre
de
transport
»
à
la
page
123.
 Régler
locator
gauche
et
Régler
locator
droit
:
ces
boutons
permettent
de
taper
directement
l’un
des
points
de
locator
dans
une
zone
de
dialogue.
Également
disponibles
en
tant
que
raccourcis
clavier.
 Régler
le
locator
gauche
sur
la
tête
de
lecture
et
Régler
le
locator
droit
sur
la
tête
de
lecture
:
la
position
actuelle
de
la
tête
de
lecture
est
utilisée
pour
définir
la
valeur
du
locator
gauche
ou
droit.
 Déplacer
en
avant
les
locators
par
longueur
de
cycle
et
Déplacer
en
arrière
les
locators
par
longueur
de
cycle
:
déplace
le
passage
du
cycle
d’une
longueur
égale
à
la
longueur
du
cycle.
Également
disponible
en
tant
que
raccourci
clavier.
Utilisation de séquences ou d’événements pour définir un cycle
Vous
pouvez
utiliser
les
raccourcis
clavier
suivants
pour
définir
des
locators
aux
points
de
début
et
de
fin
des
séquences
ou
événements
sélectionnés
:
 Définir
des
locators
par
séquences/événements
:
définit
des
locators
aux
points
de
début
et
de
fin
des
séquences
ou
événements
sélectionnés.
 Définir
des
locators
et
lire
:
définit
des
locators
aux
points
de
début
et
de
fin
des
régions
(ou
événements)
sélectionnés,
puis
commence
la
lecture.
 Régler
les
locators
arrondis
sur
les
séquences/événements
:
arrondit
la
position
des
locators
selon
la
ligne
de
mesure
la
plus
proche
des
points
de
début
et
de
fin
des
séquences
ou
événements
sélectionnés.
 Définir
des
locators
arrondis
et
lire
et
Définir
des
locators
arrondis
et
enregistrer
:
arrondit
la
position
des
locators
selon
la
ligne
de
mesure
la
plus
proche
des
points
de
début
et
de
fin
des
séquences
ou
événements
sélectionnés
et
commence
la
lecture
ou
l’enregistrement.
Chapitre
5
Navigation
dans
votre
projet 119
 Définir
des
locators
arrondis
et
lire
en
boucle
et
Définir
des
locators
arrondis
et
enregistrer
en
boucle
:
arrondit
la
position
des
locators
selon
la
ligne
de
mesure
la
plus
proche
des
points
de
début
et
de
fin
des
séquences
ou
événements
sélectionnés
et
passe
au
mode
de
lecture
ou
d’enregistrement
en
boucle.
Définition d’un cycle à l’aide de marqueurs
Si
vous
faites
glisser
un
marqueur
vers
la
partie
supérieure
de
la
règle
Mesure,
un
cycle
de
même
longueur
que
ce
marqueur
est
automatiquement
créé.
Le
chapitre
6,
«
Utilisation
des
marqueurs
»
à
la
page
131
fournit
des
détails
sur
la
création
et
l’utilisation
de
marqueurs.
Vous
pouvez
aussi
utiliser
l’un
des
raccourcis
clavier
suivants
:
 Définir
des
locators
par
marqueur
et
activer
la
lecture
en
boucle
:
définit
le
cycle
sur
le
marqueur
sélectionné
et
active
le
mode
Cycle.
La
longueur
du
cycle
est
déterminée
par
la
longueur
du
marqueur.
 Placer
les
locators
sur
le
marqueur
suivant
et
activer
la
lecture
en
boucle
:
définit
le
cycle
sur
le
marqueur
suivant
et
active
le
mode
Cycle.
 Définir
des
locators
par
marqueur
précédent
et
activer
la
lecture
en
boucle
:
définit
le
cycle
sur
le
marqueur
précédent
et
active
le
mode
Cycle.
Remarque
:
ces
commandes
conviennent
parfaitement
pour
la
répétition
de
passages
au
cours
de
performances
en
direct.
Définissez
des
marqueurs
pour
toutes
les
parties
de
projet
à
répéter
de
cette
façon
au
cours
de
votre
performance.
120 Chapitre
5
Navigation
dans
votre
projet
Cycle
d’omission
Vous
pouvez
omettre
un
passage
en
mode
lecture,
ce
qui
est
utile
pour
tester
l’effet
musical
de
diverses
transitions
d’une
rubrique
de
morceau
à
une
autre,
sans
qu’il
soit
nécessaire
de
déplacer
physiquement
des
séquences.
Cette
fonction
est
très
pratique
lors
de
l’arrangement.
Le
cycle
d’omission
est
également
utile
lors
de
l’édition
pour
ignorer
les
parties
d’un
projet
qui
ne
doivent
pas
être
affectées
par
l’édition.
Pour
configurer
un
cycle
d’omission,
effectuez
l’une
des
opérations
suivantes
:
m Faites
glisser
la
zone
du
cycle
d’omission
de
droite
à
gauche
dans
la
règle
Mesure.
m Si
une
zone
de
lecture
en
boucle
(normale)
existe
déjà,
vous
pouvez
échanger
les
locators
gauche
et
droit
en
cliquant
sur
le
bouton
«
Intervertir
les
locators
gauche
et
droit
»
dans
la
barre
de
transport
(ou
via
le
raccourci
clavier
correspondant).
La
zone
Cycle
d’omission
est
affichée
sous
la
forme
d’une
barre
rayée
verte
dans
la
règle
Mesure.
Lorsque
la
tête
de
lecture
atteint
la
position
du
locator
de
droite,
elle
passe
directement
au
locator
de
gauche
(c’est-à-dire
que
la
position
des
locators
droit
et
gauche
est
intervertie).
Chapitre
5
Navigation
dans
votre
projet 121
Utilisation de la fonction Suivi d’événements
Si
vous
lancez
la
lecture
au
milieu
d’un
projet,
il
se
peut
que
certains
événements
ne
soient
pas
entendus
(comme
des
notes,
des
événements
de
pédale
Sustain
et
Pitch
Bend
commençant
avant
le
point
de
départ
de
la
lecture).
Grâce
à
la
fonction
Suivi
d’événements,
Logic
Express
peut
analyser
le
projet
et
inclure
certains
ou
la
totalité
de
ces
événements
lors
de
la
lecture.
Pour
configurer
la
fonction
Suivi
d’événements :
1 Ouvrez
les
réglages
du
projet
MIDI
en
procédant
de
l’une
des
manières
suivantes
:
 Choisissez
Fichier
>
Réglages
du
projet
>
MIDI
(ou
utilisez
le
raccourci
clavier
correspondant).
 Cliquez
sur
le
bouton
de
barre
d’outils
Réglages,
puis
choisissez
MIDI.
2 Cliquez
sur
l’onglet
Suivi,
puis
cochez
les
cases
de
tous
les
événements
que
doit
rechercher
la
fonction
Suivi
d’événements
avant
le
point
de
départ
de
la
lecture.
Vous
pouvez
choisir
parmi
les
options
suivantes
:
 Notes
:
les
notes
à
lire
au
point
de
départ
de
lecture.
 Soutenues
:
les
notes
qui
continuent
à
être
lues
au
point
de
départ
de
lecture
en
raison
d’un
événement
de
pédale
Sustain.
 Dans
les
bandes
de
canaux
d’instruments
«
Aucun
transposition
»
:
les
bandes
de
canaux
d’instruments
(particulièrement
les
percussions)
peuvent
se
voir
affecter
le
paramètre
«
Pas
de
Rég
Trp
»
dans
l’Inspecteur.
Il
s’agit
d’un
paramètre
de
lecture
qui
serait
ignoré
si
la
séquence
contenant
les
notes
de
l’instrument
était
lancée
à
mi-chemin.
 Changement
de
programme
:
les
changements
de
programme
dans
les
séquences
chevauchant
le
point
de
départ
de
la
lecture
sont
envoyés
lorsque
la
case
est
activée.
 Pitch
Bend
:
les
événements
de
ce
type
qui
précèdent
immédiatement
le
point
de
départ
de
lecture
sont
envoyés.
122 Chapitre
5
Navigation
dans
votre
projet
 Changements
de
commande
0–15,
64–71,
Tous
les
autres
:
cliquez
pour
rechercher
les
contrôleurs
continus
0
à
15,
les
contrôleurs
de
commutation
continus
64
à
71
ou
tous
les
autres
contrôleurs.
 Aftertouch
:
cliquez
pour
rechercher
des
messages
Aftertouch
(de
canal)
monophonique.
 Aftertouch
Polyphonique
:
activez
pour
rechercher
des
messages
Aftertouch
Polyphonique.
 System
Exclusive
:
le
message
SysEx
le
plus
récent
avant
le
point
de
départ
de
la
lecture
est
transmis.
 Meta
Events
Texte
:
le
message
Meta
Event
Texte
le
plus
récent
avant
le
point
de
départ
de
lecture
est
transmis.
 Suivi
séparé
des
canaux
dans
«
Tous
les
canaux
»
:
les
Multi
Instruments
(figurant
dans
l’Environnement)
ont
un
canal
général
et
peuvent
posséder
jusqu’à
16
sous-canaux
MIDI.
Activez
cette
option
pour
rechercher
des
événements
sur
chaque
sous-canal
MIDI,
plutôt
que
sur
le
canal
Multi
Instrument
général.
 Suivi
sur
le
saut
de
Cycle
:
recherche
et
envoie
tous
les
types
d’événement
si
les
points
de
départ
et
de
fin
du
cycle
se
trouvent
dans
des
séquences.
 Notes
:
limite
la
recherche
de
saut
de
cycle
aux
événements
de
type
note.
 Envoyer
la
réinitialisation
MIDI
complète
avant
suivi
:
envoie
un
message
de
réinitialisation
MIDI
avant
le
suivi,
garantissant
que
tous
les
périphériques
MIDI
déclenchés
sont
réglés
sur
leurs
valeurs
par
défaut.
Il
existe
un
problème
potentiel
lors
du
suivi
de
notes
utilisées
pour
déclencher
une
boucle
de
percussions
dans
un
échantillonneur.
À
moins
que
vous
ne
parveniez
à
démarrer
la
séquence
MIDI
précisément
au
début
de
la
boucle
d’échantillonnage,
l’échantillon
est
déclenché
au
mauvais
moment
et
est
donc
lu
de
façon
désynchronisée
avec
d’autres
séquences
(au
moins
jusqu’à
la
prochaine
note
de
déclenchement).
Ce
problème
se
produit
car
la
plupart
des
échantillonneurs
ne
peuvent
lire
les
échantillons
que
depuis
le
début
et
ne
peuvent
pas
les
synchroniser
avec
le
battement
lorsqu’ils
démarrent
au
milieu.
Pour
éviter
de
déclencher
les
boucles
de
percussions
d’un
échantillonneur
lors
du
suivi
d’événements
de
type
note
:
1 Activez
le
paramètre
«
Aucun
transposition
»
de
votre
instrument
de
boucles
de
percussions
dans
la
zone
Paramètres
de
piste
de
l’Inspecteur.
2 Désactivez
l’option
«
Dans
les
bandes
de
canaux
d’instruments
«
Aucun
transposition
»
de
l’onglet
Réglages
du
projet
>
MIDI
>
Suivi.
Chapitre
5
Navigation
dans
votre
projet 123
Ces
réglages
empêchent
la
lecture
des
boucles
de
percussions
de
votre
échantillonneur
jusqu’à
ce
qu’elles
atteignent
la
prochaine
note
de
déclenchement,
lorsque
le
projet
passe
à
une
nouvelle
position.
Le
paramètre
«
Aucun
transposition
»
empêche
la
transposition
par
les
paramètres
de
lecture
de
la
séquence,
ce
qui
n’est
pas
souhaitable
non
plus
pour
les
sons
ou
les
boucles
de
percussions.
Personnalisation de la barre de transport
La
barre
de
transport
propose
un
jeu
de
boutons,
d’écrans
et
de
curseurs
par
défaut.
Ce
sont
les
éléments
les
plus
utilisés
et
les
plus
utiles
pour
la
majorité
des
utilisateurs.
Il
se
peut
cependant
que
vous
ayez
besoin
d’accéder
régulièrement
à
des
fonctions
particulières
ne
faisant
pas
partie
du
jeu
par
défaut,
pour
les
raisons
suivantes
:
 type
de
projet
utilisé
:
la
bande
son
d’un
film
par
exemple
;
 méthode
de
travail
très
spécifique
;
 volonté
d’accéder
rapidement
à
tous
les
éléments.
Quelle
que
soit
votre
motivation,
vous
pouvez
facilement
personnaliser
la
barre
de
transport
en
fonction
de
vos
besoins.
Masquage
et
affichage
des
fonctions
de
la
barre
de
transport
Vous
pouvez
masquer
ou
afficher
indépendamment
différentes
parties
de
la
barre
de
transport.
Cela
vous
permet
alors
de
contrôler
la
largeur
de
la
barre
de
transport.
N’affichez
sur
la
barre
de
transport
que
les
fonctions
auxquelles
vous
devez
accéder
régulièrement
ou
mieux
encore,
configurez
et
mémorisez
tous
les
raccourcis
clavier
de
transport
ou
de
mode
correspondants.
Cela
vous
permettra
d’étendre
la
zone
d’affichage
de
la
barre
de
transport,
afin
d’obtenir
un
plus
grand
nombre
d’informations
consultables
rapidement.
Remarque
:
si
vous
voulez
que
toutes
les
commandes
et
options
soient
visibles
dans
la
barre
de
transport,
vous
devez
vous
procurer
un
second
écran
d’ordinateur
ou
un
écran
ayant
une
résolution
horizontale
exceptionnellement
élevée.
Π Conseil
:
Logic
Express
autorise
l’ouverture
simultanée
d’un
nombre
illimité
de
barres
de
transport.
Vous
pouvez
personnaliser
individuellement
chacune
de
ces
barres
de
transport
supplémentaires,
afin
de
visualiser
et
d’accéder
à
d’autres
fonctions
qui
ne
tiendraient
pas
sur
la
barre
de
transport
standard
au
bas
de
la
fenêtre
Arrangement.
Des
barres
de
transport
personnalisées
(et
d’autres
fenêtres)
peuvent
être
enregistrées
dans
le
cadre
d’un
screenset.
124 Chapitre
5
Navigation
dans
votre
projet
Pour
personnaliser
la
barre
de
transport
:
1 Cliquez
tout
en
maintenant
la
touche
Contrôle
enfoncée
(ou
cliquez
avec
le
bouton
droit
de
la
souris)
sur
la
barre
de
transport,
puis
choisissez
«
Personnaliser
la
barre
de
transport
»
dans
le
menu.
2 Activez
ou
désactivez
les
fonctions
voulues
en
cochant
des
cases
dans
la
zone
de
dialogue
Personnaliser.
Boutons de transport
Cette
zone
contient
des
cases
pour
les
boutons
qui
transportent
littéralement
la
tête
de
lecture
au
sein
du
projet.
Consultez
la
rubrique
«
Utilisation
des
boutons
de
transport
»
à
la
page
112
(dans
ce
chapitre)
pour
obtenir
une
explication
sur
chaque
fonction
et
commande
individuelle.
Zone d’affichage
Cette
rubrique
sert
principalement
à
vous
informer
sur
la
position
de
la
tête
de
lecture
et
des
locators,
mais
vous
pouvez
aussi
vous
en
servir
pour
naviguer
dans
le
projet.
 Positions
(SMPTE/Mesure)
:
indique
la
position
actuelle
de
la
tête
de
lecture.
La
ligne
du
haut
indique
la
position
au
format
SMPTE
(heures:
minutes:
secondes:
images),
la
ligne
du
bas
en
mesures,
battements,
division
et
ticks.
Chapitre
5
Navigation
dans
votre
projet 125
 Locators
(gauche/droit)
:
la
ligne
du
haut
indique
la
position
du
locator
gauche,
la
ligne
du
bas
celle
du
locator
droit.
Les
locators
sont
utilisés
pour
définir
une
rubrique
particulière
du
projet
pour
un
certain
nombre
de
tâches
d’enregistrement
ou
de
lecture.
 Fréquence
d’échantillonnage
ou
locators
du
punch
:
indique
la
fréquence
d’échantillonnage
du
projet
en
cours
ou
les
locators
d’entrée/de
sortie
d’enregistrement
Punch
(lorsque
le
mode
d’enregistrement
Punch
est
activé).
Comme
pour
d’autres
zones
d’affichage
de
la
barre
de
transport,
vous
pouvez
définir
la
fréquence
d’échantillonnage
ou
les
locators
Punch
à
l’aide
de
la
souris
ou
en
saisissant
directement
des
valeurs
numériques.
 Fin
de
tempo/projet
:
l’écran
Tempo
indique
la
vitesse
de
lecture
ou
d’enregistrement
en
cours.
L’écran
Fin
du
projet
affiche
le
nombre
total
de
mesures
ou
de
temps.
Il
se
comporte
comme
un
marqueur
d’arrêt
de
lecture
ou
d’enregistrement
pour
le
projet.
 Altération/Fraction
:
l’écran
articulation
(du
temps)
indique
l’articulation
temporelle
de
lecture
ou
d’enregistrement
en
cours,
dans
un
format
musical
standard
:
4/4,
5/4,
etc.
L’écran
Division
détermine
la
résolution
d’affichage
(et
d’édition)
actuelle.
La
valeur
/16
indique
qu’une
mesure
4/4
est
divisée
en
16
sous-sections,
soit
4
battements
secondaires
pour
chaque
battement
de
la
mesure.
 Activité
MIDI
(E/S)
:
affiche
les
données
MIDI
entrantes
et
sortantes.
L’écran
Entrée
MIDI
(haut)
affiche
les
noms
des
accords
pour
les
données
de
note
MIDI
entrantes.
 Charger
les
curseurs
(CPU/DD)
:
cliquez
pour
afficher
les
indicateurs
de
charge
du
processeur
et
de
charge
de
débit
du
disque
dur.
Double-cliquez
pour
ouvrir
les
indicateurs
de
charge
sous
forme
de
fenêtre
distincte.
Modes et fonctions
Les
boutons
de
mode
et
le
curseur
de
niveau
principal
situés
à
droite
sont
utilisés
pour
plusieurs
fonctions
d’enregistrement
et
de
lecture
avancées,
notamment
la
répétition
de
rubriques
de
projet,
la
réalisation
de
solos
et
l’enregistrement
Punch.
Les
boutons
ne
déclenchent
pas
immédiatement
une
action.
Ils
servent
à
changer
d’état
de
fonctionnement.
Le
bouton
adéquat
est
mis
en
évidence
pour
indiquer
que
le
mode
est
activé.
 Monitoring
Logiciel
:
active
le
monitoring
logiciel,
permettant
de
traiter
des
sources
externes
via
des
effets
Logic
Express.
Permet
aussi
d’entendre
des
sources
externes
lors
de
l’enregistrement.
 Monitoring
automatique
d’entrée
:
permet
d’entendre
automatiquement
des
sources
externes
au
niveau
des
entrées
audio.
 Témoin
du
vu-mètre
pré-équilibreur
:
fait
basculer
tous
les
indicateurs
de
canaux
de
la
table
de
mixage
du
mode
pré-équilibreur
(l’équilibreur
de
niveau
sur
chaque
canal)
au
mode
post-équilibreur
(si
désactivé)
et
vice
versa.
126 Chapitre
5
Navigation
dans
votre
projet
 Mode
de
temps
de
latence
faible
:
active
le
Mode
de
temps
de
latence
faible,
ce
qui
vous
permet
de
limiter
le
délai
(temps
de
latence)
généré
par
certains
effets.
 Régler
locator
gauche
et
Régler
locator
droit
:
ces
boutons
permettent
de
taper
directement
l’un
des
points
de
locator
dans
une
zone
de
dialogue.
Également
disponibles
en
tant
que
raccourcis
clavier.
 Régler
le
locator
gauche
sur
la
tête
de
lecture
et
Régler
le
locator
droit
sur
la
tête
de
lecture
:
la
position
actuelle
de
la
tête
de
lecture
est
utilisée
pour
définir
la
valeur
du
locator
gauche
ou
droit.
 Déplacer
en
avant
les
locators
par
longueur
de
cycle
et
Déplacer
en
arrière
les
locators
par
longueur
de
cycle
:
déplace
le
passage
du
cycle
d’une
longueur
égale
à
la
longueur
du
cycle.
 Déplacer
les
locators
à
gauche
par
cycle
:
conserve
le
cycle
existant,
mais
le
déplace
vers
la
gauche
d’une
valeur
égale
à
la
longueur
du
cycle.
Par
exemple,
si
le
cycle
a
une
longueur
de
4
mesures
et
couvre
les
mesures
12
à
16,
utiliser
cette
commande
décale
le
cycle
de
quatre
mesures
vers
la
gauche,
aboutissant
à
un
cycle
allant
de
la
mesure
8
à
la
mesure
12.
 Déplacer
les
locators
à
droite
par
cycle
:
comme
ci-dessus,
mais
décale
le
cycle
vers
la
droite.
 Cycle
:
active
ou
désactive
la
lecture
ou
l’enregistrement
répété
sur
une
rubrique
de
projet.
Les
limites
du
cycle
sont
indiquées
(ou
définies)
par
les
valeurs
des
locators
de
gauche
et
de
droite.
 Autopunch
:
active
ou
désactive
le
point
de
départ
et
de
fin
d’un
enregistrement.
Couramment
utilisé
avec
les
locators
autopunch
de
gauche
et
de
droite
pour
enregistrer
automatiquement
sur
une
rubrique
de
projet
particulière.
Cette
méthode
est
souvent
utilisée
pour
corriger
une
erreur
dans
un
enregistrement
vocal
ou
instrumental.
 Régler
le
point
Autopunch
gauche
sur
la
tête
de
lecture
:
la
position
actuelle
de
la
tête
de
lecture
est
utilisée
pour
définir
la
valeur
du
locator
Autopunch
de
gauche.
 Régler
le
point
Autopunch
droit
sur
la
tête
de
lecture
:
la
position
actuelle
de
la
tête
de
lecture
est
utilisée
pour
définir
la
valeur
du
locator
Autopunch
droit.
 Remplacer
:
permet
l’écrasement
d’un
enregistrement
existant
par
un
nouvel
enregistrement.
 Solo
:
seules
les
séquences
sélectionnées
sont
lues,
le
son
des
autres
est
désactivé.
 Synchro
:
activez
cette
option
pour
synchroniser
Logic
Express
avec
une
source
externe
(faire
de
Logic
Express
l’«
esclave
»
de
synchronisation
d’un
autre
périphérique).
Cliquez
tout
en
maintenant
la
touche
Contrôle
enfoncée
ou
cliquez
sur
ce
bouton
en
le
maintenant
enfoncé
pour
ouvrir
le
menu
Synchronisation.
 Clic
:
utilisé
pour
activer
ou
désactiver
le
métronome
interne
de
Logic
Express.
Cliquez
tout
en
maintenant
la
touche
Contrôle
enfoncée
ou
cliquez
sur
ce
bouton
en
le
maintenant
enfoncé
pour
ouvrir
le
menu
Métronome.
Chapitre
5
Navigation
dans
votre
projet 127
 Niveau
principal
:
cliquez
pour
afficher
un
curseur
de
volume
à
droite
de
la
barre
de
transport.
Ce
curseur
est
directement
lié
au
canal
principal
de
la
table
de
mixage
et
fait
office
de
contrôle
de
niveau
principal
pour
toutes
les
pistes
audio
et
d’instruments
logiciels.
128 Chapitre
5
Navigation
dans
votre
projet
Utilisation
d’un
affichage
SMPTE
ou
d’un
affichage
de
mesures
géant
Vous
pouvez
configurer
la
barre
de
transport
pour
qu’elle
présente
un
affichage
SMPTE
ou
un
affichage
de
mesures
géant
au
lieu
de
la
zone
de
d’affichage
de
la
barre
de
transport
standard.
Vous
pouvez
aussi
créer
une
fenêtre
d’affichage
SMPTE
ou
d’affichage
de
mesures
géante.
Pour
remplacer
la
zone
d’affichage
de
la
barre
de
transport
standard
par
un
affichage
SMPTE
ou
un
affichage
de
mesures
:
m Cliquez
sur
la
zone
d’affichage
de
la
barre
de
transport
tout
en
maintenant
la
touche
Contrôle
enfoncée,
puis
choisissez
«
Grand
affichage
de
la
barre
»
ou
«
Grand
affichage
des
codes
SMPTE
»,
en
fonction
de
vos
besoins.
La
zone
d’affichage
de
transport
est
remplacée
par
le
grand
affichage
choisi.
Répétez
l’étape
ci-dessus
pour
revenir
à
l’affichage
standard.
Pour
ouvrir
une
nouvelle
fenêtre
d’affichage
SMPTE
ou
d’affichage
de
mesures
:
m Cliquez
sur
la
zone
d’affichage
de
la
barre
de
transport
tout
en
maintenant
la
touche
Contrôle
enfoncée,
puis
choisissez
«
Ouvrir
’affichage
maxi
de
la
barre
»
ou
«
Ouvrir
l’affichage
maxi
des
codes
SMPTE
»,
en
fonction
de
vos
besoins.
Une
nouvelle
fenêtre
transparente
flottante
est
alors
affichée.
Elle
peut
être
positionnée
et
redimensionnée
librement.
Pour
redimensionner
la
fenêtre
d’affichage
SMPTE
ou
d’affichage
de
mesures
:
1 Positionnez
le
curseur
sur
l’un
des
bords
ou
coins
inférieurs.
Chapitre
5
Navigation
dans
votre
projet 129
2 Lorsque
le
curseur
se
transforme
en
pointeur
de
redimensionnement,
cliquez
dessus
et
faites-le
glisser
dans
la
direction
voulue.
Pour
fermer
l’affichage
géant
choisi,
cliquez
sur
l’icône
de
fermeture
située
dans
le
coin
supérieur
gauche
de
la
fenêtre.
Remarque
:
Logic
Express
autorise
l’ouverture
simultanée
d’un
nombre
illimité
de
fenêtres
de
transport
(et
d’affichage
SMPTE
ou
d’affichage
de
mesures
géantes).
Personnalisation
des
affichages
de
mesures,
SMPTE
et
du
tempo
Vous
pouvez
personnaliser
les
affichages
de
mesures,
SMPTE
et
du
tempo
dans
les
préférences
d’affichage.
Pour
personnaliser
les
affichages
de
mesures,
SMPTE
ou
du
tempo
:
1 Ouvrez
les
préférences
d’affichage
générales
en
procédant
de
l’une
des
manières
suivantes
:
 Choisissez
Logic
Express
>
Préférences
>
Affichage
(ou
utilisez
le
raccourci
clavier
Ouvrir
les
préférences
d’affichage).
 Cliquez
sur
le
bouton
«
Barres
d’outils
de
préférences
»,
puis
choisissez
Affichage
dans
le
menu.
2 Choisissez
l’un
des
réglages
suivants
dans
le
menu
Format
d’horloge
:
 Format
d’horloge
1
1
1
1
 Format
d’horloge
1.
1.
1.
1
 Format
d’horloge
1
1
1
0
 Format
d’horloge
1.
1.
1.
0
 Format
d’horloge
1
1.
_
1
 Format
d’horloge
1.
1.
_
1
 Format
d’horloge
1
1.
_
0
 Format
d’horloge
1.
1.
_
0
3 Choisissez
l’un
des
réglages
suivants
dans
le
menu
Affichage
SMPTE
:
 Avec
Bits
:
les
sous-images
(de
0
à
79
bits
SMPTE)
sont
affichées.
 Sans
Bits
:
les
sous-images
ne
sont
pas
affichées.
 Avec
Quart
d’images
:
les
quart
d’images
sont
affichés.
130 Chapitre
5
Navigation
dans
votre
projet
 Respecter
taille
des
images,
film
35
mm
:
l’affichage
est
défini
en
pieds
et
en
images,
pour
les
films
de
35
mm.
 Respecter
taille
des
images,
film
16
mm
:
l’affichage
est
défini
en
pieds
et
en
images,
pour
les
films
de
16
mm.
 Avec
millisecondes
:
les
fractions
d’image
sont
affichées
en
millisecondes,
et
non
en
bits
SMPTE
(également
appelés
sous-images).
N’oubliez
pas
que
cette
valeur
dépend
de
la
fréquence
d’images
:
à
25
ips,
une
image
dure
40
millisecondes,
à
30
ips,
elle
dure
environ
33
ms.
 Avec
échantillons
:
les
fractions
d’image
sont
affichées
comme
des
valeurs
d’échantillon.
 Avec
images
et
échantillons
:
les
fractions
d’image
sont
affichées,
tout
comme
les
valeurs
d’échantillon.
4 Cochez
la
case
Zéros
comme
espaces
si
vous
voulez
que
les
zéros
soient
représentés
par
des
espaces
plutôt
que
par
le
chiffre
0
dans
les
affichages
du
temps
SMPTE.
5 Choisissez
l’un
des
réglages
suivants
dans
le
menu
Afficher
Tempo
en
:
 Battements
à
la
minute
(BPM,
Maelzel)
:
battements
par
minute,
jusqu’à
quatre
décimales
pouvant
être
paramétrées
individuellement.
 BPM
sans
décimales
:
battements
par
minute,
sans
aucune
décimale.
 Images
par
clic
avec
croches
:
images
par
battement
avec
croches.
L’unité
ipc
s’affiche
après
la
valeur.
 Images
par
clic
avec
décimales
:
images
par
battement,
jusqu’à
quatre
décimales.
Faites
attention,
cet
affichage
peut
être
facilement
confondu
avec
l’affichage
BPM.
6
131
6 Utilisation
des
marqueurs
Les marqueurs ont pour principale fonction de baliser
différentes parties d’un morceau et de permettre une
sélection rapide de ces parties afin de les lire, de les
modifier et de les arranger.
Ils
sont
utilisés
comme
une
sorte
de
plan
de
route
représentant
un
morceau
sous
forme
graphique.
Ils
peuvent
être
affichés
et
modifiés
dans
les
zones
de
la
fenêtre
suivantes
:
Piste
des
marqueurs
Zone
de
texte
des
marqueurs
Liste
des
marqueurs
132 Chapitre
6
Utilisation
des
marqueurs
 Piste
des
marqueurs:
affiche
les
marqueurs
sous
forme
de
rubriques
de
couleur
(facultatif ).
Si
la
piste
des
marqueurs
est
cachée,
les
marqueurs
apparaissent
sous
forme
de
courtes
chaînes
de
texte
dans
la
règle
des
mesures
de
toutes
les
fenêtres
d’édition
linéaire.
La
zone
Piste
des
marqueurs
présente
un
avantage
par
rapport
au
marqueur
affiché
dans
la
règle
des
mesures
:
elle
vous
permet
de
sélectionner,
de
copier,
de
déplacer
ou
de
redimensionner
des
marqueurs
directement
avec
la
souris.
Cliquez
sur
le
triangle
d’affichage
situé
dans
l’angle
supérieur
gauche
de
la
colonne
de
noms
associée
à
la
piste
des
marqueurs
pour
développer
la
hauteur
de
la
piste,
et
afficher
ainsi
des
contrôles
supplémentaires.
Vous
pouvez
ajuster
le
bord
inférieur
de
la
piste
des
marqueurs
comme
il
vous
convient,
en
la
faisant
glisser
avec
la
souris
vers
le
haut
ou
vers
le
bas.
 Liste
des
marqueurs
:
répertorie
les
noms
de
tous
les
marqueurs,
ainsi
que
la
durée
et
la
position
de
la
mesure.
 Zone
et
fenêtre
Texte
des
marqueurs
:
affiche
le
texte
associé
au
marqueur.
Les
marqueurs
peuvent
ainsi
être
utilisés
comme
des
bloc-notes,
permettant
de
sauvegarder,
avec
le
morceau,
des
commentaires.
Le
texte
du
marqueur
peut
être
tapé
et
édité,
comme
dans
un
éditeur
de
texte
classique.
Les
commandes
Couper,
Copier,
Coller,
Effacer
et
Tout
sélectionner
peuvent
être
utilisées
pour
importer
ou
exporter
du
texte
à
partir
ou
vers
d’autres
applications
logicielles
(telles
que
des
applications
de
traitement
de
texte).
Exception
faite
des
fonctions
relatives
au
texte,
les
marqueurs
peuvent
également
être
considérés
comme
des
zones
de
stockage
de
positions
de
locators
(qui
peuvent
être
nommés
individuellement).
Ouverture des fenêtres et des zones relatives aux marqueurs
Comme
mentionné
dans
l’introduction,
Logic
Express
présente
plusieurs
méthodes
pour
interagir
avec
les
marqueurs,
les
créer
ou
les
supprimer.
Pour
ouvrir
la
piste
des
marqueurs
:
1 Cliquez
sur
le
triangle
d’affichage
situé
dans
la
zone
d’en-tête
Pistes
globales.
2 Cliquez
sur
le
triangle
d’affichage
de
la
piste
des
marqueurs.
Vous
pouvez
également
définir
et
utiliser
le
raccourci
clavier
Afficher/Masquer
la
piste
des
marqueurs.
Pour
ouvrir
la
liste
des
marqueurs,
effectuez
l’une
des
opérations
suivantes
:
m Cliquez
sur
le
bouton
Listes
dans
la
barre
d’outils
Arrangement,
puis
sur
l’onglet
Marqueur
(ou
utilisez
le
raccourci
clavier
Afficher/Masquer
la
liste
des
marqueurs).
m Choisissez
Options
>
Marqueur
>
Ouvrir
la
liste
des
marqueurs
(ou
utilisez
le
raccourci
clavier
correspondant).
Chapitre
6
Utilisation
des
marqueurs 133
Remarque
:
double-cliquer
sur
un
marqueur
(avec
l’outil
Pointeur)
dans
la
Piste
des
marqueurs
permet
d’afficher
ou
de
masquer
la
zone
Liste.
Le
marqueur
sur
lequel
vous
avez
cliqué
est
alors
sélectionné
dans
la
liste.
Pour
ouvrir
la
fenêtre
Texte
des
marqueurs
:
m Maintenez
la
touche
Option
enfoncée
tout
en
double-cliquant
sur
un
des
marqueurs
de
la
piste
à
l’aide
de
l’outil
Pointeur.
Le
marqueur
sur
lequel
vous
avez
cliqué
est
alors
sélectionné
dans
la
liste.
Remarque
:
veillez
à
ne
pas
effectuer
cette
opération
lorsque
l’outil
Crayon
est
sélectionné,
car
vous
créez
alors
un
nouveau
marqueur.
La
fenêtre
Texte
des
marqueurs
est
également
disponible
au
bas
de
la
fenêtre
Liste
des
marqueurs,
où
elle
est
nommée
«
Zone
de
texte
des
marqueurs
».
Utilisation
des
menus
contextuels
des
marqueurs
Il
est
possible
d’accéder
à
de
nombreuses
commandes
concernant
les
marqueurs,
telles
que
les
commandes
de
sélection,
d’édition
et
autres,
en
cliquant
à
n’importe
quel
endroit
dans
les
zones
de
marqueurs
tout
en
maintenant
la
touche
Contrôle
enfoncée
(ou
en
cliquant
avec
le
bouton
droit
de
la
souris).
Ces
commandes
vous
permettent
d’accélérer
votre
travail.
Remarque
:
le
menu
contextuel
accessible
via
le
bouton
droit
de
la
souris
n’est
disponible
que
si
l’option
de
menu
local
«
Bouton
droit
de
la
souris
:
Ouvre
le
menu
contextuel
»
est
sélectionnée
dans
Logic
Express
>
Préférences
>
Global
>
onglet
Édition.
Création de marqueurs
Vous
pouvez
créer
des
marqueurs
à
n’importe
quelle
position
du
morceau.
La
rubrique
suivante
décrit
toutes
les
options
permettant
de
créer
des
marqueurs.
Pour
créer
un
marqueur
au
début
de
la
mesure
la
plus
proche,
effectuez
l’une
des
opérations
suivantes
:
m Dans
la
piste
des
marqueurs
:
 Réglez
la
tête
de
lecture
sur
la
position
voulue,
puis
cliquez
sur
le
bouton
Créer.
 Sélectionnez
l’outil
Crayon,
puis
cliquez
sur
la
position
désirée.
134 Chapitre
6
Utilisation
des
marqueurs
m Dans
la
règle
Mesure
:
placez
le
pointeur
sur
le
tiers
inférieur
de
la
règle
Mesure,
puis
cliquez
sur
la
position
désirée
tout
en
maintenant
les
touches
Option
et
Commande
enfoncées.
Cette
opération
n’est
possible
que
si
la
piste
des
marqueurs
n’est
pas
affichée.
m Dans
la
liste
des
marqueurs
:
 Sélectionnez
Options
>
Créer.
 Sélectionnez
l’outil
Crayon,
puis
cliquez
dans
la
Liste
des
marqueurs.
 Cliquez
sur
le
bouton
Créer
de
la
Liste
des
marqueurs.
m Dans
n’importe
quelle
fenêtre
:
sélectionnez
Options
>
Marqueur
>
Créer
dans
la
barre
des
menus
principale
(ou
utiliser
le
raccourci
clavier
Créer
un
marqueur).
Le
marqueur
est
créé
au
début
de
la
mesure
la
plus
proche.
Si
un
marqueur
existe
déjà
à
cet
endroit
(ou
est
éloigné
de
cette
position
de
moins
d’une
valeur
de
noire),
aucun
marqueur
n’est
créé.
La
durée
du
marqueur
se
prolonge
automatiquement
jusqu’au
point
de
départ
du
marqueur
suivant,
ou
jusqu’à
la
fin
du
morceau
ou
du
dossier,
s’il
n’y
a
pas
d’autres
marqueurs.
Π Conseil
:
vous
pouvez
utiliser
les
raccourcis
clavier
Créer
un
marqueur
pour
ajouter
des
marqueurs
à
la
volée
au
cours
de
la
lecture.
Pour
créer
un
marqueur
qui
ne
soit
pas
arrondi
à
la
mesure
la
plus
proche
:
m Dans
n’importe
quelle
fenêtre
:
sélectionnez
Options
>
Marqueur
>
Créer
sans
arrondis
(ou
le
raccourci
clavier
Créer
un
marqueur
sans
arrondis).
m Dans
la
liste
des
marqueurs
:
sélectionnez
Options
>
Créer
sans
arrondis.
Pour
créer
un
marqueur
et
déterminer
sa
position
:
m Cliquez
sur
le
début
ou
la
fin
de
la
zone
des
marqueurs
de
la
liste
des
marqueurs
avec
l’outil
Crayon,
puis
entrez
la
position
désirée
dans
la
zone
de
saisie
correspondante.
Chapitre
6
Utilisation
des
marqueurs 135
Pour
créer
des
marqueurs
aux
emplacements
des
régions
actuellement
sélectionnées
:
m Dans
la
piste
des
marqueurs
:
cliquez
sur
le
bouton
De
régions
ou
faites
glisser
une
région
d’une
piste
d’arrangement
vers
la
piste
des
marqueurs.
m Sélectionnez
Options
>
Marqueur
>
Créer
par
régions,
dans
la
barre
de
menus
principale
(ou
utilisez
le
raccourci
clavier
Créer
des
marqueurs
par
régions).
Les
marqueurs
ainsi
créés
se
voient
attribuer
les
noms,
la
couleur,
la
durée
et
la
position
de
mesure
des
régions
dont
ils
sont
dérivés.
Pour
créer
un
marqueur
qui
corresponde
exactement
à
la
durée
et
à
la
position
d’une
boucle
:
m Faites
glisser
la
boucle
vers
le
bas,
dans
la
piste
des
marqueurs
ou
dans
le
tiers
inférieur
de
la
règle
des
mesures.
La
boucle
ne
peut
être
déplacée
dans
la
règle
des
mesures
que
sur
le
plan
horizontal
ou
vertical.
Cela
permet
d’éviter
d’effectuer
de
manière
accidentelle
les
opérations
suivantes
:
 Déplacer
la
boucle
lors
de
la
création
de
marqueurs
(en
faisant
glisser
la
boucle
vers
le
tiers
inférieur
de
la
règle
des
mesures
ou
dans
la
Piste
des
marqueurs).
 Créer
des
marqueurs
lors
du
déplacement
de
la
zone
de
lecture
en
boucle.
136 Chapitre
6
Utilisation
des
marqueurs
Le
déplacement
des
marqueurs
et
la
boucle
interagissent
de
la
manière
suivante
:
 Lorsque
vous
faites
glisser
la
boucle
vers
la
zone
des
marqueurs
dans
la
règle
Mesure,
le
pointeur
se
transforme
en
main
munie
d’une
flèche
vers
le
bas
et
d’une
flèche
vers
le
haut.
Lorsque
vous
déplacez
le
pointeur
à
l’horizontale
dans
la
zone
des
marqueurs
de
la
règle
Mesure,
le
pointeur
se
transforme
en
main
(sans
flèches).
La
copie
de
la
boucle
vers
la
zone
des
marqueurs
est
annulée.
 Si
vous
déplacez
d’abord
la
boucle
à
l’horizontale,
puis
tentez
de
le
faire
glisser
vers
la
zone
des
marqueurs
de
la
règle
Mesure,
aucun
marqueur
n’est
créé.
 Si
vous
appuyez
sur
la
touche
Maj
après
avoir
cliqué
sur
la
boucle
tout
en
maintenant
le
bouton
de
la
souris
enfoncé,
vous
pouvez
déplacer
la
boucle
à
l’horizontale
et
la
faire
glisser
vers
la
zone
des
marqueurs
en
un
seul
mouvement.
Remarque
:
si
vous
appuyez
sur
la
touche
Maj
avant
de
cliquer
sur
la
boucle,
la
limite
de
la
boucle
la
plus
proche
est
fixée
à
l’endroit
où
vous
avez
cliqué.
Pour
copier
un
marqueur
:
m Dans
la
piste
des
marqueurs
:
vous
pouvez
faire
glisser
le
marqueur
ou
utiliser
les
commandes
standard
Copier
(Commande
)
et
Coller
(Commande
V).
m Dans
la
liste
des
marqueurs
:
utilisez
les
commandes
standard
Copier
et
Coller.
Sélection de marqueurs
Pour
sélectionner
des
marqueurs,
vous
pouvez
utiliser
les
techniques
de
sélection
habituelles.
Pour
plus
d’informations,
reportez-vous
à
la
rubrique
«
Techniques
de
sélection
»
à
la
page
189.
Suppression de marqueurs
Vous
pouvez
supprimer
des
marqueurs
à
tout
moment.
Une
fois
supprimés,
ils
n’apparaissent
plus
dans
la
règle
des
mesures,
la
piste
des
marqueurs,
la
liste
des
marqueurs
ni
dans
la
fenêtre
Texte
des
marqueurs.
Pour
supprimer
des
marqueurs
:
m Effectuez
l’une
des
opérations
suivantes
dans
la
piste
des
marqueurs
et
la
liste
des
marqueurs
:
 Cliquez
sur
les
marqueurs
avec
l’outil
Gomme.
 Sélectionnez
les
marqueurs,
puis
choisissez
Éditer
>
Supprimer
(ou
utilisez
le
raccourci
clavier
correspondant,
par
défaut
:
retour
arrière).
Chapitre
6
Utilisation
des
marqueurs 137
m Dans
la
règle
Mesure
:
saisissez
le
marqueur
que
vous
souhaitez
supprimer
et
faites-le
glisser
à
l’extérieur
de
la
règle
des
mesures.
Relâchez
le
bouton
de
la
souris
lorsque
le
curseur
représente
une
main
maintenant
deux
flèches.
m À
la
position
actuelle
du
morceau
:
sélectionnez
Options
>
Marqueur
>
Supprimer
(ou
utiliser
le
raccourci
clavier
Supprimer
le
marqueur).
Dénomination des marqueurs
Les
marqueurs
créés
se
voient
automatiquement
attribués
le
nom
«
Marqueur
##
»
(exceptés
ceux
issus
de
régions,
comme
indiqué
ci-dessus).
Les
signes
«
##
»
représentent
une
valeur
numérique
qui
reflète
l’ordre
d’apparition
des
marqueurs
dans
la
règle
des
mesures
(soit
«
Marqueur
1
»,
«
Marqueur
2
»,
etc.).
Le
nombre
attribué
dépend
de
l’ordre
réel
de
tous
les
marqueurs
du
morceau,
y
compris
ceux
qui
ont
été
renommés.
Les
noms
attribués
automatiquement
peuvent
être
modifiés
directement
dans
la
règle
des
mesures,
la
piste
des
marqueurs,
la
liste
des
marqueurs
ou
dans
la
fenêtre
Texte
des
marqueurs.
La
longueur
du
nom
affiché
dans
la
piste
des
marqueurs,
la
règle
des
mesures
et
la
liste
des
marqueurs
dépend
de
l’espace
disponible
sur
l’écran
ou
de
la
position
du
marqueur
suivant.
Si
vous
souhaitez
modifier
un
nom
de
marqueur
lors
de
sa
création,
maintenez
les
touches
Contrôle
+
Option
+
Commandes
enfoncées
tout
en
cliquant
sur
la
position
de
la
piste
des
marqueurs
désirée
:
une
zone
de
texte
s’affiche,
vous
permettant
de
saisir
le
nouveau
nom.
Appuyez
sur
la
touche
Retour
pour
valider
le
nom
saisi.
Vous
pouvez
également
double-cliquer
sur
la
règle
Mesure
tout
en
maintenant
les
touches
Contrôle,
Maj
et
Commande
enfoncées
(si
la
piste
des
marqueurs
n’est
pas
visible).
Pour
modifier
le
nom
d’un
marqueur
dans
la
règle
Mesure :
1 Effectuez
l’une
des
opérations
suivantes
:
 Sélectionnez
Options
>
Marqueur
>
«
Édition
rapide
de
marqueur
»
(ou
utiliser
le
raccourci
clavier
correspondant).
 Appuyez
sur
Contrôle
et
Maj
tout
en
double-cliquant
sur
le
marqueur.
138 Chapitre
6
Utilisation
des
marqueurs
2 Tapez
le
nom
désiré
dans
la
zone
de
texte.
Pour
modifier
un
nom
de
marqueur
dans
la
Piste
des
marqueurs
:
1 Effectuez
l’une
des
opérations
suivantes
:
 Sélectionnez
Options
>
Marqueur
>
«
Édition
rapide
de
marqueur
»
(ou
utiliser
le
raccourci
clavier
correspondant).
 Sélectionnez
l’outil
Texte,
puis
cliquez
sur
un
marqueur.
 Appuyez
sur
Contrôle
et
Maj
tout
en
double-cliquant
sur
le
marqueur.
2 Tapez
le
nom
de
marqueur
désiré
dans
la
zone
de
texte.
Pour
modifier
un
nom
de
marqueur
dans
la
Liste
des
marqueurs
:
1 Cliquez
sur
le
marqueur
désiré
dans
la
colonne
des
noms
de
marqueur.
2 Cliquez
ou
faites
glisser
le
curseur
dans
l’entrée
«
Marqueur
##
»
de
la
Zone
de
texte
des
marqueurs
au
bas
de
la
fenêtre,
et
tapez
le
nom
désiré.
Lorsque
vous
saisissez
le
nom,
le
texte
affiché
dans
la
colonne
Nom
de
marqueur
(et
Piste
des
marqueurs)
est
mis
à
jour.
Pour
modifier
un
nom
de
marqueur
dans
la
fenêtre
Texte
des
marqueurs
:
m Ouvrez
le
marqueur
dans
la
fenêtre
Texte
des
marqueurs,
puis
tapez
le
texte.
Toute
frappe
sur
le
clavier
d’ordinateur
(avec
ou
sans
la
touche
Maj
enfoncée)
sera
interprétée
comme
une
entrée
de
texte
si
la
fenêtre
Texte
des
marqueurs
est
la
fenêtre
active,
même
si
un
raccourci
clavier
est
défini
pour
la
touche.
Le
premier
paragraphe
de
la
fenêtre
sera
utilisé
comme
nom
de
marqueur.
Remarque
:
si
vous
utilisez
la
touche
Retour
pour
créer
des
paragraphes
dans
la
zone
ou
la
fenêtre
Texte
des
marqueurs,
le
premier
paragraphe
du
texte
s’affiche
dans
une
ligne
de
titre
distincte
(du
marqueur)
dans
la
piste
des
marqueurs.
Chapitre
6
Utilisation
des
marqueurs 139
Contrairement
au
marqueur
qui
s’affiche
uniquement
dans
la
règle
des
mesures,
le
texte
situé
en
dessous
du
premier
paragraphe
s’affiche
également
dans
la
piste
des
marqueurs,
selon
l’espace
disponible
(vous
pouvez
modifier
la
hauteur
de
la
piste
des
marqueurs
pour
afficher
la
totalité
du
texte).
Cette
option
peut
être
utilisée
pour
des
notes
techniques
ou
musicales,
par
exemple.
Dans
ce
cas,
la
couleur
du
marqueur
n’apparaît
que
dans
la
ligne
du
titre,
le
reste
du
texte
étant
affiché
en
blanc
sur
gris.
Modification de l’apparence du texte du marqueur
Vous
pouvez
modifier
l’apparence
du
texte
du
marqueur
dans
la
fenêtre
et
la
zone
Texte
des
marqueurs.
Vous
pouvez
définir
une
police,
une
taille
et
un
style
différents
pour
n’importe
quelle
rubrique
sélectionnée
du
texte
du
marqueur.
Toutes
les
polices
installées
sur
votre
système
peuvent
être
utilisées.
Différentes
couleurs
peuvent
être
attribuées
à
l’ensemble
du
texte
ou
aux
parties
sélectionnées,
ainsi
qu’à
l’arrière-plan
de
la
zone
et
de
la
fenêtre
Texte
des
marqueurs.
Pour
modifier
l’apparence
du
texte
du
marqueur
:
1 Sélectionnez
le
texte
de
marqueur
que
vous
souhaitez
modifier.
2 Cliquez
sur
le
bouton
Police
de
la
fenêtre
ou
de
la
zone
Texte
des
marqueurs
ou
de
la
fenêtre
Liste
des
marqueurs.
3 Effectuez
les
réglages
désirés
dans
la
fenêtre
Police.
140 Chapitre
6
Utilisation
des
marqueurs
Modification des marqueurs
Les
marqueurs
peuvent
être
modifiés
de
différentes
manières.
Les
tâches
communes
comprennent
la
modification
des
positions
des
marqueurs,
l’attribution
de
couleurs
aux
marqueurs
et
l’ajustement
de
leur
durée.
Pour
modifier
la
position
d’un
marqueur,
procédez
de
l’une
des
manières
suivantes
:
m Dans
la
piste
des
marqueurs
:
faites
glisser
le
marqueur
vers
la
gauche
ou
la
droite.
m Dans
la
règle
Mesure
:
faites
glisser
le
marqueur
vers
la
gauche
ou
la
droite,
tout
en
maintenant
la
touche
Commande
enfoncée.
m Dans
la
liste
des
marqueurs
:
utilisez
la
souris
comme
un
curseur
sur
l’affichage
de
la
position
de
mesure,
ou
double-cliquez
sur
une
valeur
de
position
pour
en
saisir
une
nouvelle
sur
votre
clavier.
Remarque
:
la
définition
des
plus
petits
déplacements
réalisables
dans
la
Piste
des
marqueurs
et
dans
la
règle
Mesure
dépendent
du
réglage
de
la
division
dans
la
zone
Transport,
du
menu
Alignement
et
du
niveau
de
zoom
horizontal
(y
compris
le
placement
précis
des
échantillons
aux
niveaux
de
zoom
les
plus
élevés).
Observez
la
bulle
d’aide
pour
connaître
précisément
les
déplacements
en
cours.
Des
ajustements
de
position
très
fins
peuvent
également
être
obtenus
grâce
à
la
liste
des
marqueurs.
Dans
certaines
situations,
il
peut
être
nécessaire
de
bloquer
la
suppression
des
marqueurs.
Heureusement,
Logic
Express
a
une
caractéristique
qui
préserve
la
position
temporelle
absolue
des
événements.
Pour
verrouiller
la
position
des
marqueurs
sélectionnés
:
1 Choisissez
Options
>
Verrouiller
la
position
SMPTE
dans
la
Liste
des
marqueurs
(ou
utilisez
le
raccourci
clavier
correspondant).
Cette
opération
permet
de
verrouiller
(fixer)
la
position
SMPTE
des
marqueurs.
Ce
statut
est
symbolisé
par
un
cadenas
placé
en
tête
du
nom
du
marqueur.
Ces
marqueurs
conservent
toujours
leur
position
temporelle
absolue
:
si
le
tempo
du
morceau
est
modifié,
les
positions
des
mesures
sont
également
modifiées
afin
de
conserver
les
marqueurs
aux
mêmes
positions
SMPTE.
Π Conseil
:
vous
pouvez
également
verrouiller/déverrouiller
la
position
SMPTE
des
marqueurs
depuis
le
menu
Région
de
la
zone
Arrangement
et
le
menu
Fonctions
des
fenêtres
Éditeur
Clavier
et
Hyper
Editor
en
activant
l’affichage
des
pistes
globales.
Chapitre
6
Utilisation
des
marqueurs 141
Pour
déverrouiller
la
position
des
marqueurs
sélectionnés
:
m Choisissez
Options
>
Déverrouiller
la
position
SMPTE
dans
la
Liste
des
marqueurs
(ou
utilisez
le
raccourci
clavier
correspondant).
Remarque
:
il
est
impossible
de
déverrouiller
la
position
SMPTE
des
marqueurs
de
scène
(reportez-vous
à
la
rubrique
«
Utilisation
de
marqueurs
de
scène
»
à
la
page
902).
Pour
modifier
la
durée
d’un
marqueur
:
m Dans
la
piste
des
marqueurs
:
placez
le
pointeur
sur
le
bord
du
marqueur
désiré.
Lorsque
le
curseur
se
transforme
en
pointeur
de
redimensionnement,
faites
glisser
l’extrémité
du
marqueur
à
la
position
désirée.
m Dans
la
liste
des
marqueurs
:
utilisez
la
souris
comme
un
curseur
sur
l’affichage
de
la
position
de
mesure,
ou
double-cliquez
sur
une
valeur
de
position
pour
en
saisir
une
nouvelle
sur
votre
clavier.
L’extrémité
du
marqueur
peut
également
être
le
début
du
marqueur
suivant,
en
particulier
si
la
durée
du
second
marqueur
n’a
pas
été
définie.
Les
marqueurs
ne
peuvent
pas
se
chevaucher.
Pour
adapter
un
marqueur
à
une
boucle
:
m Faites
glisser
une
boucle
sur
un
marqueur
dont
l’extrémité
gauche
ou
droite
(ou
les
deux)
se
trouve
à
l’intérieur
des
limites
de
la
boucle.
Le
glissement
de
la
zone
de
la
boucle
dans
la
règle
des
mesures
est
limité
aux
mouvements
horizontaux
et
verticaux.
Cela
permet
d’éviter
d’effectuer
de
manière
accidentelle
les
opérations
suivantes
:
 Déplacer
la
boucle
lors
de
la
création
de
marqueurs
(en
faisant
glisser
la
boucle
vers
le
tiers
inférieur
de
la
règle
des
mesures
ou
dans
la
Piste
des
marqueurs).
 Créer
des
marqueurs
lors
du
déplacement
de
la
boucle.
Π Conseil
:
si
vous
appuyez
sur
la
touche
Maj
après
avoir
cliqué
sur
la
boucle
tout
en
maintenant
le
bouton
de
la
souris
enfoncé,
vous
pouvez
déplacer
la
boucle
à
l’horizontale
et
la
faire
glisser
sur
un
marqueur
en
un
seul
mouvement.
142 Chapitre
6
Utilisation
des
marqueurs
Remarque
:
si
vous
appuyez
sur
la
touche
Maj
avant
de
cliquer
sur
la
boucle,
la
limite
de
la
boucle
la
plus
proche
est
fixée
à
l’endroit
où
vous
avez
cliqué.
Pour
attribuer
une
couleur
à
un
marqueur
:
m Sélectionnez
un
marqueur
dans
la
piste
des
marqueurs,
puis
choisissez
Présentation
>
Couleurs
et
cliquez
sur
la
couleur
désirée
dans
la
palette
proposée.
Si
des
couleurs
sombres
sont
utilisées,
le
texte
du
marqueur
s’affiche
automatiquement
dans
une
couleur
plus
claire.
Si
vous
créez
des
marqueurs
à
partir
de
régions,
le
marqueur
correspondant
utilise
la
couleur
de
la
région.
Navigation à l’aide de marqueurs
Vous
pouvez
parcourir
votre
morceau
à
l’aide
de
marqueurs.
Cela
est
utile
lorsque
vous
souhaitez,
par
exemple,
passer
rapidement
à
une
position
spécifique
du
morceau
(et
modifier
des
régions
ou
des
événements).
Pour
déplacer
la
tête
de
lecture
sur
un
marqueur,
effectuez
l’une
des
opérations
suivantes
:
m Dans
la
piste
des
marqueurs
:
appuyez
sur
la
touche
Option,
puis
cliquez
sur
le
marqueur.
m Dans
la
règle
Mesure
:
appuyez
sur
la
touche
Commande,
puis
cliquez
sur
le
marqueur.
m Dans
la
liste
des
marqueurs
:
cliquez
sur
un
marqueur
à
l’aide
de
l’outil
Doigt.
Π Conseil
:
si
vous
appuyez
sur
la
touche
Option,
puis
cliquez
sur
un
marqueur
dans
la
liste
des
marqueurs
avec
l’outil
Doigt,
les
locators
sont
définis
sur
les
points
de
départ
et
de
fin
du
marqueur
sélectionné.
m Utilisez
les
raccourcis
clavier
Aller
au
marqueur
numéro
1
à
20
(20
commandes
différentes).
Les
numéros
figurant
dans
ces
commandes
font
référence
à
l’ordre
(en
série)
de
tous
les
marqueurs
du
projet.
m Le
raccourci
clavier
Aller
au
marqueur
ouvre
une
fenêtre
qui
vous
permet
de
saisir
le
numéro
de
marqueur
auquel
vous
souhaitez
accéder.
La
tête
de
lecture
se
déplace
alors
au
début
du
marqueur
choisi.
Pour
accéder
au
marqueur
suivant
ou
précédent
:
m Utilisez
les
raccourcis
clavier
«
Aller
au
marqueur
précédent
»
et
«
Aller
au
marqueur
suivant
».
Les
locators
sont
définis
aux
points
de
départ
et
de
fin
du
marqueur
sélectionné.
Chapitre
6
Utilisation
des
marqueurs 143
Pour
commencer
une
lecture
à
partir
de
la
position
de
départ
d’un
marqueur,
effectuez
l’une
des
opérations
suivantes
:
m Dans
la
règle
Mesure
:
double-cliquez
sur
un
marqueur
tout
en
maintenant
la
touche
Commande
enfoncée.
m Dans
la
liste
des
marqueurs
:
cliquez
sur
un
marqueur
sans
relâcher
le
bouton
de
la
souris,
à
l’aide
de
l’outil
Doigt.
Logic
Express
continue
la
lecture
jusqu’à
ce
que
le
bouton
de
la
souris
soit
relâché.
Pour
créer
une
boucle
à
partir
d’un
marqueur,
effectuez
l’une
des
opérations
suivantes
:
m Faites
glisser
un
marqueur
jusqu’au
tiers
supérieur
de
la
règle
des
mesures.
Cette
opération
permet
de
définir
une
boucle
dotée
des
mêmes
position
et
durée
que
le
marqueur.
Si
Logic
Express
est
arrêté
lorsqu’il
effectue
cette
action,
la
tête
de
lecture
est
replacée
au
point
de
départ
de
la
boucle.
m Sélectionnez
le
marqueur,
puis
utilisez
l’un
des
raccourcis
clavier
suivants
:
 Définir
des
locators
à
l’aide
d’un
marqueur
et
activer
la
lecture
en
boucle
 Définir
des
locators
à
l’aide
du
marqueur
précédent
et
activer
la
lecture
en
boucle
 Définir
des
locators
à
l’aide
du
marqueur
suivant
et
activer
la
lecture
en
boucle
Personnalisation de l’affichage des marqueurs dans la liste
des marqueurs
Il
existe
deux
options
permettant
d’afficher
la
position
et
la
durée
d’un
marqueur
dans
la
liste
des
marqueurs
:
 Présentation
>
Position
et
durée
de
l’événement
en
unités
SMPTE
:
permet
de
faire
basculer
l’affichage
de
la
durée
et
de
la
position
du
marqueur
entre
les
positions
de
mesure
et
les
positions
temporelles
SMPTE.
 Présentation
>
Durée
en
tant
que
position
absolue
:
permet
de
faire
basculer
l’affichage
de
la
durée
du
marqueur
entre
la
durée
(valeur
relative)
réelle
et
l’affichage
(valeur
absolue)
de
la
position
de
fin
du
marqueur
(indiquée
comme
une
position
de
mesure).
7
145
7 Utilisation
des
projets
Les projets Logic Express offrent des options souples
de stockage et d’extraction de vos productions musicales.
Ce
chapitre
fournit
des
informations
sur
tous
les
aspects
de
la
création
et
de
la
gestion
des
projets
Logic
Express.
À propos des projets
Dans
Logic
Express,
vous
devez
d’abord
ouvrir
ou
créer
un
projet
pour
pouvoir
commencer
à
travailler.
Ce
processus
est
similaire
à
l’utilisation
d’une
application
de
traitement
de
texte,
où
vous
devez
commencer
par
ouvrir
un
document
pour
pouvoir
taper.
Logic
Express,
comme
les
applications
de
traitement
de
texte,
autorise
l’ouverture
simultanée
de
plusieurs
documents
(projets).
Le
principal
type
de
document
de
Logic
Express
est
le
fichier
de
projet.
Il
contient
tous
les
événements
MIDI
et
les
réglages
de
paramètres
(sauf
les
préférences
et
les
raccourcis
clavier),
ainsi
que
des
informations
sur
les
fichiers
audio
et
vidéo
à
lire.
Il
est
important
de
noter
que
les
fichiers
de
projet
pointent
sur
vos
fichiers
audio
et
vidéo,
qui
sont
stockés
en
tant
qu’entités
distinctes
sur
le
disque.
Les
fichiers
audio
et
vidéo
ne
sont
pas
enregistrés
avec
le
projet.
Lorsque
vous
créez
un
projet
(ou
que
vous
utilisez
la
fonction
Enregistrer,
en
général),
vous
pouvez
aussi
choisir
d’enregistrer
tous
les
fichiers
associés
(ressources).
146 Chapitre
7
Utilisation
des
projets
Logic
Express
crée
un
dossier
de
projet
qui
contient
le
fichier
de
projet,
ainsi
que
des
dossiers
distincts
pour
les
fichiers
utilisés
dans
le
projet
(fichiers
audio,
etc.).
La
possibilité
d’enregistrer
des
projets
sans
ressources
réduit
la
mémoire
requise
pour
le
stockage
des
projets,
ce
qui
permet
de
facilement
les
transférer
(physiquement
ou
comme
pièces
jointes
de
courrier)
vers
d’autres
studios
exploitant
Logic.
Cela
signifie
aussi
que
le
projet,
une
fois
déplacé,
ne
pourra
plus
charger
les
fichiers
audio
et
vidéo
référencés,
sauf
si
ces
derniers
sont
également
déplacés
(en
d’autres
termes,
le
projet
est
enregistré
avec
ses
ressources).
Les
dossiers
de
projet
permettent
d’effectuer
un
suivi
de
votre
travail
;
en
effet,
tous
les
fichiers
relatifs
à
un
projet
particulier
sont
enregistrés
dans
un
seul
emplacement.
Ce
système
facilite
la
sauvegarde
et
le
transfert
de
projets
entre
ordinateurs
ou
disques
et
permet
d’éviter
des
problèmes
graves
tels
que
la
perte
de
fichiers
audio
ou
d’échantillons
que
vous
devez
rechercher
ou
recréer
dans
le
studio.
Dossier du projet
Dossier des fichiers audio
Dossier des fichiers film
Dossier des instruments
de l’échantillonneur
Dossier des réponses d’impulsion
Ressources
du projet
Fichier de projet (« morceau »)
Chapitre
7
Utilisation
des
projets 147
Création de projets
Dans
Logic
Express,
vous
devez
commencer
par
créer
un
projet.
Pour
créer
un
projet
:
1 Choisissez
Fichier
>
Nouveau
(ou
utilisez
le
raccourci
clavier
correspondant
;
affectation
par
défaut
:
Commande
+
N).
2 Choisissez
le
modèle
voulu
dans
la
zone
de
dialogue
Modèles.
La
zone
de
dialogue
Modèles
est
scindée
en
deux
zones
:
Collection
et
Modèle.
 Cliquez
sur
un
dossier
de
collection
pour
afficher
le
modèle
associé
dans
la
zone
Modèles.
 Cliquez
sur
un
modèle
pour
le
charger.
Une
zone
de
dialogue
Enregistrer
sous
s’affiche
automatiquement.
148 Chapitre
7
Utilisation
des
projets
3 Accédez
à
l’emplacement
dans
lequel
vous
voulez
stocker
le
projet,
puis
tapez
un
nom
pour
le
projet
dans
le
champ
correspondant.
4 Cochez
la
case
Inclure
les
ressources
si
vous
voulez
inclure
les
fichiers
audio
et
autres
dans
le
dossier
de
projet
(voir
«
Gestion
des
ressources
d’un
projet
»
à
la
page
162).
Π Conseil
:
il
est
recommandé
de
cocher
la
case
Inclure
les
ressources,
car
votre
projet
est
ainsi
«
sécurisé
».
En
effet,
vous
pouvez
alors
déplacer
ou
copier
le
dossier
du
projet
sans
perdre
les
références
des
fichiers
qui
pointent
vers
des
éléments
contenus
dans
ce
dossier.
5 Cliquez
sur
le
triangle
d’affichage
Options
avancées
pour
afficher
et
choisir
les
types
de
fichier
à
enregistrer
dans
le
dossier
de
projet.
Vous
pouvez
modifier
ces
réglages
à
tout
moment
en
choisissant
Fichier
>
Réglages
du
projet
>
Ressources.
Pour
obtenir
plus
d’informations
sur
ces
ressources
de
projet,
reportez-vous
à
la
rubrique
«
Gestion
des
ressources
d’un
projet
»
à
la
page
162.
Chapitre
7
Utilisation
des
projets 149
6 Cliquez
sur
Enregistrer.
 Un
dossier
nommé
contenant
plusieurs
sous-dossiers
(selon
les
choix
effectués
aux
étapes
3
et
4)
est
créé
à
l’emplacement
cible.
 Par
défaut,
un
sous-dossier
Fichiers
audio
est
créé
dans
le
dossier
de
projet,
même
si
vous
n’avez
pas
activé
la
case
Inclure
les
ressources.
Ce
dossier
est
utilisé
pour
les
nouveaux
enregistrements
audio.
 Le
chemin
d’accès
aux
enregistrement
audio
est,
par
défaut
également,
automatiquement
défini
en
fonction
du
nouveau
sous-dossier
de
projet/fichiers
audio.
Si
vous
décidez
de
ne
pas
créer
de
dossier
de
projet
dans
un
premier
temps,
mais
que
vous
souhaitez
le
faire
ultérieurement,
choisissez
simplement
la
commande
Enregistrer
sous.
Π Conseil
:
vous
pouvez
créer
rapidement
un
projet
par
défaut
vide
en
maintenant
la
touche
Option
enfoncée
tout
en
choisissant
Fichier
>
Nouveau.
Ouverture de projets
Dans
Logic
Express,
vous
devez
d’abord
ouvrir
un
projet
pour
pouvoir
commencer
à
travailler.
Un
projet
peut
aussi
être
constitué
de
données
créées
dans
d’autres
applications,
comme
les
morceaux
provenant
de
versions
antérieures
de
fichiers
XML
Logic
Express
ou
Final
Cut
Pro.
Pour
ouvrir
un
projet,
procédez
comme
suit
:
1 Choisissez
Fichier
>
Ouvrir
(ou
utilisez
le
raccourci
clavier
correspondant,
par
défaut
:
Commande
+
O).
Si
un
projet
est
déjà
chargé,
vous
êtes
invité
à
indiquer
si
le
projet
chargé
doit
être
fermé
ou
non.
Vous
pouvez
bloquer
l’affichage
de
ce
message
en
désactivant
l’option
«
À
l’ouverture
d’un
projet,
demander
de
fermer
les
projets
en
cours
»,
accessible
via
Logic
Express
>
Préférences
>
Global
>
Gestion
du
projet.
150 Chapitre
7
Utilisation
des
projets
La
zone
de
dialogue
Ouvrir
comporte
un
menu
Type
de
fichier,
permettant
de
choisir
les
options
suivantes
:
 Tout
type
de
document
Logic
:
affiche
tous
les
types
de
documents
pris
en
charge
par
Logic
Express
 Projets
Logic
:
projets
créés
avec
la
version
en
cours
ou
des
versions
antérieures
de
Logic
 Projets
GarageBand
:
projets
créés
dans
GarageBand
 Morceaux
Notator
SL
:
morceaux
créés
dans
C-Lab/Emagic
Notator
ou
Creator
SL
 Fichiers
MIDI
:
fichiers
MIDI
standard
au
format
0
ou
1
 Fichiers
AAF
:
format
AAF
(Advanced
Authoring
Format)
utilisé
par
d’autres
applications
DAW
telles
que
Pro
Tools.
 Fichiers
d’échange
OMF
:
fichier
OMF
(Open
Media
Framework)
utilisés
par
d’autres
applications
DAW
telles
que
Pro
Tools
 Fichiers
OpenTL
:
fichiers
OpenTL
(Open
Track
List)
utilisés
dans
les
appareils
tels
que
les
enregistreurs
sur
disque
dur
Tascam
 XML
(Final
Cut
Pro)
:
norme
de
source
libre
prise
en
charge
par
Final
Cut
Pro
et
Soundtrack
Pro
Pour
plus
d’informations
sur
les
types
de
fichier,
reportez-vous
au
chapitre
29,
«
Échange
de
projets
et
de
fichiers
»
à
la
page
699.
2 Pour
limiter
l’affichage
à
certains
types
de
fichier
dans
la
zone
de
sélection
des
fichiers,
choisissez
le
type
voulu
dans
le
menu
Type
de
fichier.
Choisissez
«
Tout
type
de
document
Logic
»
pour
afficher
tous
les
types
de
fichier
pris
en
charge
et
y
accéder.
3 Accédez
au
fichier
voulu
et
sélectionnez-le,
puis
cliquez
sur
Ouvrir.
Pour
ouvrir
un
projet
récent
:
m Choisissez
le
nom
du
projet
directement
depuis
le
menu
Fichier
>
«
Ouvrir
le
projet
récent
».
Cela
permet
de
ne
pas
passer
par
la
zone
de
dialogue
Ouvrir.
Vous
pouvez
effacer
tous
les
éléments
du
menu
«
Ouvrir
le
projet
récent
»
en
choisissant
Effacer
le
menu.
Π Conseil
:
si
vous
réglez
Action
de
démarrage
(dans
les
préférences
de
gestion
du
projet)
sur
l’option
«
Ouvrir
le
projet
le
plus
récent
»,
Logic
Express
charge
votre
dernier
projet
automatiquement
au
démarrage
(voir
«
Ouverture
et
création
automatique
de
projets
»
à
la
page
151).
Chapitre
7
Utilisation
des
projets 151
Ouverture
de
projets
par
glisser-déposer
Il
est
possible
d’ouvrir
des
projets
et
des
fichiers
MIDI
en
les
faisant
glisser
depuis
le
Finder
dans
la
zone
Arrangement.
La
position
du
curseur
de
la
souris
(lorsque
vous
relâchez
le
bouton)
détermine
l’emplacement
du
fichier
importé.
Cela
comprend
la
position
(arrondie
à
la
mesure
la
plus
proche)
et
la
destination
de
la
première
piste.
Pour
plus
d’informations
sur
les
fichiers
MIDI
standard,
reportez-vous
à
la
rubrique
«
Utilisation
des
fichiers
SMF
»
à
la
page
707.
Vous
pouvez
aussi
ouvrir
un
projet
Logic
Express
ou
un
fichier
MIDI
en
le
faisant
glisser
sur
l’icône
Logic
Express
dans
le
Dock.
Ouverture
de
morceaux
issus
de
versions
antérieures
à
la
version
8
Vous
pouvez
ouvrir
des
morceaux
issus
de
Logic
5,
Logic
6
et
Logic
7
dans
Logic
Express
8.
Lors
du
chargement
d’un
morceau
ou
d’un
projet
créé
dans
une
version
antérieure
à
la
version
8
de
Logic,
il
est
converti
au
format
de
la
version
8.
Une
zone
de
dialogue
Enregistrer
sous
s’ouvre
pour
vous
permettre
d’enregistrer
le
projet
sous
un
nouveau
nom.
Le
morceau
de
la
version
d’origine
est
conservé.
Important
:
les
projets
enregistrés
dans
Logic
Express
8
ne
sont
pas
compatibles
avec
les
versions
antérieures
de
Logic
Express.
Navigation
entre
plusieurs
projets
Vous
pouvez
ouvrir
plusieurs
projets
simultanément,
afin
de
copier
ou
de
déplacer
des
données
entre
eux
ou
de
comparer
différentes
versions
d’un
projet.
Pour
naviguer
entre
les
projets
:
m Choisissez
le
nom
du
projet
en
bas
du
menu
Fenêtre
(le
projet
actif
est
signalé
par
une
coche).
Ouverture et création automatique de projets
Vous
pouvez
configurer
Logic
Express
pour
ouvrir
ou
créer
automatiquement
des
projets,
au
démarrage,
en
choisissant
une
action
de
démarrage
dans
l’onglet
Logic
Express
>
Préférences
>
Globales
>
Gestion
du
projet.
 Ne
rien
faire
:
comme
l’indique
son
nom,
cette
option
n’a
aucun
effet.
Logic
Express
s’ouvre
et
vous
devez
créer
un
projet
ou
ouvrir
un
projet
ou
un
modèle
existant.
152 Chapitre
7
Utilisation
des
projets
 Ouvrir
le
projet
le
plus
récent
:
ouvre
automatiquement
le
dernier
projet
ouvert
la
dernière
fois
que
vous
avez
quitté
Logic
Express.
 Ouvrir
un
projet
existant
:
affiche
automatiquement
la
zone
de
dialogue
Ouvrir,
dans
laquelle
vous
pouvez
rechercher
un
projet
existant.
 Créer
un
projet
d’après
un
modèle
:
ouvre
automatiquement
la
zone
de
dialogue
Modèles.
 Créer
un
projet
vide
:
charge
automatiquement
un
projet
vide
et
ouvre
la
zone
de
dialogue
Enregistrer
sous,
dans
laquelle
vous
pouvez
nommer
et
enregistrer
votre
projet.
 Créer
un
projet
via
un
modèle
par
défaut
:
ouvre
automatiquement
le
modèle
par
défaut
et
la
zone
de
dialogue
Enregistrer
sous,
dans
laquelle
vous
pouvez
nommer
et
enregistrer
votre
projet.
Pour
définir
le
modèle
par
défaut
:
1 Cliquez
sur
le
bouton
Choisir
sous
le
champ
Modèle
par
défaut
dans
l’onglet
de
préférences
de
gestion
du
projet.
2 Accédez
au
modèle
(ou
au
projet)
voulu
et
choisissez-le.
Le
chemin
d’accès
complet
et
le
nom
du
modèle
ou
projet
choisi
sont
affichés
dans
le
champ
Modèle
par
défaut.
Vous
pouvez
utiliser
n’importe
quel
modèle
ou
projet
comme
modèle
par
défaut.
Importation de réglages à partir d’autres projets
Vous
pouvez
importer
les
réglages
suivants
à
partir
d’autres
projets
:
 Screensets
 Jeux
de
transformations
 Jeux
Hyper
 Jeux
de
partitions
 Styles
de
portée
de
partition
 Réglages
de
partition
(tous
les
réglages
du
projet
relatifs
à
la
partition,
comme
Nombres
et
Noms
ou
Clés
et
Signatures.)
 Styles
de
texte
de
partition
Chapitre
7
Utilisation
des
projets 153
Pour
importer
des
réglages
depuis
un
autre
projet
:
1 Choisissez
Fichier
>
Réglages
du
projet
>
Importer
réglages
(ou
utilisez
le
raccourci
clavier
Importer
réglages).
2 Sélectionnez
les
réglages
voulus
en
cochant
les
cases
au
bas
de
la
fenêtre
Importation
de
réglages.
3 Accédez
au
projet
voulu
(celui
depuis
lequel
vous
voulez
importer)
et
sélectionnez-le.
4 Cliquez
sur
Ouvrir
(ou
double-cliquez
sur
le
nom
du
projet
source).
Les
réglages
sont
importés
dans
le
projet
actif.
154 Chapitre
7
Utilisation
des
projets
Vérification et correction de projets
Il
peut
arriver
que
vous
ayez
besoin
de
connaître
le
nombre
de
séquences
d’un
projet,
la
quantité
de
mémoire
utilisée,
etc.
Ces
données
sont
disponibles
dans
la
fenêtre
«
Informations
sur
le
projet
».
Il
peut
arriver,
très
rarement,
qu’un
projet
semble
lent
ou
devienne
corrompu
en
raison
de
conflits
liés
au
gestionnaire
ou
à
la
mémoire.
En
cas
de
corruption,
un
message
d’avertissement
vous
informe
de
l’existence
et
de
la
nature
du
problème.
Ces
problèmes
peuvent
généralement
être
rectifiés
dans
la
fenêtre
«
Informations
sur
le
projet
».
Pour
ouvrir
la
fenêtre
«
Informations
sur
le
projet
»
:
m Choisissez
Options
>
«
Informations
sur
le
projet
».
La
fenêtre
«
Informations
sur
le
projet
»
fournit
la
fonction
Réorganiser
la
mémoire
qui
permet
d’augmenter
la
quantité
de
mémoire
disponible
et
de
prévenir
certains
types
de
corruption
ou
de
problèmes
relatifs
à
des
projets.
Pour
reconfigurer
la
mémoire
:
m Cliquez
sur
le
bouton
Réorganiser
la
mémoire
dans
la
fenêtre
«
Informations
sur
le
projet
».
Simultanément,
le
projet
en
cours
est
contrôlé
afin
d’y
détecter
tout
signe
de
dommage,
de
problèmes
structurels
et
de
blocs
inutilisés.
Si
des
blocs
inutilisés
sont
détectés
(ce
qui
ne
devrait
normalement
pas
se
produire),
vous
pouvez
les
supprimer
et
corriger
le
projet.
Remarque
:
cette
réorganisation
est
également
effectuée
automatiquement
après
l’enregistrement
ou
le
chargement
d’un
projet.
L’un
des
usages
habituels
(recommandé)
de
cette
fonction
a
pour
but
de
libérer
de
la
mémoire
après
la
fermeture
d’un
projet,
si
au
moins
deux
projets
étaient
ouverts
avant
cette
opération.
Chapitre
7
Utilisation
des
projets 155
Définition des propriétés de projet
Après
avoir
créé
un
projet,
il
est
nécessaire
de
vérifier,
et
de
modifier
si
nécessaire,
le
nombre
de
propriétés
du
projet.
Cette
pratique
est
recommandée
car
elle
limite
le
nombre
de
corrections
à
apporter
par
la
suite,
telle
que
la
conversion
de
fréquences
d’échantillonnage
d’une
centaine
de
fichiers
audio
ou
plus.
Cette
rubrique
présente
les
propriétés
de
projet
que
vous
devez
prendre
en
compte
avant
de
commencer
votre
travail.
Définition
de
la
fréquence
d’échantillonnage
La
fréquence
d’échantillonnage
du
projet
détermine
le
nombre
d’échantillons
utilisés
par
Logic
Express
pour
la
lecture
audio.
Lorsque
vous
ajoutez
ou
enregistrez
des
fichiers
audio
dans
votre
projet,
leur
fréquence
d’échantillonnage
est
automatiquement
adaptée
à
celle
du
projet.
Important
:
le
réglage
de
projet
«
Convertir
la
fréquence
du
fichier
audio
lors
de
l’importation
»
doit
être
activé
pour
pouvoir
adapter
automatiquement
la
fréquence
d’échantillonnage.
Vous
pouvez
activer
ce
réglage
dans
la
sous-fenêtre
Fichier
>
Réglages
projet
>
Ressources.
Pour
définir
la
fréquence
d’échantillonnage,
effectuez
l’une
des
opérations
suivantes
:
m Choisissez
Fichier
>
Réglages
du
projet
>
Audio
(ou
utilisez
le
raccourci
clavier
«
Ouvrir
les
réglages
du
projet
audio
»),
puis
choisissez
la
fréquence
d’échantillonnage
voulue
dans
le
menu
correspondant.
m Cliquez
sur
l’écran
Fréquence
d’échantillonnage
dans
la
barre
de
transport,
puis
choisissez
la
fréquence
voulue
dans
le
menu
local.
Remarque
:
si
l’écran
Fréquence
d’échantillonnage
ne
figure
pas
dans
votre
barre
de
transport,
cliquez
sur
cette
dernière
en
appuyant
sur
la
touche
Contrôle,
puis
choisissez
«
Personnaliser
la
barre
de
transport
»
dans
le
menu
local.
Activez la case « Fréquence
d’échantillonnage ou locators du punch » dans la zone de dialogue « Personnaliser la
barre de transport ».
156 Chapitre
7
Utilisation
des
projets
Vous
constaterez
peut-être
que
les
fichiers
audio
de
votre
projet
ne
correspondent
pas
à
la
fréquence
d’échantillonnage
que
vous
venez
de
sélectionner.
La
lecture
des
fichiers
qui
ne
correspondent
pas
à
la
fréquence
d’échantillonnage
du
projet
est
anormalement
plus
lente
(si
la
fréquence
du
fichier
est
plus
élevée)
ou
plus
rapide
(la
fréquence
est
plus
faible).
Pour
adapter
la
fréquence
d’échantillonnage
d’un
fichier
à
celle
du
projet,
vous
pouvez
procéder
de
deux
façons
:
m Utilisez
la
commande
Copier/Convertir
Fichier(s)
du
chutier
audio,
puis
replacez
le
fichier
dans
le
projet.
Logic
Express
effectue
une
conversion
de
fréquence
d’échantillonnage
native
en
temps
réel.
Toute
fréquence
d’échantillonnage
disponible
dans
Logic
Express
(via
Audio
>
Fréquence
d’échantillonnage)
peut
être
utilisée
pour
la
conversion,
même
si
votre
matériel
audio
ne
prend
pas
en
charge
la
fréquence
sélectionnée.
La
fonction
logicielle
native
de
conversion
de
fréquence
d’échantillonnage
s’adapte
à
la
fréquence
d’échantillonnage
de
tout
matériel
audio,
permettant
ainsi
la
lecture
de
projets
sur
pratiquement
tout
système
audio,
même
si
le
matériel
n’est
pas
compatible
en
terme
de
fréquence
d’échantillonnage.
Rien
n’est
perdu
au
cours
du
processus.
Tout
traitement
et
opération
de
bounce
interne
est
toujours
effectué
à
la
fréquence
d’échantillonnage
d’origine
et
au
niveau
de
qualité
le
plus
élevé,
même
dans
les
cas
où
le
matériel
ne
prend
pas
en
charge
une
fréquence
particulière.
Cette
fonction
vous
permet
de
travailler
sur
des
projets
créés
sur
des
systèmes
audio
de
pointe
avec
des
configurations
de
niveau
inférieur.
Exemple
:
un
projet
a
été
créé
avec
du
matériel
audio
configuré
pour
fonctionner
à
96
kHz.
Déplacer
ce
projet
sur
un
ordinateur
portable
ou
sur
une
configuration
qui
ne
prend
pas
en
charge
la
fréquence
d’échantillonnage
du
projet
d’origine
entraîne
généralement
une
vitesse
de
lecture
incorrecte.
La
fonction
native
de
conversion
de
fréquence
d’échantillonnage
en
temps
réel
va
contrebalancer
cet
effet,
permettant
une
lecture
correcte
du
projet
sur
l’ordinateur
portable,
quelle
que
soit
la
fréquence
d’échantillonnage.
Remarque
:
les
fréquences
d’échantillonnage
élevées
consomment
plus
d’espace
disque
et
entraînent
une
surcharge
du
processeur.
Chapitre
7
Utilisation
des
projets 157
Réglage
du
tempo
d’un
projet
Vous
pouvez
définir
le
tempo
de
base
du
projet
dans
le
transport,
la
piste
Tempo
ou
la
liste
des
tempos.
Logic
Express
affiche
le
tempo
sous
la
forme
de
noires
par
minute
ou
de
battements
par
minute
(bpm).
Le
tempo
varie
de
5
à
9
999
bpm
et
peut-être
ajusté
jusqu’à
quatre
décimales
après
la
valeur
entière.
Pour
définir
le
tempo
du
projet,
effectuez
l’une
des
opérations
suivantes
:
m Cliquez
sur
la
valeur
de
tempo
du
transport
en
maintenant
le
bouton
de
la
souris
enfoncé,
puis
faites
glisser
cette
valeur
vers
le
haut
ou
le
bas
ou
double-cliquez
sur
le
champ
Tempo,
puis
tapez
une
nouvelle
valeur.
m Cliquez
sur
la
valeur
de
tempo
dans
la
liste
des
tempos
en
maintenant
le
bouton
de
la
souris
enfoncé,
puis
faites
glisser
cette
valeur
vers
le
haut
ou
le
bas
ou
double-cliquez
sur
le
champ
Tempo,
puis
tapez
une
nouvelle
valeur.
m Ouvrez
la
piste
Tempo
et
faites
glisser
la
ligne
de
tempo
vers
le
haut
ou
le
bas
avec
l’outil
Pointeur.
Pour
plus
d’informations
sur
les
opérations
avancées
liées
au
tempo,
reportez-vous
au
chapitre
30,
«
Opérations
avancées
relatives
au
tempo
»
à
la
page
719.
158 Chapitre
7
Utilisation
des
projets
Réglage
de
l’articulation
du
temps
dans
un
projet
La
signature
temporelle
définit
le
nombre
de
battements
que
contient
une
mesure
dans
la
règle
Mesure,
ainsi
que
la
valeur
de
note
qui
constitue
un
battement.
Les
signatures
temporelles
n’affectent
pas
la
lecture
de
votre
projet,
mais
déterminent
la
grille
d’édition
du
champ
Arrangement
et
les
éditeurs
MIDI,
comme
l’illustrent
les
images
ci-après.
Les
deux
images
présentent
la
même
séquence
MIDI,
la
première
avec
une
signature
temporelle
de
2/8
et
la
deuxième
de
6/8.
Vous
pouvez
définir
la
signature
temporelle
du
projet
dans
le
transport,
la
liste
des
signatures
ou
la
piste
Signature.
Le
transport
affiche
la
signature
temporelle
dans
le
format
suivant
:
numérateur:
dénominateur
de
mesures:
valeur
de
division.
Dénominateur
de
Numérateur mesures
Valeur
de
division
Chapitre
7
Utilisation
des
projets 159
La
valeur
de
division
définit
la
division
dans
tous
les
écrans
de
position
(comme
dans
les
éditeurs
d’événements)
et
forme
la
grille
pour
les
différentes
opérations
relatives
à
la
durée
et
au
placement.
La
valeur
de
division
est
normalement
réglée
sur
1/16
de
note
mais
dispose
d’une
plage
de
valeurs
du
1/4
au
1/192
de
note.
Si
la
valeur
de
note
de
la
division
est
supérieure
ou
égale
au
dénominateur
de
mesures,
la
troisième
valeur
de
l’écran
de
position
est
automatiquement
supprimée.
Π Conseil
:
vous
pouvez
utiliser
le
raccourci
clavier
«
Définir
la
division
supérieure/inférieure
suivante
»
pour
passer
à
la
division
immédiatement
supérieure
ou
inférieure.
L’indicateur
de
tempo
de
la
fenêtre
Transport
est
toujours
relatif
aux
noires,
même
si
huit
notes
sont
choisies
comme
dénominateur
pour
la
signature
temporelle.
Pour
modifier
la
signature
temporelle,
effectuez
l’une
des
opérations
suivantes
:
m Cliquez
en
maintenant
le
bouton
de
la
souris
enfoncé
sur
l’une
des
valeurs
de
signature
temporelle
de
transport
et
faites-la
glisser
vers
le
haut
ou
le
bas
ou
double-cliquez
sur
les
nombres
du
champ
et
tapez
une
nouvelle
valeur.
m Cliquez
en
maintenant
le
bouton
de
la
souris
enfoncé
sur
la
valeur
dans
la
liste
des
signatures,
puis
faites
glisser
cette
valeur
vers
le
haut
ou
le
bas
ou
double-cliquez
sur
la
valeur
de
signature,
puis
tapez
une
nouvelle
valeur.
m Ouvrez
la
piste
Signature
et
double-cliquez
sur
la
valeur
affichée.
Définissez
les
valeurs
du
numérateur
et
du
dénominateur
(et
d’autres
réglages,
le
cas
échéant).
Pour
en
savoir
plus
sur
les
signatures
temporelles,
reportez-vous
à
la
section
«
Utilisation
des
temps
et
des
armatures
»
à
la
page
814.
160 Chapitre
7
Utilisation
des
projets
Définition
des
points
de
départ
et
de
fin
d’un
projet
Un
projet
débute
normalement
à
la
position
1
1
1
1.
Vous
pouvez
placer
le
point
de
départ
du
projet
sur
une
position
antérieure,
permettant
la
lecture
des
commandes
de
temps
faible
ou
de
changement
de
programme
avant
le
premier
temps
fort.
Pour
définir
le
point
de
départ
d’un
projet
:
m Faites
glisser
le
marqueur
de
début
du
projet
dans
la
règle
Mesure
vers
la
gauche
ou
la
droite.
Pour
définir
le
point
de
fin
d’un
projet,
effectuez
l’une
des
opérations
suivantes
:
m Faites
glisser
le
marqueur
de
fin
du
projet
dans
la
règle
Mesure
vers
la
gauche
ou
la
droite.
m Définissez
la
valeur
voulue
dans
l’écran
«
Fin
du
projet
numérique
»
de
la
barre
de
transport.
Remarque
:
si
votre
barre
de
transport
n’inclut
pas
l’écran
Fin
du
projet,
cliquez
dessus
en
appuyant
sur
la
touche
Contrôle
et
choisissez
«
Personnaliser
la
barre
de
transport
»
dans
le
menu
local.
Activez
la
case
Tempo/Fin
du
projet
dans
la
sous-fenêtre
«
Personnaliser
la
barre
de
transport
».
Dès
que
Logic
Express
atteint
le
point
de
fin
du
projet,
il
s’arrête
automatiquement
sauf
lors
d’un
enregistrement.
Dans
cette
situation,
le
point
de
fin
du
projet
est
automatiquement
déplacé
à
la
fin
de
l’enregistrement.
Écran
de
fin
du
projet
Chapitre
7
Utilisation
des
projets 161
Réglage
du
volume
de
base
du
projet
Vous
pouvez
définir
le
volume
de
base
du
projet
en
faisant
glisser
le
curseur
Niveau
du
master
qui
se
trouve
sur
la
droite
de
la
barre
de
transport
(si
votre
écran
est
assez
large).
Ce
curseur
est
directement
lié
au
canal
principal
de
la
table
de
mixage
et
fait
office
de
contrôle
de
niveau
principal
pour
toutes
les
pistes
audio
et
d’instruments
logiciels.
Important
:
ce
curseur
définit
le
niveau
de
lecture
de
votre
projet
et
affecte
le
nivea
u
général
de
votre
mixage
Cliquez
sur
le
symbole
du
haut-parleur
à
droite
du
curseur
Niveau
du
master
pour
régler
le
curseur
principal
sur
0
dB.
Cliquez
sur
le
symbole
du
haut-parleur
à
gauche
du
curseur
Niveau
du
master
pour
activer
le
mode
Niveau
d’assourdissement
:
le
volume
de
lecture
adopte
alors
la
valeur
de
Niveau
d’assourdissement
définie
dans
les
préférences
Logic
Express
>
Audio
>
Général.
Cliquez
à
nouveau
sur
ce
bouton
pour
désactiver
le
mode
Niveau
d’assourdissement
et
définissez
le
niveau
sonore
de
la
lecture
à
la
valeur
actuelle
du
curseur
Niveau
du
master.
162 Chapitre
7
Utilisation
des
projets
Ajustement
des
réglages
du
projet
Les
réglages
du
projet
incluent
un
certain
nombre
d’options
pouvant
avoir
un
impact
significatif
sur
le
comportement
de
Logic
Express.
Ils
sont
enregistrés
indépendamment
avec
chaque
projet,
ce
qui
signifie
que
chaque
projet
peut
avoir
ses
réglages
propres.
Vous
pouvez
à
tout
moment
modifier
les
réglages
d’un
projet,
mais
il
est
généralement
préférable
de
commencer
avec
les
réglages
nécessaires,
car
cela
rendra
vos
processus
plus
fluides.
Pour
ouvrir
les
réglage
d’un
projet,
effectuez
l’une
des
opérations
suivantes
:
m Choisissez
Fichier
>
Projet
>
Réglages
(Synchronisation,
MIDI,
Partition,
etc.)
ou
utilisez
le
raccourci
clavier
correspondant.
m Cliquez
sur
le
bouton
Réglages
dans
la
barre
d’outils,
puis
choisissez
l’entrée
de
menu
voulue.
Pour
plus
d’informations
sur
les
réglages
d’un
projet,
reportez-vous
à
la
rubrique
«
Réglages
du
projet
»
à
la
page
1034.
Gestion
des
ressources
d’un
projet
Les
réglages
du
projet
comprennent
également
un
onglet
Ressources.
Si
vous
avez
enregistré
votre
projet
avec
ses
ressources,
vous
pouvez
utiliser
cet
onglet
pour
déterminer
la
façon
dont
les
fichiers
importés
depuis
des
emplacements
externes
(emplacements
en
dehors
du
dossier
du
projet)
doivent
être
traités.
Pour
ouvrir
les
réglages
de
projet
Ressources,
effectuez
l’une
des
opérations
suivantes
:
m Choisissez
Fichier
>
Réglages
du
projet
>
Ressources
(ou
utilisez
le
raccourci
clavier
«
Ouvrir
les
réglages
des
ressources
pour
le
projet
»).
m Cliquez
sur
le
bouton
Réglages
dans
la
barre
d’outils,
puis
choisissez
Ressources
dans
le
menu
local.
 Activez
les
cases
de
copie
pour
copier
les
types
de
fichier
respectifs
dans
le
dossier
du
projet.
 Activez
la
case
«
Convertir
la
fréquence
du
fichier
audio
lors
de
l’importation
»
pour
convertir
automatiquement
la
fréquence
d’échantillonnage
de
tous
les
fichiers
importés
(utilisant
une
autre
fréquence)
afin
qu’elle
corresponde
à
celle
du
projet.
Chapitre
7
Utilisation
des
projets 163
 Si
vous
désactivez
la
case
«
Copier
les
échantillons
EXS
dans
le
dossier
du
projet
»,
seuls
les
fichiers
d’instruments
EXS
sont
copiés
dans
le
dossier
du
projet
lors
de
l’enregistrement,
mais
aucun
échantillon
associé
à
ces
fichiers
d’instruments
EXS.
Les
fichiers
ne
sont
copiés
dans
le
dossier
de
projet
que
lorsque
le
projet
est
enregistré.
Une
fois
enregistré,
votre
projet
est
sécurisé.
Vous
pouvez
donc
déplacer
ou
copier
la
totalité
du
dossier
de
projet
sans
perdre
la
moindre
référence
à
un
des
fichiers
présents
dans
le
dossier.
Gestion des projets
Cette
rubrique
présente
les
opérations
de
maintenance
qui
sont
parfois
nécessaires
pour
optimiser
vos
projets.
Copie
ou
déplacement
d’un
dossier
de
projet
Un
dossier
de
projet
peut
être
déplacé
ou
copié
librement
dans
un
autre
emplacement
à
l’aide
de
l’une
des
méthodes
de
système
d’exploitation
standard.
Cela
s’avère
fort
utile
pour
archiver
et
transporter
des
projets
dans
d’autres
studios
ou
installations.
Tous
les
fichiers
du
dossier
cible
(copié)
demeurent
à
l’emplacement
correct,
pourvu
qu’ils
soient
tous
à
la
racine
(ou
dans
des
sous-dossiers)
du
dossier
de
projet
;
les
fichiers
audio
sont
dans
le
sous-dossier
Fichiers
audio,
les
échantillons
dans
le
sous-dossier
Échantillons,
les
instruments
de
l’échantillonneur
dans
le
sous-dossier
Instruments
de
l’échantillonneur,
etc.
Nettoyage
de
projets
Si
votre
dossier
de
projet
contient
des
fichiers
de
projet
inutilisés,
utilisez
la
commande
Fichier
>
Projet
>
Nettoyer.
Si
des
fichiers
inutilisés
sont
trouvés,
la
zone
de
dialogue
suivante
s’affiche
:
Cochez
les
cases
de
la
première
colonne
pour
choisir
les
fichiers
à
supprimer.
Le
nom
et
le
chemin
d’accès
au
fichier
à
supprimer
figure
dans
les
deux
dernières
colonnes.
Seuls
les
fichiers
correspondant
à
des
cases
cochées
dans
la
première
colonne
sont
supprimés.
Les
entrées
non
cochées
demeurent
intactes.
164 Chapitre
7
Utilisation
des
projets
Si
plusieurs
lignes
sont
sélectionnées,
il
suffit
de
cliquer
sur
l’une
des
cases
pour
cocher/décocher
toutes
les
lignes
sélectionnées.
Remarque
:
la
commande
Nettoyer
ne
supprime
que
les
fichiers
inutilisés
(de
tout
type
sauf
les
fichiers
de
film).
Le
nettoyage
prend
en
compte
le
projet
en
mémoire
ainsi
que
tous
les
autres
fichiers
du
projet
Logic
Express
se
trouvant
dans
le
dossier
du
projet.
Seuls
les
fichiers
non
utilisés
par
ces
projets
sont
affichés
dans
la
liste
de
nettoyage.
Consolidation
des
réglages
du
projet
Si
votre
projet
contient
des
fichiers
ne
se
trouvant
pas
dans
les
sous-dossiers
corrects,
vous
pouvez
utiliser
la
commande
Consolider
pour
les
organiser
automatiquement
selon
la
structure
standard
de
fichiers
de
projet.
Pour
consolider
votre
projet
:
1 Choisissez
Fichier
>
Projet
>
Consolider
(ou
utilisez
le
raccourci
clavier
Consolider
le
Projet).
2 Choisissez
l’option
de
menu
voulue
pour
les
différents
types
de
fichier
dans
la
zone
de
dialogue
de
consolidation,
afin
de
déplacer,
conserver
ou
copier
les
fichiers
existants.
Les
deux
boutons
de
raccourci
en
bas
à
gauche
de
la
fenêtre
permettre
d’effectuer
rapidement
et
facilement
la
consolidation
du
projet.
 Cliquez
sur
Tout
copier
pour
régler
tous
les
menus
sur
l’option
de
copie.
 Cliquez
sur
Tout
déplacer
pour
régler
tous
les
menus
sur
l’option
de
déplacement.
3 Cochez
la
case
«
Supprimer
dossiers
vides
après
déplacement
»
pour
retirer
les
dossiers
vides
du
projet
source,
une
fois
que
les
fichiers
ont
été
placés
dans
le
projet
cible.
4 Cochez
la
case
«
Créer
dossiers
pour
les
groupes
de
fichiers
audio
»
pour
créer
des
dossiers
de
groupes
dans
le
sous-dossier
Audio
Files
du
projet
cible.
Les
groupes
doivent
d’abord
être
créés
dans
le
chutier
audio
du
projet
source.
Reportez-vous
à
la
rubrique
«
Regroupement
de
fichiers
dans
le
chutier
audio
»
à
la
page
603.
5 Cliquez
sur
OK
lorsque
vous
avez
terminé.
Chapitre
7
Utilisation
des
projets 165
Gestion
de
l’importation
ReCycle
dans
les
projets
Les
instruments
EXS
créés
via
une
importation
ReCycle
sont
placés
dans
un
sous-dossier
Instruments
de
l’échantillonneur/ReCycle
du
dossier
de
projet.
Toutes
les
données
audio
générées
par
une
importation
ReCycle
sont
placées
dans
le
dossier
Audio
ReCycle,
avec
le
fichier
de
projet.
Remarque
:
cela
se
produit
automatiquement
et
ne
peut
pas
être
changé.
Si
aucun
dossier
de
projet
n’existe,
les
fichiers
ReCycle
sont
enregistrés
dans
~Musique/Logic/
ReCycle
Audio.
Enregistrement de projets
Si
vous
choisissez
Fichier
>
Enregistrer
(ou
que
vous
utilisez
le
raccourci
clavier
correspondant,
par
défaut
:
Commande
+
S),
le
projet
en
cours
est
enregistré
et
son
nom
demeure
inchangé.
Si
vous
ne
voulez
pas
écraser
la
version
la
plus
récente
du
fichier
de
projet
enregistré
avec
ce
nom
(ce
qui
se
produira
si
vous
utilisez
Fichier
>
Enregistrer
ou
Commande
+
S),
utilisez
Fichier
>
Enregistrer
sous
ou
Fichier
>
«
Enregistrer
une
copie
sous
».
Dans
la
zone
de
dialogue
de
sélection
de
fichiers
qui
apparaît,
vous
pouvez
saisir
un
nouveau
nom
pour
le
projet
et
définir
Ressources
comme
bon
vous
semble
(et
sélectionner
un
nouveau
répertoire
ou
même
créer
un
dossier).
 Fichier
>
Enregistrer
:
lors
du
prochain
enregistrement
à
l’aide
de
la
commande
Enregistrer
(Commande
+
S),
le
nouveau
nom
de
fichier
et
le
nouveau
chemin
seront
utilisés.
 Fichier
>
Enregistrer
une
copie
sous
: lors du prochain enregistrement à l’aide de la
commande Enregistrer (Commande + S), le nom de fichier et le chemin existants
continueront à être utilisés. La copie est une réplique du projet existant, stockée
dans un autre emplacement. Elle ne met pas à jour le chemin d’enregistrement
du fichier. La commande « Enregistrer une copie sous » est idéale pour archiver et
déplacer des données.
Sauvegarde
automatique
de
fichiers
Lorsque
vous
enregistrez
un
projet,
Logic
Express
enregistre
automatiquement
une
copie
de
sécurité
(une
sauvegarde)
du
fichier
du
projet.
Les
fichiers
de
sauvegarde
sont
enregistrés
dans
le
même
dossier
et
sous
le
même
nom
que
le
projet,
le
caractère
~
apparaissant
toutefois
à
la
fin
du
nom.
Retour
à
une
version
enregistrée
Vous
pouvez
annuler
vos
éventuelles
erreurs
en
choisissant
Edition
>
Annuler
(Commande
+
Z).
En
cas
d’erreur
vraiment
grave
(même
si
cela
est
fort
improbable)
ou
bien
si
le
travail
réalisé
lors
des
quinze
dernières
minutes
depuis
le
dernier
enregistrement
ne
vous
satisfait
pas
du
tout,
la
fonction
Fichier
>
Revenir
à
la
version
enregistrée
(ou
le
raccourci
clavier
correspondant)
peut
s’avérer
très
utile.
Le
projet
en
cours
est
alors
remplacé
par
la
version
précédemment
enregistrée.
Enregistrement
d’un
projet
en
tant
que
modèle
Vous
pouvez
enregistrer
un
projet
en
tant
que
modèle,
créant
ainsi
des
points
de
départ
pour
de
nouveaux
projets.
Tous
les
projets
n’ont
pas
les
mêmes
besoins.
Par
conséquent,
personnaliser
plusieurs
projets
ayant
les
mêmes
besoins
offre
un
point
de
départ
idéal
pour
différentes
tâches.
Exemples
:
 Un
modèle
axé
sur
des
instruments
logiciels
et
destiné
à
des
projets
de
musique
dansante.
Il
pourrait
comprendre
32
pistes
d’instruments
logiciels
et
huit
pistes
audio.
 Un
modèle
centré
sur
des
pistes
audio,
comportant
par
exemple
64
pistes
audio,
serait
idéal
pour
les
enregistrements
en
direct.
 Un
modèle
de
performances
en
direct
qui
permet
de
passer
plus
rapidement
d’une
partie
à
une
autre
ou
pouvant
utiliser
intensément
le
traitement
d’environnement.
 Plusieurs
modèles
de
sonorisation
pour
des
choeurs,
un
groupe
de
rock,
un
orchestre
symphonique,
un
quatuor
à
cordes,
une
petite
formation
de
jazz,
etc.
 Un
modèle
contenant
des
réglages
de
synchronisation
modifiés
pour
le
contrôle
de
matériel
ADAT.
 Un
modèle
pour
le
travail
vidéo.
Il
pourrait
contenir
une
piste
vidéo
et
une
zone
de
dialogue
spécifique,
un
bruitage
et
des
pistes
de
musique.
 Un
second
modèle
vidéo
pourrait
être
utilisé
pour
des
tâches
où
la
vidéo
est
lue
sur
un
magnétoscope
externe
synchronisé
avec
Logic
Express
via
SMPTE.
Il
est
possible
de
personnaliser
des
screensets
pour
chaque
modèle
ou
vous
pouvez
utiliser
la
commande
Fichier
>
Réglages
du
projet
>
Importer
réglages
pour
les
copier
d’un
modèle
à
un
autre.
Chapitre
7
Utilisation
des
projets 167
Pour
enregistrer
un
projet
comme
modèle
:
m Choisissez
Fichier
>
Enregistrer
comme
modèle
(ou
utilisez
le
raccourci
clavier
correspondant),
puis
tapez
le
nom
voulu.
Le
projet
est
enregistré
dans
le
dossier
~/Bibliothèque/Application
Support/Logic/
Project
Templates.
Lors
de
la
prochaine
ouverture
de
la
zone
de
dialogue
Modèles,
votre
modèle
se
trouvera
dans
la
collection
Mes
modèles,
sous
les
collections
de
modèles
par
défaut.
Vous
pouvez
créer
des
collections
sous
Mes
modèles
en
créant
des
sous-dossiers
dans
le
dossier
~/Bibliothèque/Application
Support/Logic/Project
Templates.
Cela
peut
être
effectué
dans
le
Finder
ou
à
l’aide
du
bouton
Créer
un
dossier
dans
la
zone
de
dialogue
Enregistrer
comme
modèle.
Lorsque
tous
les
modèles
créés
par
l’utilisateur
sont
placés
dans
des
sous-dossiers,
les
noms
de
ces
sous-dossiers
apparaissent
en
dessous
des
collections
par
défaut.
Π Conseil
:
vous
pouvez
inclure
un
texte
descriptif
dans
vos
modèles
en
ajoutant
un
commentaire
au
fichier
de
projet
dans
le
Finder.
La
zone
de
dialogue
Modèles
affiche
l’icône
affectée
à
un
fichier
de
modèle,
ce
qui
vous
permet
de
la
changer
très
facilement.
Pour
plus
d’informations
sur
l’ajout
d’un
commentaire
à
un
fichier
ou
le
changement
de
l’icône
d’un
fichier,
reportez-vous
à
l’aide
du
Finder.
Fermeture et sortie
Après
avoir
créé
ou
écouté
un
projet,
il
est
préférable
de
le
fermer
et
de
quitter
Logic
Express.
Voici
comment
procéder
:
Pour
fermer
le
projet
actif
:
m Choisissez
Fichier
>
Fermer
le
projet
(ou
utilisez
le
raccourci
clavier
correspondant,
par
défaut
:
Option
+
Commande
+
W).
Si
vous
avez
apporté
des
modifications
depuis
la
dernière
opération
d’enregistrement,
Logic
Express
vous
demande
si
le
projet
doit
être
enregistré
à
nouveau
avant
de
le
fermer,
afin
de
conserver
les
modifications
apportées.
Pour
fermer
la
fenêtre
active :
m Choisissez
Fichier
>
Fermer
(ou
utilisez
le
raccourci
clavier
correspondant,
par
défaut
:
Commande
+
W).
Cette
opération
ne
ferme
que
la
fenêtre
du
haut,
pas
la
totalité
du
projet.
Le
projet
ne
sera
correctement
fermé
que
lorsque
toutes
les
fenêtres
seront
fermées.
168 Chapitre
7
Utilisation
des
projets
Pour
quitter
l’application
:
m Choisissez
Logic
Express
>
Quitter
Logic
Express
(ou
utilisez
le
raccourci
clavier
correspondant,
par
défaut
:
Commande
+
Q).
Si
vous
avez
apporté
des
modifications
à
votre
projet,
mais
que
vous
ne
les
avez
pas
sauvegardées,
vous
êtes
invité
à
le
faire
avant
de
quitter
l’application
(appuyez
sur
Entrée
pour
enregistrer
le
projet).
Si
plusieurs
projets
sont
ouverts,
vous
êtes
alors
invité
à
passer
en
revue
les
modifications
ou
à
fermer
simplement
le
projet
en
ignorant
les
modifications.
Le
raccourci
clavier
«
Fermer
le
projet
sans
sauvegarder
»
ferme
le
projet
actif
sans
l’enregistrer
(vous
n’êtes
pas
invité
à
le
faire).
Cette
commande
a
été
incluse
à
la
demande
d’un
grand
nombre
d’utilisateurs
expérimentés
de
Logic
Express.
Ne
l’utilisez
que
si
vous
êtes
sûr
de
vous.
8
169
8 Fonctionnement
de
base
Le
chapitre
suivant
présente
les
techniques
d’utilisation,
de
sélection
et
d’édition
de
base
disponibles
dans
Logic
Express.
Vous
y
apprendrez
les
différentes
techniques
de
saisie
et
de
correction
des
erreurs,
ainsi
qu’un
grand
nombre
de
raccourcis
et
de
fonctionnalités
qui
permettent
d’accélérer
votre
travail
et
de
vous
assister
lors
de
votre
apprentissage
de
l’application
Logic
Express.
Utilisation de la souris
Si
vous
n’êtes
pas
habitué
à
vous
servir
de
la
souris
dans
Logic
Express,
où
l’utilisation
diffère
de
celle
des
autres
applications,
la
rubrique
suivante
vous
sera
particulièrement
utile.
Elle
explique
comment
utiliser
la
souris
dans
Logic
Express.
Si
vous
savez
déjà
comment
utiliser
une
souris
dans
Logic
Express,
passez
directement
à
la
rubrique
suivante.
Cliquer
Placez
le
pointeur
au-dessus
d’un
élément
(région,
événement,
bouton,
menu,
zone
de
saisie,
etc.),
puis
et
appuyez
une
fois
sur
le
bouton
de
la
souris.
Double-cliquer
Même
chose
que
cliquer
sur
un
élément,
sauf
que
vous
appuyez
deux
fois
de
suite
sur
le
bouton
de
la
souris,
rapidement.
Vous
pouvez
définir
l’intervalle
qui
vous
convient
dans
les
Préférences
système
(sous-fenêtre
Clavier
et
souris).
Capturer
ou
cliquer
et
maintenir
le
bouton
de
la
souris
enfoncé
Même
chose
que
cliquer
sur
un
élément,
sauf
que
vous
maintenez
le
bouton
de
la
souris
enfoncé.
Déplacer
ou
faire
glisser
Sélectionnez
l’élément
et
déplacez
le
curseur
(en
maintenant
le
bouton
enfoncé)
jusqu’à
l’emplacement
souhaité.
170 Chapitre
8
Fonctionnement
de
base
Cliquer
avec
le
bouton
droit
de
la
souris
Même
chose
que
cliquer,
sauf
que
vous
appuyez
sur
le
bouton
droit
de
la
souris,
s’il
est
disponible.
Cette
opération
a
pour
effet
d’ouvrir
un
menu
contextuel,
d’ouvrir
la
boîte
à
outils
ou
de
sélectionner
un
outil
spécifique.
Cliquer
ou
faire
glisser
en
appuyant
sur
une
touche
de
modification
Plusieurs
commandes,
fonctions,
outils
supplémentaires
ou
ajustements
plus
précis
sont
accessibles
si
vous
maintenez
enfoncée
une
touche
de
modification
:
Contrôle,
Maj,
Option
ou
Commande
tout
en
cliquant
ou
en
faisant
glisser
un
élément.
Exemples
:
si
vous
faites
glisser
une
région
en
appuyant
sur
la
touche
Option,
une
copie
de
la
région
est
créée
;
si
vous
cliquez
sur
un
curseur
ou
un
potentiomètre
tout
en
maintenant
la
touche
Option
enfoncée,
sa
valeur
par
défaut
ou
sa
valeur
centrale
est
réinitialisée.
Événements
liés
à
la
molette
de
souris
Vous
pouvez
utiliser
la
molette
de
la
souris
pour
faire
défiler
verticalement
la
page
dans
Logic
Express.
Certains
outils
de
modification
sont
également
pris
en
charge
:
 Si
vous
appuyez
sur
Commande,
la
molette
de
la
souris
effectue
un
défilement
horizontal.
 Si
vous
appuyez
sur
Option,
la
molette
effectue
un
zoom
avant
ou
arrière
à
la
verticale.
 Si
vous
appuyez
simultanément
sur
Option
et
Commande,
la
molette
effectue
un
zoom
avant
ou
arrière
à
l’horizontale.
 Si
vous
appuyez
simultanément
sur
Option
et
Contrôle,
la
molette
effectue
un
zoom
avant
ou
arrière
dans
les
deux
sens.
Remarque
:
Logic
Express
prend
également
en
charge
les
souris
ayant
une
molette
de
défilement
dotée
d’un
axe
des
X
et
d’un
axe
des
Y
(telles
que
la
souris
Apple
Mighty
Mouse).
Sur
une
souris
à
deux
axes,
la
touche
de
modification
Commande
(qui
permet
de
basculer
entre
les
orientations
horizontale
et
verticale
sur
une
souris
dotée
d’un
seul
axe)
n’est
pas
utilisée.
Souris
faisant
office
de
curseur
Vous
pouvez
définir
la
plupart
des
réglages
numériques
(même
les
valeurs
et
noms
de
notes)
en
sélectionnant
la
valeur
d’un
réglage
et
en
faisant
monter
ou
descendre
la
souris.
Si
le
réglage
contient
plusieurs
nombres
distincts
(position
du
projet,
par
exemple),
vous
pouvez
ajuster
chaque
nombre
à
l’aide
de
cette
méthode.
Chapitre
8
Fonctionnement
de
base 171
Saisie de valeurs numériques
Vous
pouvez
utiliser
des
entrées
numériques
dans
de
nombreuses
zones
du
programme.
Le
fait
de
double-cliquer
sur
une
valeur
de
réglage
numérique
a
pour
effet
d’ouvrir
une
zone
de
saisie.
La
valeur
est
mise
en
surbrillance
et
peut
être
écrasée
par
une
nouvelle
entrée.
Cette
méthode
est
idéale
pour
définir
rapidement
une
valeur
de
réglage
dans
l’Inspecteur
ou
pour
accéder
instantanément
à
une
mesure
lorsque
vous
l’appliquez
dans
la
fenêtre
Transport.
Voici
un
exemple
d’utilisation
:
double-cliquez
sur
l’écran
Position
dans
la
fenêtre
Transport,
saisissez
45,
puis
appuyez
sur
la
touche
Retour.
La
tête
de
lecture
se
place
directement
au
début
de
la
mesure
45.
Vous
pouvez
également
utiliser
la
souris
pour
effectuer
une
sélection
partielle
dans
une
zone
de
saisie,
de
sorte
que
seule
la
partie
mise
en
surbrillance
est
écrasée.
Tant
que
la
zone
de
saisie
est
ouverte,
le
clavier
de
l’ordinateur
peut
uniquement
être
utilisé
pour
saisir
des
données,
il
ne
permet
pas
de
faire
appel
à
des
raccourcis
clavier
(à
l’exception
des
fonctions
de
menu
principales).
Voici
quelques-unes
des
méthodes
possibles.
Vous
pouvez
saisir
des
données
sous
forme
de
:
 Nombres
décimaux
:
1,
01,
2,
3,
4,
127,
…
 Nombres
hexadécimaux
:
$1,
$01,
$2,
$3,
$A,
$0A,
$7F
 Notes
:
«
C3
»,
«
C#3
»,
«
Cb3
»,
«
C##2
»
(équivalent
de
D2),
«
Dbb2
»
(équivalent
de
C2).
Si
vous
double-cliquez
sur
la
note
«
E3
»,
vous
pouvez
saisir
une
valeur
décimale
telle
que
«
64
»
ou
hexadécimale
telle
que
«
$40
»
à
la
place
du
nom
de
la
note.
 Code
ASCII
:
vous
pouvez
également
saisir
des
nombres
sous
forme
de
code
ASCII.
Il
vous
suffit
de
saisir
le
caractère
`
ou
"
avant
la
touche
sélectionnée
et
le
code
ASCII
est
saisi
sous
forme
de
nombre.
Par
exemple
:
"!
correspond
à
la
valeur
33
et
"a
à
la
valeur
97.
Cette
fonction
s’avère
particulièrement
utile
pour
saisir
du
texte
dans
des
chaînes
SysEx.
Opérations
arithmétiques
Dans
de
nombreuses
zones
de
l’application
Logic
Express,
des
opérations
mathématiques
peuvent
également
servir
à
modifier
des
valeurs.
Exemples
:
 Vous
pouvez
effectuer
une
soustraction
sur
valeur
existante
en
saisissant
«
–5
».
 Vous
pouvez
additionner
deux
valeurs
en
saisissant
«
38+17
».
 Vous
pouvez
multiplier
deux
valeurs
en
saisissant
«
7*8
».
 Vous
pouvez
diviser
deux
valeurs
en
saisissant
«
80/5
».
172 Chapitre
8
Fonctionnement
de
base
Annulation
d’une
entrée
numérique
Pour
annuler
une
entrée
numérique,
ne
saisissez
aucun
texte,
puis
appuyez
sur
la
touche
Entrée
ou
Retour.
Saisie de texte
Vous
pouvez
saisir
un
nom
de
la
même
façon
que
des
nombres,
si
ce
n’est
que
vous
devez
cliquer
une
fois
sur
une
zone
de
nom
pour
activer
la
saisie.
Vous
pouvez
cliquer
directement
sur
une
région
(ou
une
bande
de
canal
dans
la
table
de
mixage)
avec
l’outil
Texte
pour
la
renommer.
Un
même
nom
peut
être
attribué
à
autant
d’objets
sélectionnés
(tels
que
des
régions)
que
vous
le
souhaitez.
Si
le
nom
se
termine
par
un
nombre,
celui-ci
est
automatiquement
incrémenté
de
1,
objet
après
objet.
Cela
vous
permet,
par
exemple,
de
nommer
toutes
les
régions
d’une
piste
de
façon
rapide
et
unique.
Remarque
:
pour
désactiver
la
numérotation
automatique,
insérez
un
espace
après
le
numéro,
à
la
fin
du
nom
que
vous
saisissez.
Tous
les
objets
sélectionnés
se
terminent
alors
par
le
même
numéro.
Cette
méthode
peut
s’avérer
très
utile
pour
identifier,
par
exemple,
toutes
les
régions
enregistrées
au
cours
d’une
autre
session
avec
la
voix
principale
(il
vous
suffit
alors
de
les
renommer
en
«
voix
principale
030707
»
suivi
d’un
espace,
pour
identifier
les
régions
par
date).
Utilisation des raccourcis clavier
Vous
pouvez
exécuter
quasiment
toutes
les
fonctions
de
Logic
Express
à
l’aide
d’un
raccourci
clavier
ou
d’un
message
MIDI.
À
chaque
fois
que
ce
manuel
mentionne
un
raccourci
clavier,
il
est
fait
référence
à
une
fonction,
une
commande
ou
une
option
à
laquelle
vous
pouvez
accéder
en
appuyant
sur
des
touches
de
votre
clavier
(comme
Option
+
R
pour
ouvrir
les
réglages
d’enregistrement
du
projet)
ou
à
l’aide
d’un
message
MIDI.
L’utilisation
de
raccourcis
clavier
à
la
place
de
la
souris
peut
accélérer
de
façon
considérable
votre
travail.
Tout
au
long
de
ce
manuel,
vous
allez
rencontrer
un
certain
nombre
d’exemples
pratiques,
souvent
détaillés,
précisant
le
raccourci
clavier
par
défaut
pour
chaque
fonction.
Π Conseil
:
il
est
recommandé
d’utiliser
ces
raccourcis
clavier
par
défaut
à
mesure
que
vous
vous
familiarisez
avec
l’application,
en
suivant
les
étapes
décrites
dans
le
manuel.
Non
seulement
cela
va
vous
aider
à
les
mémoriser,
mais
également
à
vous
habituer
à
des
pratiques
de
travail
efficaces
(et
rapides)
dès
le
départ.
Dès
que
vous
maîtrisez
les
concepts
de
base
de
Logic
Express
et
que
vous
avez
adopté
une
méthode
de
travail
qui
vous
convient,
vous
pouvez
attribuer
les
raccourcis
clavier
de
votre
choix
aux
fonctions
que
vous
utilisez
le
plus.
Chapitre
8
Fonctionnement
de
base 173
La
fenêtre
Raccourcis
clavier
vous
permet
d’associer
des
fonctions
de
Logic
Express
à
des
touches
de
votre
clavier
ou
à
des
messages
MIDI.
Ainsi,
vous
pouvez
entièrement
personnaliser
l’application
afin
qu’elle
soit
adaptée
au
mieux
à
votre
façon
de
travailler.
Remarque
:
certaines
de
ces
fonctions
sont
disponibles
uniquement
sous
forme
de
raccourcis
clavier.
Il
est
possible
que
certaines
ne
soient
associées
à
aucun
raccourci
clavier
par
défaut.
Dans
ce
cas,
vous
devez
créer
vous-même
un
raccourci
pour
utiliser
la
fonction
concernée.
Si
vous
débutez
avec
Logic
Express
et
souhaitez
vous
familiariser
avec
l’application,
passez
directement
à
la
rubrique
«
Utilisation
d’outils
»
à
la
page
181.
Vous
pouvez
toujours
revenir
à
la
rubrique
suivante
une
fois
que
vous
êtes
prêt
à
créer
et
personnaliser
vos
propres
raccourcis
clavier,
mais
cela
n’est
pas
indispensable
pour
utiliser
Logic
Express.
Enregistrement
de
raccourcis
clavier
Vos
raccourcis
clavier
personnels
sont
stockés
dans
un
fichier
séparé,
situé
dans
le
dossier
~Bibliothèque/Application
Support/Logic/Key
Commands.
Il
est
conseillé
d’effectuer
les
opérations
suivantes
:
 Effectuez
une
copie
de
sauvegarde
de
vos
raccourcis
clavier
personnalisés
à
un
autre
emplacement
du
disque
avant
de
modifier
le
moindre
raccourci
clavier.
 Effectuez
une
copie
de
sauvegarde
sur
un
support
amovible
(un
CD-ROM
ou
un
lecteur
flash
USB,
par
exemple),
sur
un
Macintosh
en
réseau
(à
l’aide
de
Bonjour)
ou
dans
un
compte
.Mac
(reportez-vous
à
la
rubrique
«
Partage
de
données
Logic
Express
sur
un
réseau
»
à
la
page
700).
Ces
différentes
options
de
sauvegarde
facilitent
le
transfert
de
vos
raccourcis
clavier
lorsque
vous
utilisez
Logic
Express
sur
un
autre
ordinateur.
Même
si
vous
installez
des
mises
à
jour
de
Logic
Express,
vos
raccourcis
clavier
personnels
sont
conservés.
Remarque
:
presque
tous
les
raccourcis
clavier
peuvent
être
définis
par
l’utilisateur.
Certains
raccourcis
attribués
par
défaut
aux
commandes
standard
telles
que
Annuler,
Enregistrer,
Quitter,
Nouveau,
Ouvrir,
Couper,
Copier
et
Coller
suivent
les
conventions
de
Mac
OS
X
et
il
est
préférable
de
ne
pas
les
modifier.
Certaines
touches
sont
«
attribuées
de
manière
définitive
»
à
des
fonctions
ou
des
commandes
spécifiques,
et
ne
peuvent
donc
pas
être
modifiées.
Elles
sont
d’ailleurs
estompées
dans
la
liste
des
raccourcis
clavier
afin
de
signaler
leur
état
«
fixe
».
Reportez-vous
à
la
rubrique
ci-dessous.
174 Chapitre
8
Fonctionnement
de
base
Touches
spéciales
Certaines
touches
sont
associées
à
des
fonctions
spéciales
:
 Les
touches
de
modification
Maj,
Contrôle,
Option
et
Commande
peuvent
uniquement
être
utilisées
conjointement
avec
d’autres
touches.
 La
touche
Arrière
a
une
fonction
fixe
qui
consiste
à
supprimer
les
objets
sélectionnés.
Elle
ne
peut
être
attribuée
à
une
autre
fonction
que
si
elle
est
associée
à
l’une
des
touches
de
modification.
 Les
combinaisons
de
touches
affectées
aux
commandes
de
la
barre
de
menus
principale
peuvent
être
redéfinies,
mais
il
est
généralement
conseillé
de
conserver
leur
valeur
par
défaut.
Les
raccourcis
clavier
sont
affichés
à
la
suite
des
éléments
de
menu
principaux.
Exemples
:
Commande
+
1
ouvre
la
fenêtre
Arrangement,
Maj
+
L
verrouille
le
screenset
actuel.
 Les
touches
Plus
et
Moins
sont
associées
aux
raccourcis
clavier
«
Augmenter/Diminuer
le
dernier
paramètre
de
1
».
Comme
leur
nom
le
laisse
supposer,
ces
fonctions
permettent
d’augmenter
ou
de
diminuer
la
valeur
d’un
paramètre
sélectionné
d’une
unité
à
la
fois.
 Si
vous
combinez
la
touche
Maj
avec
les
touches
Plus
et
Moins,
vous
accédez
aux
raccourcis
clavier
«
Augmenter/Diminuer
le
dernier
paramètre
de
10
».
Fenêtre
Raccourcis
clavier
La
fenêtre
Raccourcis
clavier
vous
permet
d’associer
des
fonctions
de
Logic
Express
à
des
touches
de
votre
clavier
ou
à
des
messages
MIDI.
Vous
pouvez
ainsi
entièrement
personnaliser
l’application,
afin
qu’elle
corresponde
à
votre
façon
de
travailler.
Pour
ouvrir
la
fenêtre
Raccourcis
clavier,
effectuez
l’une
des
opérations
suivantes :
m Cliquez
sur
Logic
Express
>
Préférences
>
Raccourcis
clavier
(ou
utilisez
le
raccourci
clavier
Option
+
K,
qui
correspond
à
l’option
Ouvrir
raccourcis
clavier).
m Cliquez
sur
le
bouton
Préférences
de
la
barre
d’outils,
puis
cliquez
sur
Raccourcis
clavier
dans
le
menu
contextuel.
Chapitre
8
Fonctionnement
de
base 175
Π Conseil
:
si
vous
sélectionnez
une
commande
dans
un
menu
tout
en
maintenant
la
touche
Contrôle
enfoncée,
la
fenêtre
Raccourcis
clavier
apparaît
avec
la
commande
en
question
sélectionnée.
Cela
fonctionne
également
avec
les
menus
contextuels.
 Liste
des
raccourcis
clavier
:
répertorie
tous
les
raccourcis
clavier
disponibles.
La
puce
identifie
les
raccourcis
clavier
qui
ne
sont
pas
disponibles
sous
forme
d’éléments
de
menu.
 Colonnes
Touche
et
Attribution
:
affichent
la
touche
actuellement
attribuée
et,
le
cas
échéant,
le
message
MIDI.
 Zone
Rechercher
:
permet
de
rechercher
des
raccourcis
clavier
par
nom
ou
partie
du
nom.
 Zone
Combinaison
de
touches
:
affiche
la
combinaison
de
touches
associée
au
raccourci
clavier
sélectionné.
 Zone
Attributions
:
affiche
l’attribution
de
la
surface
de
contrôle
associée
à
la
commande
sélectionnée.
 Boutons
Apprendre
:
cliquez
dessus
pour
apprendre
à
Logic
Express
à
utiliser
une
touche
ou
combinaison
de
touches
spécifique
pour
effectuer
une
opération.
Liste
des
raccourcis
clavier
Colonnes
Touche
et
Attribution
Zone
réservée
aux
combinaisons
de
touches Champ
Rechercher
Boutons
Apprendre
Zone
réservée
aux
attributions
Bouton
Apprendre
176 Chapitre
8
Fonctionnement
de
base
Groupes
et
hiérarchies
de
raccourcis
clavier
Les
raccourcis
clavier
globaux
sont
toujours
actifs,
quelle
que
soit
la
fenêtre
active.
Quant
aux
commandes
non
globales,
elles
nécessitent
que
la
fenêtre
correspondante
soit
active
(et
qu’elle
figure
au
premier
plan
ou
au-dessus
des
autres
fenêtres).
Cela
vous
permet
d’affecter
le
même
raccourci
clavier
(ou
la
même
combinaison
de
touches)
à
différentes
fonctions
dans
différentes
fenêtres.
Important
:
il
existe
une
hiérarchie
des
classes
de
raccourcis
clavier,
qui
ne
sont
pas
simplement
réparties
en
raccourcis
globaux
et
locaux.
Par
exemple,
il
existe
une
classe
de
raccourcis
qui
s’applique
à
toutes
les
fenêtres
affichant
des
régions.
Cette
classe
a
un
niveau
de
priorité
supérieur
aux
raccourcis
clavier
globaux,
mais
inférieur
aux
raccourcis
locaux
dans
les
fenêtres
correspondantes
(Arrangement,
Partition,
Clavier,
etc.).
Sélection
de
jeux
de
raccourcis
clavier
Le
menu
Options
dispose
de
commandes
vous
permettant
de
passer
d’un
jeu
de
raccourcis
clavier
à
un
autre,
de
les
importer
ou
de
les
exporter.
Cela
s’avère
particulièrement
utile
lorsque
vous
devez
travailler
provisoirement
sur
le
système
Logic
Express
d’un
autre
utilisateur
:
vous
pouvez
ainsi
utiliser
vos
raccourcis
clavier
personnels
sans
modifier
les
réglages
de
l’autre
système.
 Menu
Options
>
Préréglage
:
affiche
tous
les
jeux
de
raccourcis
clavier
enregistrés
dans
le
dossier
~Bibliothèque/Application
Support/Logic/Key
Commands,
ce
qui
vous
permet
de
passer
rapidement
d’un
jeu
à
l’autre.
 Options
>
Importer
raccourcis
clavier
:
ouvre
une
zone
de
sélection
des
fichiers
vous
permettant
d’importer
des
jeux
de
raccourcis
clavier
depuis
n’importe
quel
emplacement.
Le
fichier
existant
(sur
le
système
cible)
est
automatiquement
enregistré
sous
forme
de
fichier
*.bak.
Ce
dernier
contient
les
anciens
raccourcis
clavier.
Il
n’est
pas
nécessaire
de
redémarrer
Logic
Express
pour
utiliser
le
nouveau
jeu
de
raccourcis
clavier.
 Options
>
Exporter
raccourcis
clavier
:
ouvre
une
zone
de
sélection
des
fichiers
vous
permettant
d’enregistrer
les
attributions
de
raccourcis
clavier
en
cours
dans
n’importe
quel
emplacement.
Chapitre
8
Fonctionnement
de
base 177
Navigation
au
sein
des
raccourcis
clavier
Les
raccourcis
clavier
sont
regroupés
en
plusieurs
catégories.
Vous
pouvez
développer
ou
réduire
un
groupe
en
cliquant
sur
son
triangle
d’affichage.
La
commande
Options
>
Étendre
tout
affiche
le
contenu
de
tous
les
groupes
de
raccourcis
clavier.
La
commande
Options
>
Tout
condenser
masque
le
contenu
de
tous
les
groupes
de
raccourcis
clavier.
Si
vous
développez
des
groupes
de
raccourcis
clavier,
il
est
possible
que
le
raccourci
clavier
que
vous
aviez
sélectionné
ne
soit
plus
visible.
Pour
y
revenir
rapidement,
choisissez
Options
>
Aller
à
la
sélection.
Lorsque
la
liste
est
activée,
vous
pouvez
utiliser
un
raccourci
clavier
(ou
une
combinaison
de
raccourcis)
pour
sélectionner
la
fonction
associée
dans
la
liste.
Recherche
de
raccourcis
clavier
Vous
pouvez
utiliser
le
champ
Rechercher
de
la
fenêtre
Raccourcis
clavier
pour
rechercher
des
raccourcis
par
nom
ou
partie
du
nom
:
 La
recherche
s’effectue
à
mesure
que
vous
tapez
du
texte.
Il
n’est
pas
nécessaire
d’appuyer
sur
la
touche
Retour,
sauf
si
vous
souhaitez
conserver
un
historique
des
recherches
de
raccourcis
clavier.
 Le
bouton
Annuler
situé
sur
la
droite
(qui
apparaît
dès
que
vous
tapez
du
texte)
efface
toute
entrée
de
texte
et
affiche
l’ensemble
des
raccourcis
clavier.
 Le
menu
Rechercher
situé
à
gauche
(la
loupe)
conserve
un
historique
des
termes
récemment
recherchés.
L’option
de
menu
Effacer
permet
d’effacer
l’historique
de
recherche.
Remarque
:
l’historique
de
recherche
contient
uniquement
les
recherches
validées
à
l’aide
de
la
touche
Retour.
178 Chapitre
8
Fonctionnement
de
base
Attribution
de
raccourcis
clavier
à
des
touches
de
l’ordinateur
Cette
rubrique
vous
explique
comment
associer
certaines
touches
de
votre
clavier
à
des
fonctions
Logic
Express.
Pour
associer
une
fonction
à
une
touche
:
1 Sélectionnez
la
commande
voulue
dans
la
colonne
Commande.
2 Activez
le
bouton
«
Apprendre
par
nom
de
touche
».
3 Appuyez
simultanément
sur
la
touche
et
la
ou
les
touches
de
modification
à
utiliser
(Maj,
Contrôle,
Option
ou
Commande).
4 Si
vous
souhaitez
définir
une
autre
attribution,
répétez
les
étapes
1
à
3.
5 Désactivez
le
bouton
«
Apprendre
par
nom
de
touche
».
La
fonction
«
Apprendre
par
position
de
touche
»
fonctionne
à
l’identique,
mais
elle
ne
se
limite
pas
à
stocker
une
référence
à
un
code
ASCII
:
elle
enregistre
le
code
matériel
de
la
touche
sur
laquelle
vous
appuyez.
En
pratique,
cela
signifie
que
vous
pouvez,
par
exemple,
affecter
différentes
commandes
aux
touches
numérotées
du
pavé
numérique
et
à
celles
situées
dans
la
partie
supérieure
du
clavier.
Par
ailleurs,
la
position
de
la
touche
reste
la
même,
quels
que
soient
les
réglages
linguistiques
de
votre
système
d’exploitation
ou
le
clavier
utilisé.
À
titre
d’exemple,
l’utilisation
du
code
matériel
pour
une
fonction
affectée
à
la
touche
Y
d’un
clavier
anglais
fonctionne
de
la
même
façon
sur
un
clavier
allemand,
même
si
la
touche
Z
du
clavier
allemand
figure
à
la
place
de
la
touche
Y
du
clavier
anglais.
Seul
inconvénient
:
c’est
le
code
de
la
touche
(un
numéro)
qui
est
affiché
dans
la
fenêtre
Raccourcis
clavier,
et
non
le
symbole
ASCII.
Ce
dernier
est
plus
utile
à
des
fins
de
référence.
Pour
clarifier
la
différence
entre
ces
deux
fonctions,
voici
une
petite
comparaison
:
 Si
vous
utilisez
la
fonction
«
Apprendre
par
nom
de
touche
»
et
définissez
un
seul
raccourci
clavier
pour
une
touche
donnée,
celui-ci
est
toujours
utilisé,
que
vous
appuyiez
sur
l’une
ou
l’autre
des
deux
touches
(la
touche
7
du
clavier
alphanumérique
ou
le
7
du
pavé
numérique,
par
exemple).
 Si
vous
utilisez
la
fonction
«
Apprendre
par
position
de
touche
»
et
définissez
deux
raccourcis
clavier
(un
pour
le
clavier
alphanumérique,
un
autre
pour
le
pavé
numérique),
seul
le
raccourci
clavier
approprié
est
utilisé
(un
pour
chaque
touche
numérotée
7,
par
exemple).
Chapitre
8
Fonctionnement
de
base 179
Utilisation
de
raccourcis
clavier
Si
vous
attribuez
une
combinaison
de
touches
déjà
définie
au
niveau
local
à
un
nouveau
raccourci
clavier
global,
le
message
d’avertissement
suivant
apparaît
:
Trois
possibilités
s’offrent
à
vous
:
Annuler,
Remplacer
ou
OK.
 Annuler
:
ne
modifie
pas
les
attributions
existantes.
 Remplacer
:
remplace
le
raccourci
existant
(attribué
à
une
combinaison
de
touches
particulière)
par
la
fonction
sélectionnée.
 OK
:
attribue
la
combinaison
de
raccourci
clavier
à
la
fonction
sélectionnée,
tout
en
conservant
le
raccourci
clavier
ou
la
fonction
existante.
Pour
supprimer
des
attributions
de
raccourcis
clavier
:
1 Sélectionnez
la
fonction
dont
vous
souhaitez
supprimer
l’attribution
de
raccourci
clavier.
2 Activez
le
bouton
«
Apprendre
par
nom
de
touche
»
ou
«
Apprendre
par
position
de
touche
».
3 Appuyez
sur
la
touche
Retour
arrière.
4 Pour
supprimer
d’autres
attributions,
répétez
les
étapes
1
et
3.
5 Désactivez
le
bouton
«
Apprendre
par
nom
de
touche
»
ou
«
Apprendre
par
position
de
touche
».
Attribution
de
raccourcis
clavier
à
des
surfaces
de
contrôle
Le
bouton
«
Apprendre
nouvelle
assignation
»
vous
permet
d’attribuer
des
raccourcis
clavier
particuliers
à
des
messages
de
surface
de
contrôle,
dans
le
but
d’apprendre
à
Logic
Express
à
réellement
comprendre
ces
messages.
Pour
apprendre
une
assignation du
contrôleur
:
1 Cliquez
sur
le
bouton
«
Apprendre
nouvelle
assignation
».
2 Sélectionnez
une
commande
dans
la
colonne
Commande.
3 Envoyez
le
message
MIDI
souhaité
depuis
votre
contrôleur.
180 Chapitre
8
Fonctionnement
de
base
Le
champ
Assignations
affiche
l’assignation
apprise,
ce
qui
peut
inclure
l’un
ou
l’ensemble
des
éléments
suivants
:
 Le
nom
de
la
surface
de
contrôle
(ou
la
chaîne
MIDI),
si
l’assignation
provient
d’une
surface
de
contrôle
non
prise
en
charge.
 Le
nom
du
contrôle.
 La
zone
et
le
mode
auxquels
l’assignation
appartient,
le
cas
échéant.
Remarque
:
le
bouton
«
Apprendre
nouvelle
assignation
»
est
automatiquement
désactivé
une
fois
que
vous
avez
reçu
l’intégralité
du
message,
ce
qui
vous
évite
de
recevoir
d’autres
messages
(éventuellement)
envoyés
par
le
périphérique
lorsque
vous
relâchez
le
bouton.
Pour
vous
assurer
de
bien
recevoir
le
message,
maintenez
le
bouton
enfoncé
pendant
quelques
secondes,
puis
relâchez-le.
4 Si
vous
souhaitez
définir
une
autre
assignation,
répétez
les
étapes
2
et
3.
Si
vous
souhaitez
assigner
d’autres
fonctions,
en
dehors
des
raccourcis
clavier,
à
une
surface
de
contrôle,
ouvrez
l’éditeur
des
assignations
du
contrôleur.
Pour
y
accéder,
double-cliquez
sur
une
ligne
de
la
rubrique
d’assignation
ou
choisissez
Logic
Express
>
Préférences
>
Surfaces
de
contrôle
>
Apprendre
l’assignation
pour
xxx
(raccourci
clavier
Ouvrir
l’éditeur
des
assignations
du
contrôleur).
Cette
procédure
est
détaillée
dans
le
manuel
d’assistance
sur
les
surfaces
de
contrôle.
Réinitialisation
des
attributions
de
raccourcis
clavier
Vous
pouvez
restaurer
les
attributions
par
défaut
de
tous
les
raccourcis
clavier.
Cette
opération
vous
fera
perdre
tous
vos
raccourcis
clavier,
donc
pensez
à
créer
d’abord
une
copie
de
votre
fichier
de
raccourcis
clavier.
Pour
réinitialiser
toutes
les
attributions de
raccourcis
clavier
:
m Cliquez
sur
Options
>
Initialiser
tous
les
raccourcis
clavier
dans
la
fenêtre
Raccourcis
clavier.
Chapitre
8
Fonctionnement
de
base 181
Impression
d’une
liste
de
raccourcis
clavier
Vous
pouvez
utiliser
la
fonction
Options
>
Copier
les
raccourcis
dans
le
Presse-papiers
pour
copier
toutes
vos
attributions
de
raccourcis
clavier
dans
le
Presse-papiers
sous
forme
de
texte.
Ensuite,
il
vous
suffit
de
coller
les
résultats
dans
n’importe
quelle
application
de
traitement
de
texte,
de
leur
appliquer
la
mise
en
forme
souhaitée
et
de
les
imprimer.
La
commande
«
Copier
vers
le
Presse-papiers
»
se
limite
à
copier
les
attributions
de
raccourcis
clavier
actuellement
affichées.
Ainsi,
vous
pouvez
exporter
un
groupe
donné
de
raccourcis
clavier
(ceux
contenant
une
chaîne
de
caractères
spécifique,
par
exemple).
Ce
que
vous
voyez
dans
la
fenêtre
affichée
correspond
exactement
au
contenu
exporté.
Utilisation d’outils
Chaque
éditeur
fournit
des
outils
différents,
adaptés
aux
tâches
effectuées
dans
la
fenêtre.
Ces
outils
ne
fonctionnent
que
dans
les
limites
de
la
zone
de
travail
de
la
fenêtre
dans
laquelle
vous
les
avez
sélectionnés.
Vous
pouvez
définir
des
outils
individuels
pour
chaque
fenêtre.
Un
outil
(comme
les
Ciseaux)
agit
sur
les
régions
ou
événements
sur
lesquels
vous
cliquez.
Si
vous
avez
sélectionné
plusieurs
régions,
elles
sont
donc
toutes
modifiées
par
l’outil
(les
Ciseaux
ont
pour
effet
de
couper
toutes
les
régions
sélectionnées
au
même
emplacement
de
la
tête
de
lecture).
La
commande
«
Copier
vers
le
Presse-papiers
»
copie
uniquement
les
attributions
de
raccourcis
clavier
actuellement
visibles.
182 Chapitre
8
Fonctionnement
de
base
Pour
accéder
aux
outils,
il
vous
suffit
de
cliquer
sur
les
menus
Outil
situés
dans
l’angle
supérieur
droit
de
chaque
fenêtre.
Ils
vous
permettent
d’effectuer
directement
des
opérations
de
modification
et
de
gestion
des
régions,
événements
ou
fichiers.
Vous
pouvez
affecter
librement
au
moins
deux
outils,
un
dans
chaque
menu
Outil.
Dans
certaines
fenêtres,
des
menus
Outil
supplémentaires
peuvent
apparaître
si
vous
avez
déjà
affecté
deux
outils.
Pour
assigner
l’outil
de
clic
gauche
(outil
par
défaut)
:
m Cliquez
sur
le
menu
Outil
de
gauche
pour
l’ouvrir,
puis
sélectionnez
l’outil
souhaité.
Pour
assigner
l’outil
de
clic
+
touche
Commande
(outil
secondaire)
:
m Cliquez
sur
le
menu
Outil
de
droite,
puis
sélectionnez
l’outil
souhaité.
Lorsque
vous
modifiez
une
région,
un
événement
ou
un
fichier,
les
deux
outils
sont
disponibles
au
niveau
du
pointeur
de
la
souris.
L’outil
du
menu
de
gauche
est
actif
par
défaut.
Pour
basculer
de
l’outil
par
défaut
à
l’outil
secondaire
:
1 Maintenez
la
touche
Commande
enfoncée
pour
activer
l’outil
secondaire
(menu
de
droite).
2 Relâchez
la
touche
Commande
pour
revenir
à
l’outil
par
défaut
(menu
de
gauche).
Le
pointeur
de
la
souris
adopte
la
forme
de
l’outil
«
actif
».
Vous
pouvez
donc
immédiatement
l’identifier
en
regardant
sa
forme.
Chapitre
8
Fonctionnement
de
base 183
Assignation
du
bouton
droit
de
la
souris
Si
vous
possédez
une
souris
qui
convient,
vous
pouvez
également
affecter
le
bouton
droit
de
la
souris
à
l’un
des
éléments
suivants
:
 Un
troisième
outil
 Le
menu
Outils
 Un
menu
contextuel
(par
défaut)
Pour
définir
le
comportement
du
bouton
droit
de
la
souris
:
1 Ouvrez
les
préférences
globales
en
procédant
de
l’une
des
manières
suivantes
:
 Cliquez
sur
Logic
Express
>
Préférences
>
Global
(ou
utilisez
le
raccourci
clavier
correspondant).
 Cliquez
sur
le
bouton
Préférences
de
la
barre
d’outils,
puis
cliquez
sur
Globales
dans
le
menu
contextuel.
2 Cliquez
sur
l’onglet
Édition,
puis
sélectionnez
le
réglage
souhaité
dans
le
menu
local
«
Bouton
droit
de
la
souris
».
 Est
assignable
à
un
outil
:
lorsque
cette
option
est
sélectionnée,
un
troisième
menu
Outil
apparaît
(à
droite
des
menus
Outil
par
défaut
et
secondaire)
dans
la
fenêtre
de
travail.
Sélectionnez
l’option
de
menu
appropriée
pour
affecter
un
outil
au
bouton
droit
de
la
souris.
Le
fait
de
cliquer
avec
le
bouton
droit
de
la
souris
active
le
troisième
outil
dans
la
fenêtre
de
travail.
Menu
Outil
(clic
gauche) Menu
Outil
(clic
droit)
Menu
Outil
(clic
+
touche
Commande)
184 Chapitre
8
Fonctionnement
de
base
 Ouvre
le
menu
Outil
:
si
vous
cliquez
avec
le
bouton
droit
de
la
souris
sur
la
zone
de
travail
de
la
fenêtre
active,
le
menu
Outil
s’ouvre
à
l’endroit
où
se
trouve
le
curseur
de
la
souris.
Pour
sélectionner
l’outil
souhaité,
il
vous
suffit
de
cliquer
dessus.
Lorsque
le
menu
Outil
est
ouvert,
vous
pouvez
également
appuyez
sur
le
chiffre
indiqué
en
regard
du
nom
d’un
outil
pour
le
sélectionner.
 Ouvre
le
menu
contextuel
:
si
vous
cliquez
avec
le
bouton
droit
de
la
souris
sur
la
zone
de
travail
de
la
fenêtre
active,
un
menu
s’affiche
dans
lequel
plusieurs
commandes
d’édition
et
de
sélection
spécifiques
à
la
zone
sont
disponibles
(voir
«
Utilisation
du
menu
contextuel
»
à
la
page
188).
Chapitre
8
Fonctionnement
de
base 185
Utilisation
de
raccourcis
clavier
pour
sélectionner
des
outils
Vous
pouvez
également
utiliser
les
raccourcis
clavier
suivants
pour
sélectionner
des
outils
:
 Régler
outil
suivant
et
Régler
outil
précédent
:
permettent
d’accéder
à
l’outil
le
plus
proche
dans
la
fenêtre
active.
 Afficher
menu
Outil
:
ouvre
le
menu
Outil
à
l’emplacement
du
curseur.
Lorsque
le
menu
Outil
est
ouvert,
vous
pouvez
également
utiliser
la
touche
numérotée
indiquée
en
regard
d’un
outil
pour
sélectionner
ce
dernier.
(Raccourci
clavier
par
défaut
:
Échap).
 Régler
outil
X
:
chaque
outil
peut
être
sélectionné
via
un
raccourci
clavier
spécifique.
Les
raccourcis
clavier
assignés
à
un
outil
donné
permettent
de
basculer
entre
cet
outil
et
l’outil
précédemment
sélectionné.
À
propos
des
outils
courants
La
rubrique
suivante
décrit
les
outils
les
plus
courants
disponibles
dans
Logic
Express.
Quant
aux
outils
spécifiques
à
certaines
fenêtres
d’édition,
ils
sont
détaillés
dans
les
chapitres
correspondants
à
ces
fenêtres.
Outil
Pointeur
Le
Pointeur
est
l’outil
par
défaut
lorsque
Logic
Express
s’ouvre.
Le
curseur
de
la
souris
prend
également
cette
forme
en
dehors
de
la
zone
de
travail,
lorsque
vous
sélectionnez
un
menu
ou
saisissez
une
valeur.
Au
sein
de
la
zone
de
travail,
vous
pouvez
utiliser
l’outil
Pointeur
pour
:
 Sélectionner
un
ou
plusieurs
événements,
régions
ou
autres
éléments
en
cliquant
dessus.
Reportez-vous
à
la
rubrique
«
Techniques
de
sélection
»
à
la
page
189.
 Déplacer
un
élément
(en
le
saisissant,
puis
en
le
faisant
glisser)
;
 Copier
un
élément
(en
le
faisant
glisser
tout
en
maintenant
la
touche
Option
enfoncée)
;
 Modifier
des
longueurs
(en
saisissant
l’angle
inférieur
droit
ou
gauche,
puis
en
le
faisant
glisser)
;
 Lire
des
régions
en
boucle
(en
saisissant
leur
angle
supérieur
droit,
puis
en
le
faisant
glisser).
186 Chapitre
8
Fonctionnement
de
base
Outil
Crayon
Le
Crayon
permet
d’ajouter
de
nouvelles
régions
ou
de
nouveaux
événements.
Il
vous
permet
également
de
sélectionner,
faire
glisser,
lire
en
boucle
des
régions,
ainsi
que
de
modifier
la
durée
de
régions
ou
d’événements.
Outil
Gomme
La
Gomme
permet
de
supprimer
les
régions
ou
événements
sélectionnés.
Lorsque
vous
cliquez
sur
une
région
ou
un
événement
avec
la
Gomme,
l’ensemble
des
régions
ou
événements
sélectionnés
sont
supprimés
(comme
si
vous
aviez
appuyé
sur
la
touche
Retour).
Grâce
à
la
Gomme,
vous
pouvez
également
supprimer
une
région
ou
un
événement
non
sélectionné
en
cliquant
dessus.
Outil
Texte
L’outil
Texte
permet
de
nommer
des
régions
ou
d’ajouter
du
texte
à
une
partition
musicale.
Outil
Ciseaux
L’outil
Ciseaux
est
utilisé
pour
dissocier
des
régions
et
des
événements,
ce
qui
permet
de
copier,
déplacer
ou
supprimer
des
rubriques
individuelles.
Outil
Colle
La
fonction
de
l’outil
Colle
est
l’inverse
de
celle
de
l’outil
Ciseaux.
Toutes
les
régions
ou
tous
les
événements
sélectionnés
sont
fusionnés
en
une
région
ou
un
événement
unique.
Outil
Solo
Lorsque
vous
cliquez
sur
une
région
avec
l’outil
Solo
et
que
vous
maintenez
le
bouton
de
la
souris
enfoncé,
vous
pouvez
écouter
la
région
ou
l’événement
sélectionné
de
façon
isolée.
Le
déplacement
de
la
souris
à
l’horizontale
a
également
pour
effet
de
produire
(effectuer
un
scrub)
tout
événement
touché
par
le
curseur.
Outil
Muet
Lorsque
vous
cliquez
sur
une
région
ou
un
événement
avec
l’outil
Muet,
cela
empêche
sa
lecture.
Il
vous
suffit
de
cliquer
une
seconde
fois
sur
l’outil
Muet
pour
activer
le
son
de
la
région
ou
de
l’événement.
Si
vous
avez
sélectionné
plusieurs
régions
ou
événements,
le
réglage
Muet/Son
actif
de
celui
ou
celle
sur
lequel
vous
avez
cliqué
s’applique
à
tous.
Outil
Zoom
L’outil
Zoom
vous
permet
d’obtenir
un
zoom
de
la
zone
sélectionnée
par
étirement
(jusqu’à
ce
qu’elle
remplisse
la
fenêtre).
Il
vous
suffit
ensuite
de
cliquer
sur
l’arrière-plan
de
la
fenêtre
avec
cet
outil
pour
rétablir
le
niveau
de
zoom
normal.
Vous
pouvez
également
accéder
à
la
fonction
Zoom
(même
si
d’autres
outils
sont
actifs)
en
maintenant
les
touches
Contrôle
et
Option
enfoncées.
Chapitre
8
Fonctionnement
de
base 187
Utilisation des bulles d’aide
Lorsque
vous
utilisez
plusieurs
outils,
une
balise
d’aide
apparaît
juste
en
dessous
du
curseur
aussi
longtemps
que
vous
maintenez
le
bouton
de
la
souris
enfoncé.
Cette
bulle
d’aide
fournit
des
commentaires
utiles
concernant
le
type
d’opération
que
vous
effectuez.
Remarque
:
vous
devez
activer
l’option
Logic
Express
>
Préférences
>
Afficher
>
Général
>
Afficher
les
bulles
d’aide
afin
de
pouvoir
visualiser
les
bulles
d’aide
au
cours
de
vos
opérations
de
modification.
Lors
d’opérations
impliquant
des
régions,
la
bulle
d’aide
se
présente
comme
ceci
:
De
gauche
à
droite
(et
de
haut
en
bas),
les
valeurs
indiquent
:
 Nom
de
l’opération.
 Position
de
la
souris
(ou
de
la
région).
 Nom
de
la
région/l’événement.
 Numéro
de
la
piste.
 Durée
de
la
région.
Lors
d’opérations
impliquant
des
événements,
la
bulle
d’aide
est
semblable
à
ceci
:
De
gauche
à
droite,
les
valeurs
indiquent
:
 Nom
de
l’opération.
 Position
de
la
souris
(ou
de
l’événement).
 Type
d’événement.
 Canal
MIDI
de
l’événement.
188 Chapitre
8
Fonctionnement
de
base
 Premier
octet
de
données
(tonalité,
par
exemple).
 Second
octet
de
données
(vélocité
de
la
note,
par
exemple).
 Durée
de
l’événement
(durée
de
la
note,
par
exemple).
Utilisation du menu contextuel
Maintenez
la
touche
Contrôle
enfoncée
et
cliquez
n’importe
où
dans
la
fenêtre
Arrangement,
l’Éditeur
Clavier
ou
les
Éditeurs
de
liste
pour
afficher
un
menu
contextuel.
Ce
menu
vous
sert
pour
diverses
tâches
d’édition
et
de
sélection.
Les
menus
contextuels
affichés
varient
d’une
fenêtre
à
l’autre
(et
au
sein
d’une
même
fenêtre)
selon
l’état
de
sélection
des
événements
ou
régions
figurant
dans
la
fenêtre
et
le
type
d’informations
géré
par
l’éditeur.
Les
éléments
disponibles
dans
chaque
menu
reflètent
le
contexte
actuel.
Voici
deux
exemples
associés
à
la
fenêtre
Arrangement
:
 Fenêtre
Arrangement
ne
comportant
aucune
région
ou
dans
laquelle
aucune
région
n’est
sélectionnée
:
les
commandes
Sélectionner,
Coller
et
Glissement
en
lecture
sont
disponibles.
 Fenêtre
Arrangement
dans
laquelle
une
ou
plusieurs
régions
sont
sélectionnées
:
les
commandes
Couper,
Copier,
Supprimer,
Pousser,
SMPTE
-
Verrouiller/Déverrouiller
la
position,
Nom
et
Couleur
de
la
région
sont
alors
disponibles.
Remarque
:
vous
pouvez
toujours
accéder
au
menu
contextuel
en
cliquant
tout
en
maintenant
la
touche
Contrôle
enfoncée,
mais
vous
pouvez
aussi
utiliser
le
bouton
droit
de
la
souris
pour
l’ouvrir.
Pour
ce
faire,
vérifiez
que
l’option
de
menu
contextuel
«
Bouton
droit
de
la
souris
:
ouvre
le
menu
contextuel
»
est
sélectionnée
dans
l’onglet
Préférences
>
Globales
>
Édition.
Chapitre
8
Fonctionnement
de
base 189
Techniques de sélection
À
partir
du
moment
où
vous
souhaitez
effectuer
une
opération
sur
un
ou
plusieurs
événements
ou
régions
(ou
d’autres
éléments,
tels
que
des
bandes
de
canaux
de
la
table
de
mixage),
vous
devez
d’abord
les
sélectionner.
Soit
les
éléments,
régions
ou
événements
sélectionnés
sont
affichés
dans
un
schéma
en
couleur
inversé,
leur
nom
apparaissant
en
surbrillance,
soit
ils
clignotent
(les
événements
de
note
dans
l’éditeur
de
partition,
par
exemple).
Une
région
ou
un
événement
sélectionné
dans
une
fenêtre
l’est
également
dans
toutes
les
autres
fenêtres
dans
lesquelles
il
ou
elle
figure.
Ainsi,
un
événement
de
note
sélectionné
dans
l’Éditeur
Clavier
l’est
également
dans
l’éditeur
de
partition
et
dans
la
Liste
d’événements.
La
région
qui
contient
l’événement
sélectionné
est
également
sélectionnée
dans
la
zone
Arrangement.
Si
vous
déplacez
le
focus
principal
sur
une
autre
fenêtre,
cela
n’a
pas
d’incidence
sur
la
sélection
(tant
que
vous
ne
cliquez
pas
sur
l’arrière-plan
de
la
fenêtre,
ce
qui
a
pour
effet
de
tout
désélectionner).
Veillez
à
cliquer
sur
les
barres
de
titre
des
fenêtres
lorsque
vous
changez
de
fenêtre.
Π Conseil
:
pensez
à
utiliser
les
fonctions
Zoom
lorsque
vous
sélectionnez
un
élément,
étant
donné
qu’un
niveau
de
zoom
élevé
permet
d’effectuer
beaucoup
plus
facilement
des
sélections
précises.
Sélection
de
régions,
d’événements
et
d’autres
éléments
individuels
Vous
pouvez
sélectionner
des
régions
ou
des
événements
individuels
(ou
d’autres
éléments,
comme
des
bandes
de
canaux
de
la
table
de
mixage)
en
cliquant
dessus
à
l’aide
de
l’outil
Pointeur.
Pour
les
désélectionner,
il
vous
suffit
de
cliquer
sur
l’arrière-plan
de
la
fenêtre
ou
de
sélectionner
une
autre
région,
un
autre
événement
ou
un
autre
élément.
190 Chapitre
8
Fonctionnement
de
base
Les
raccourcis
clavier
Sélectionner
la
région
ou
l’événement
suivant
(assignation
par
défaut
:
touche
Flèche
droite)
et
Sélectionner
la
région
ou
l’événement
précédent
(assignation
par
défaut
:
touche
Flèche
gauche)
permettent
de
passer
rapidement
d’une
région
ou
d’un
événement
à
un
autre
(et
de
les
sélectionner
individuellement).
Si
vous
appuyez
sur
une
touche
d’une
lettre
dans
la
zone
Arrangement,
la
première
région
dont
le
nom
commence
par
cette
lettre
est
sélectionnée
(comme
dans
le
Finder),
à
condition
qu’aucun
raccourci
clavier
ne
soit
affecté
à
cette
touche.
Sélection
de
plusieurs
régions,
événements
et
autres
éléments
Vous
serez
souvent
amené
à
sélectionner
plusieurs
régions,
événements
ou
autres
éléments
afin,
par
exemple,
de
les
déplacer,
traiter
ou
copier.
Pour
sélectionner
l’ensemble
des
régions,
événements
ou
éléments
d’une
fenêtre
:
m Choisissez
Édition
>
Tout
sélectionner
(ou
utilisez
le
raccourci
clavier
correspondant,
par
défaut
:
Commande
+
A).
Pour
désélectionner
l’ensemble
des
régions,
événements
ou
éléments
d’une
fenêtre
:
m Cliquez
sur
Édition
>
Tout
désélectionner
(ou
utilisez
le
raccourci
clavier
correspondant,
par
défaut
Maj
+
Commande
+
A).
Pour
sélectionner
plusieurs
régions,
événements
ou
éléments
non
contigus
d’une
fenêtre
:
m Cliquez
dessus
l’un
après
l’autre,
tout
en
appuyant
sur
la
touche
Maj.
À
mesure
que
vous
sélectionnez
des
régions
ou
des
événements,
les
sélections
précédentes
sont
conservées.
Sélections horizontales
Vous
pouvez
effectuer
des
sélections
horizontales
dans
différentes
fenêtres
d’édition,
afin
de
sélectionner
rapidement
l’ensemble
des
régions
ou
événements
alignés
sur
une
voie.
Pour
sélectionner
toutes
les
régions d’une
piste
dans
la
zone
Arrangement,
effectuez
l’une
des
opérations
suivantes
:
m Cliquez
sur
le
nom
de
la
piste
souhaitée
dans
la
liste
de
pistes.
m Choisissez
Édition
>
Tout
sélectionner
selon
la
même
piste
(ou
utilisez
le
raccourci
clavier
correspondant).
Toutes
les
régions
suivant
(situées
après)
la
région
choisie
sont
alors
sélectionnées.
Chapitre
8
Fonctionnement
de
base 191
Pour
sélectionner
tous
les
événements
(d’une
définition
d’événement
spécifiée)
dans
l’Éditeur
Hyper,
effectuez
l’une
des
opérations
suivantes
:
m Cliquez
sur
le
nom
de
la
définition
d’événement.
m Cliquez
sur
Édition
>
Tout
sélectionner
selon
la
même
hauteur
tonale
(ou
utilisez
le
raccourci
clavier
correspondant).
Tous
les
événements
situés
après
l’événement
choisi
sont
alors
sélectionnés.
Pour
sélectionner
toutes
les
notes
d’une
certaine
tonalité
dans
l’Éditeur
Clavier,
effectuez
l’une
des
opérations
suivantes :
m Cliquez
sur
la
touche
appropriée
sur
le
clavier
du
piano
roll.
m Cliquez
sur
Édition
>
Sélectionner
tous
les
éléments
ayant
la
même
tonalité
(ou
utilisez
le
raccourci
clavier
correspondant).
Important
:
les
techniques
de
sélection
expliquées
ci-dessus
concernent
uniquement
les
régions
ou
événements
faisant
partie
de
la
zone
de
cycle
définie
dans
la
règle
Mesure,
lorsque
le
mode
Cycle
est
activé.
Sélections par étirement
Pour
sélectionner
plusieurs
régions
ou
événements
consécutifs
(ou
d’autres
éléments,
tels
que
des
bandes
de
canaux
de
la
table
de
mixage),
cliquez
sur
l’arrière-plan,
puis
tracez
à
l’aide
du
pointeur
une
zone
autour
de
ces
éléments.
Toutes
les
régions
ou
tous
les
événements
touchés
ou
entourés
par
cette
zone
grisée
sont
sélectionnés.
192 Chapitre
8
Fonctionnement
de
base
Inversement de l’état de sélection
Si
vous
effectuez
une
sélection
(y
compris
horizontale
ou
par
étirement)
tout
en
maintenant
la
touche
Maj
enfoncée,
l’état
actif
de
sélection
des
régions
ou
événements
concernés
est
inversé.
Vous
pouvez
également
inverser
l’état
de
sélection
de
l’ensemble
des
régions
ou
événements
à
l’aide
de
la
commande
Édition
>
Inverser
la
sélection
(raccourci
clavier
par
défaut
:
Maj
+
T).
Par
exemple
:
si
vous
souhaitez
sélectionner
toutes
les
régions
d’un
projet
à
quelques
exceptions
près,
commencez
par
sélectionner
les
régions
à
exclure
de
votre
sélection,
puis
utilisez
la
commande
Inverser
la
sélection.
Sélection des régions ou événements consécutifs
Pour
sélectionner
toutes
les
régions
ou
tous
les
événements
qui
figurent
à
la
suite
d’une
région
ou
d’un
événement
sélectionné
(ou,
si
aucun
n’est
sélectionné,
pour
sélectionner
l’ensemble
des
régions
ou
événements
situés
après
la
tête
de
lecture),
cliquez
sur
Édition
>
Sélectionner
tous
les
suivants
(raccourci
clavier
par
défaut
:
Maj
+
F).
Pour
ajouter
la
région ou
l’événement
suivant
à
votre
sélection
:
m Utilisez
le
raccourci
clavier
Basculer
sur
région/événement
suivant
(par
défaut
:
Maj
+
Flèche
droite).
Pour
ajouter
la
région ou
l’événement
précédent
à
votre
sélection
:
m Utilisez
la
commande
Basculer
sur
région/événement
précédent
(par
défaut
Maj
+
Flèche
gauche).
Sélection de régions ou d’événements à l’intérieur de locators
Cliquez
sur
Édition
>
Sélectionner
entre
les
locators
(raccourci
clavier
par
défaut
:
Maj
+
I)
pour
sélectionner
l’ensemble
des
régions
ou
événements
figurant
en
partie
ou
en
totalité
entre
les
positions
des
locators.
La
commande
Édition
>
Désélectionner
hors
locators
(ou
le
raccourci
clavier
correspondant)
permet
de
sélectionner
toutes
les
régions
ou
tous
les
événements
figurant
en
dehors
des
locators.
Les
sélections
à
l’intérieur
des
limites
de
locators
ne
changent
pas.
Sélection de régions ou d’événements spécifiques
Vous
pouvez
utiliser
les
commandes
suivantes
pour
sélectionner
des
régions
ou
des
événements
répondant
à
une
condition
spécifique
ou
présentant
une
caractéristique
particulière.
 Édition
>
Sélectionner
les
régions
vides
(raccourci
clavier
par
défaut
:
Maj
+
U)
:
permet
de
sélectionner
toutes
les
régions
vides.
 Édition
>
Sélectionner
les
régions/événements
superposés
:
permet
de
sélectionner
l’ensemble
des
régions
ou
événements
superposés.
Chapitre
8
Fonctionnement
de
base 193
 Édition
>
Sélectionner
les
régions/événements
silencieux
(raccourci
clavier
par
défaut
:
Maj
+
M)
:
permet
de
sélectionner
l’ensemble
des
régions
ou
événements
silencieux.
 Édition
>
Sélectionner
régions/événements
aux
couleurs
équivalentes
(raccourci
clavier
par
défaut
:
Maj
+
C)
:
si
vous
avez
sélectionné
une
région
ou
un
événement
d’une
certaine
couleur,
cette
commande
permet
de
sélectionner
l’ensemble
des
régions
ou
événements
dotés
de
la
même
couleur.
Cette
option
s’avère
particulièrement
utile
lorsque
vous
remplacez
des
rubriques
d’un
morceau
ou
effectuez
d’autres
tâches
d’édition
groupées.
 Raccourci
clavier
Désélectionner
toutes
les
régions
sauf
celles
de
la
piste
sélectionnée
:
permet
de
désélectionner
toutes
les
régions
ne
faisant
pas
partie
de
la
piste
sélectionnée.
Cette
commande
s’avère
particulièrement
utile
si
vous
l’utilisez
après
d’autres
commandes
de
sélection
spéciales,
car
elle
limite
leurs
effets
à
la
piste
d’enregistrement.
Sélection d’objets, régions ou événements similaires ou identiques
Si
vous
avez
sélectionné
une
région,
un
événement
ou
un
objet
d’environnement,
vous
pouvez
utiliser
la
fonction
Édition
>
Sélectionner
objets/régions/événements
similaires
pour
sélectionner
l’ensemble
des
objets,
événements
ou
régions
similaires
(raccourci
clavier
par
défaut
:
Maj
+
S).
La
fonction
Sélectionner
régions/événements/objets
équivalents
permet
de
sélectionner
l’ensemble
des
objets,
régions
ou
événements
identiques
(raccourci
clavier
par
défaut
:
Maj
+
E).
Le
tableau
ci-dessous
présente
les
différences
entre
objets
similaires
et
identiques
(équivalents).
Élément Similaire Identique
Région Type
de
région
(audio
ou
MIDI) Â Régions
MIDI
:
contenu
et
format
identiques
 Région
audio
:
toutes
les
régions
ayant
la
même
durée
et
la
même
position
Événements
du
contrôleur
Numéro
de
contrôleur
équivalent,
octet
de
données
indifférent
(valeur
de
contrôle)
Numéro
de
contrôleur
et
octet
de
données
(valeur
de
contrôle)
identiques
Événement
de
note Note
équivalente,
octave
indifférente
Note
et
octave
identiques
Objet
d’environnement
Même
type
d’objet
(par
ex.,
curseur)
Même
type
de
curseur
(par
ex.,
texte)
194 Chapitre
8
Fonctionnement
de
base
Sélection d’événements dotés du même canal MIDI
Après
avoir
sélectionné
un
événement,
vous
pouvez
sélectionner
tous
les
autres
événements
partageant
le
même
canal
MIDI
à
l’aide
de
la
commande
Édition
>
Sélectionner
les
canaux
de
même
valeur
(raccourci
clavier
par
défaut
:
Maj
+
K).
Par
exemple
:
imaginez
que
vous
changiez
une
région
MIDI
contenant
des
informations
sur
le
contrôleur
de
volume
et
de
balance
pour
16
canaux
MIDI.
Pour
sélectionner
tous
les
événements
des
canaux
1
et
3
:
1 Tout
en
maintenant
la
touche
Maj
enfoncée,
sélectionnez
un
événement
du
canal
1
et
un
autre
du
canal
3.
2 Cliquez
sur
Édition
>
Sélectionner
les
canaux
de
même
valeur
(ou
utilisez
le
raccourci
clavier
correspondant,
par
défaut
Maj
+
K).
Tous
les
autres
événements
de
ces
deux
canaux
sont
sélectionnés.
Sélection de régions ou d’événements ayant la même sous-position
Vous
pouvez
sélectionner
toutes
les
régions
et
tous
les
événements
ayant
une
position
relative
donnée,
par
exemple
l’ensemble
des
caisses
claires
sur
le
contretemps.
Sélectionnez
une
région
ou
un
événement
à
la
position
relative
souhaitée,
puis
cliquez
sur
Édition
>
Sélectionner
les
sous-positions
équivalentes
(raccourci
clavier
par
défaut
:
Maj
+
P).
L’ensemble
des
régions
ou
événements
ayant
la
même
position
relative
est
sélectionné.
Accélération
des
opérations
d’édition
à
l’aide
des
commandes
de
sélection
Comme
vous
avez
pu
le
constater,
il
existe
de
nombreuses
méthodes
permettant
d’effectuer
des
sélections
en
fonction
de
divers
critères.
Ces
méthodes
sont
capables
d’accélérer
de
nombreuses
opérations
d’édition
lorsqu’elles
sont
complétées
par
l’utilisation
de
raccourcis
clavier.
Voici
quelques
exemples
:
Pour
supprimer
l’ensemble
des
régions,
événements
ou
objets
similaires,
effectuez
votre
sélection,
puis
utilisez
le
raccourci
clavier
Supprimer
objets
similaires.
À
l’inverse,
pour
conserver
l’ensemble
des
régions,
événements
ou
objets
similaires
et
supprimer
tout
le
reste,
utilisez
le
raccourci
clavier
«
Supprimer
mais
conserver
objets
similaires
».
Vous
pouvez
utiliser
le
raccourci
clavier
Canal
événement
+1
ou
Canal
événement
-1
pour
modifier
d’une
unité
le
numéro
de
canal
du
ou
des
événements
sélectionnés,
ce
qui
facilite
leur
réassignation
ultérieure
à
un
autre
canal
MIDI.
Chapitre
8
Fonctionnement
de
base 195
Utilisation du Presse-papiers
Le
Presse-papiers
est
une
zone
invisible
de
la
mémoire,
dans
laquelle
vous
pouvez
couper
ou
copier
des
informations
sélectionnées
(régions
ou
événements,
par
exemple)
pour
ensuite
les
copier
à
un
autre
emplacement.
Le
Presse-papiers
est
universel,
ce
qui
signifie
qu’il
peut
être
utilisé
pour
échanger
des
informations
d’un
projet
à
un
autre.
Toutes
les
options
suivantes
sont
disponibles
dans
le
menu
Édition.
Couper
Tous
les
éléments
sélectionnés
sont
supprimés
de
leur
emplacement
actuel
et
placés
dans
le
Presse-papiers.
Lors
de
cette
opération,
tout
contenu
dans
le
Presse-papiers
est
écrasé
(raccourci
clavier
par
défaut
:
Commande
+
X).
Copier
Une
copie
de
tous
les
éléments
sélectionnés
est
placée
dans
le
Presse-papiers.
Ces
éléments
restent
à
leur
place.
Comme
avec
la
fonction
Couper,
le
contenu
du
Presse-papiers
est
écrasé
(raccourci
clavier
par
défaut
:
Commande
+
C).
Coller
Tout
le
contenu
du
Presse-papiers
est
copié
dans
la
fenêtre
active.
Lors
de
cette
opération,
le
contenu
du
Presse-papiers
n’est
pas
effacé
(raccourci
clavier
par
défaut
:
Commande
+
V).
Coller
à
la
position
originale
Cette
commande
fonctionne
de
la
même
façon
que
la
commande
Coller,
mais
les
régions
ou
événements
contenus
dans
le
Presse-papiers
sont
toujours
collés
à
l’endroit
où
ils
ont
été
coupés,
quelle
que
soit
la
position
actuelle
de
la
tête
de
lecture
(position
où
les
objets
seraient
collés
avec
la
fonction
Coller
standard).
Coller
Remplacer
Cette
fonction
n’est
disponible
que
dans
la
fenêtre
Arrangement
et
dans
l’Éditeur.
Elle
ressemble
à
la
commande
Coller,
mais
les
régions
ou
événements
collés
remplacent
les
régions
ou
événements
situés
à
un
emplacement
donné.
Avertissement
:
lorsque
vous
utilisez
cette
fonction,
toutes
les
régions
ou
tous
les
événements
qui
figurent
dans
la
période
de
temps
occupée
par
ces
derniers
dans
le
Presse-papiers
sont
effacés.
Annulation et rétablissement d’opérations d’édition
Changer
d’avis
ou
faire
une
erreur
d’édition,
autant
de
situations
inévitables
au
cours
du
processus
de
production
musicale.
Heureusement,
Logic
Express
vous
permet
d’annuler
très
simplement
vos
modifications.
Pour
ce
faire,
vous
disposez
de
la
commande
Annuler,
conçue
pour
annuler
votre
dernière
opération
d’édition.
Pour
annuler
la
dernière
opération
:
m Cliquez
sur
Édition
>
Annuler
(raccourci
clavier
par
défaut
:
commande
+
Z)
de
suite
après
avoir
fait
une
erreur.
La
quasi-totalité
des
modifications
(déplacement,
suppression,
changement
de
nom,
modification
de
réglages,
création
d’événements,
de
régions
ou
de
canaux,
etc.)
peut
être
annulée.
Le
réglage
Nombre
de
pas
d’annulation
présent
dans
l’onglet
Logic
Express
>
Préférences
>
Globales
>
Édition
vous
permet
de
déterminer
le
nombre
d’opérations
qu’il
est
possible
d’annuler.
L’Historique
d’annulation
est
enregistré
avec
le
projet.
Il
est
donc
disponible
dès
que
vous
rouvrez
le
projet.
Pour
ouvrir
la
fenêtre
Historique
d’annulation
:
m Cliquez
sur
Édition
>
Historique
d’annulation
(ou
utilisez
le
raccourci
clavier
correspondant,
par
défaut
Option
+
Z).
Chapitre
8
Fonctionnement
de
base 197
L’Historique
d’annulation
affiche
la
liste
de
toutes
les
opérations
pouvant
être
annulées.
L’étape
la
plus
récente
(opération
d’édition),
qui
est
annulée
en
premier,
est
sélectionnée.
Pour
annuler
ou
rétablir
plusieurs
opérations :
m Cliquez
sur
une
entrée
pour
annuler
ou
rétablir
toutes
les
opérations
effectuées
entre
les
entrées
sur
lesquelles
vous
avez
cliqué
et
celles
en
surbrillance.
Pour
annuler
ou
rétablir
une
étape
isolée
:
m Cliquez
sur
l’opération
souhaitée
tout
en
maintenant
la
touche
Commande
enfoncée.
Vous
annulez
ou
rétablissez
alors
une
seule
opération,
sans
aucun
impact
sur
les
opérations
situées
entre
l’opération
sur
laquelle
vous
cliqué
et
les
entrées
en
surbrillance.
Pour
effacer
l’Historique
d’annulation :
m Choisissez
sur
Édition
>
Supprimer
l’historique
d’annulation.
Avertissement
:
prenez
garde
à
cette
commande.
En
effet,
annulations
et
rétablissements
sont
possibles
concernant
les
opérations
supprimées,
une
fois
que
l’Historique
d’annulation
a
été
effacé.
9
199
9 Utilisation
des
pistes
Les pistes incluent les régions audio et les régions MIDI
d’un projet.
Les
pistes
sont
répertoriées
verticalement
dans
la
liste
des
pistes
Arrangement
et
présentées
horizontalement,
par
lignes,
dans
la
zone
Arrangement.
Chaque
piste
est
assignée
à
un
canal
dans
la
table
de
mixage.
En
d’autres
termes,
la
sortie
produite
par
une
piste
donnée
est
envoyée
vers
une
bande
de
canal.
Si
une
piste
n’est
pas
envoyée
vers
une
bande
de
canal,
ses
régions
ne
peuvent
pas
être
entendues.
Remarque
:
les
pistes
de
dossier
sont
l’exception
à
cette
règle.
Pour
en
savoir
plus
sur
les
dossiers,
reportez-vous
à
la
rubrique
«
Utilisation
des
dossiers
»
à
la
page
381.
200 Chapitre
9
Utilisation
des
pistes
Une
fois
la
piste
associée
à
un
type
de
canal
de
mixage
donné,
sa
fonctionnalité
est
limitée
de
la
manière
suivante
:
Comme
vous
pouvez
le
voir,
chaque
type
de
piste
traite
des
données
particulières
et
a
un
objectif
bien
défini.
En
effet,
chaque
piste
est
acheminée
vers
un
type
de
canal
spécifique
dans
la
table
de
mixage.
Les
paramètres
d’une
piste
s’affichent
dans
la
zone
correspondante
de
l’Inspecteur.
Important
:
ces
paramètres
font
référence
à
la
bande
de
canal
(l’objet)
vers
laquelle
la
piste
est
acheminée
et
non
à
la
piste
proprement
dite.
Aussi,
si
vous
modifiez
des
paramètres
dans
cette
zone,
vous
affectez
toutes
les
pistes
assignées
à
cette
bande
de
canal.
La
plupart
des
fonctions
décrites
dans
ce
chapitre
s’appliquent
indifféremment
aux
pistes
audio,
instruments
logiciels
et
appareils
MIDI
externes.
Outre
les
types
de
piste
déjà
décrits,
il
existe
également
des
pistes
dotées
de
fonctions
spécifiques,
telles
que
les
pistes
globales.
Ces
pistes,
situées
en
haut
des
fenêtres
d’édition
linéaires,
servent
à
visualiser
et
à
modifier
les
événements
globaux,
tels
que
le
tempo,
qui
ont
une
influence
sur
toutes
les
pistes
de
l’arrangement.
Ces
types
de
piste
ne
sont
pas
traités
dans
ce
chapitre.
Type de piste
Assignation dans
la table de mixage Utilisation de la piste
Audio Canaux
audio Lecture,
enregistrement
et
automation
de
régions
audio.
Instrument Canaux
instrumentaux Lecture,
enregistrement
et
automation
des
données
MIDI
envoyées
aux
instruments
logiciels
MIDI Canaux
MIDI Lecture,
enregistrement
et
automation
des
données
MIDI
envoyées
aux
appareils
MIDI
externes
Dossier Aucune
assignation Lignes
pour
les
régions
de
dossier.
Les
régions
de
dossier
contiennent
simplement
d’autres
régions
et
ne
sont
pas
assignées
à
un
canal
de
mixage.
Zone
Paramètres
de
piste
Chapitre
9
Utilisation
des
pistes 201
Configuration de l’en-tête de piste
L’en-tête
de
chaque
piste
(qui
apparaît
dans
la
liste
de
pistes
de
la
zone
Arrangement)
peut
afficher
un
certain
nombre
de
boutons
en
regard
de
l’icône
et
du
nom
de
la
piste.
Par
défaut,
on
trouve
les
boutons
Activation
pour
l’enregistrement,
Muet
et
Solo
pour
toutes
les
pistes.
Le
bouton
Monitoring
des
entrées
apparaît
uniquement
pour
les
pistes
audio.
Vous
pouvez
utiliser
la
zone
de
dialogue
Configuration
de
piste
pour
afficher
ou
masquer
ces
éléments
d’en-tête
de
piste,
et
d’autres.
Pour
déterminer
les
éléments
affichés
dans
l’en-tête
de
piste
:
1 Ouvrez
la
zone
de
dialogue
Configuration
de
piste
en
effectuant
l’une
des
méthodes
ci-dessous
:
 Dans
la
zone
Arrangement,
sélectionnez
Présentation
>
«
Configurer
l’en-tête
de
piste
».
 Cliquez
sur
une
en-tête
dans
la
liste
des
pistes
tout
en
maintenant
la
touche
Contrôle
enfoncée,
puis
sélectionnez
«
Configurer
l’en-tête
de
piste
»
dans
le
menu
local.
2 Activez
les
éléments
d’en-tête
souhaités
dans
la
zone
de
dialogue
Configuration
de
piste.
Bouton
Bouton
Freeze Protection
Bouton
Contrôler
les
entrées
Bouton
Préparer
à
l’enregistrement
Bouton
Solo
Bouton
Désactiver
l’audio
Barre
de
couleur
pour
les
pistes
202 Chapitre
9
Utilisation
des
pistes
 Barres
des
commandes
de
piste
:
activez
cette
option
pour
afficher
les
barres.
Ces
barres
indiquent
les
pistes
auxquelles
vous
accédez
à
partir
des
surfaces
de
contrôle
connectées
à
votre
système.
Il
est
possible
de
définir
une
couleur
différente
pour
chaque
surface
de
contrôle
dans
la
zone
Paramètres
d’appareil.
Pour
en
savoir
plus,
consultez
le
manuel
intitulé
«
Prise
en
charge
des
surfaces
de
contrôle
».
 Numéros
de
piste/VU-mètre
:
cochez
cette
case
pour
afficher
le
numéro
d’une
piste.
Durant
la
phase
de
lecture,
un
petit
VU-mètre
s’affiche
à
la
place
du
numéro
de
la
piste.
Pour
les
pistes
d’instruments
logiciels
ou
d’appareils
MIDI
externes,
ce
VUmètre
indique
la
vélocité
de
l’enregistrement
et
devient
rouge
lorsque
la
valeur
de
vélocité
maximale
est
atteinte.
Pour
les
pistes
audio,
le
VU-mètre
signale
le
niveau
de
sortie.
 Icône
des
pistes
:
cliquez
dessus
pour
afficher
ou
masquer
l’icône
des
pistes
dans
l’en-tête.
 Rubrique
Noms
:
utilisez
les
différents
menus
de
cette
rubrique
pour
déterminer
les
noms
affichés
dans
l’en-tête
de
piste.
Pour
plus
d’informations,
reportez-vous
à
la
rubrique
«
Attribution
de
noms
à
des
pistes
»
à
la
page
212.
 Rubrique
Boutons
:
cochez
les
cases
associées
aux
divers
boutons
que
vous
souhaitez
afficher
dans
l’en-tête
de
piste.
 Barres
de
couleur
pour
les
pistes
:
cochez
cette
case
pour
afficher
une
fine
bande
de
couleur
à
droite
de
chaque
piste.
Cette
aide
visuelle
permet
de
suivre
les
régions
déplacées
entre
les
pistes.
Espace de travail et en-tête de piste
Si
vous
activez
la
totalité
des
boutons,
icônes,
noms
de
piste
et
autres,
la
quantité
d’informations
à
afficher
dans
l’en-tête
de
piste
s’avère
considérable.
Pour
visualiser
tous
ces
éléments,
vous
pouvez
redimensionner
la
liste
des
pistes,
en
faisant
glisser
le
coin
supérieur
gauche
de
la
zone
Arrangement.
Le
curseur
de
la
souris
se
transforme
alors
en
icône
de
redimensionnement.
L’inconvénient
de
cette
technique
est
que
cela
réduit
l’espace
de
travail
dans
la
zone
Arrangement
ainsi
que
dans
les
zones
d’édition.
Pour
libérer
un
peu
plus
d’espace
de
travail,
vous
pouvez
masquer
la
totalité
de
la
zone
Inspecteur
à
gauche
de
la
fenêtre
Arrangement
et
des
Éditeurs.
Vous
obtiendrez
ainsi
davantage
d’espace
pour
l’affichage
des
régions,
événements
et
autres
données.
Pour
afficher
ou
masquer
la
zone
Inspecteur
dans
la
fenêtre
Arrangement,
effectuez
l’une
des
opérations
suivantes :
m Cliquez
sur
le
bouton
Inspecteur
dans
la
barre
d’outils.
m Sélectionnez
Présentation
>
Inspecteur
(ou
utilisez
le
raccourci
clavier
par
défaut
Masquer/Afficher
l’Inspecteur,
à
savoir
:
I).
Chapitre
9
Utilisation
des
pistes 203
Création de pistes et de canaux
Si
vous
souhaitez
enregistrer
ou
lire
des
données
audio,
MIDI
ou
issues
d’un
instrument
logiciel
dans
Logic
Express,
vous
devez
d’abord
créer
une
piste.
Les
bandes
de
canaux
correspondantes
sont
alors
automatiquement
créées
dans
la
table
de
mixage.
Si
des
canaux
d’un
type
particulier
(canaux
audio,
par
exemple)
sont
déjà
définis
dans
la
table
de
mixage,
les
pistes
créées
sont
assignées
aux
canaux
existants
correspondants.
Important
:
certaines
options
de
création
de
pistes
génèrent
de
nouveaux
canaux,
mais
pas
toutes.
Chacune
correspond
à
un
type
de
tâche
différent.
Ces
commandes
sont
expliquées
une
à
une
ci-après
et
des
délimitations
les
distinguent
dans
le
menu
Piste
au
sein
de
l’application.
Voici
un
exemple
explicatif
:
 Supposons
que
vous
créez
8
pistes
audio
dans
la
zone
Arrangement
d’un
projet
incluant
24
canaux
audio
déjà
configurés
dans
la
table
de
mixage.
 Ces
nouvelles
pistes
sont
assignées
aux
canaux
audio
1
à
8
dans
la
table
de
mixage.
 Vous
décidez
de
créer
par
la
suite
16
pistes
audio.
Celles-ci
sont
assignées
aux
canaux
audio
9
à
24
dans
la
table
de
mixage.
 S’il
n’existe
aucun
canal
du
type
requis
(ou
en
nombre
suffisant)
dans
la
table
de
mixage,
les
canaux
nécessaires
sont
automatiquement
créés
lors
de
la
création
des
pistes.
 Vous
avez
besoin
de
8
pistes
audio
supplémentaires
pour
votre
projet
;
or,
vous
avez
déjà
utilisé
les
24
canaux
audio
de
la
table
de
mixage.
Cela
ne
pose
pas
de
problème.
Créez
simplement
les
8
pistes
audio
supplémentaires.
Logic
Express
génère
alors
automatiquement
les
canaux
audio
correspondants
dans
la
table
de
mixage.
Ces
pistes
(de
25
à
32)
sont
automatiquement
assignées
aux
canaux
audio
25
à
32.
Remarque
:
la
création
automatique
des
canaux
correspondants
s’applique
à
tous
les
types
de
piste
(jusqu’à
ce
que
le
nombre
maximal
de
canaux
autorisés
soit
atteint).
Cette
limite
est
de
l’ordre
de
la
centaine
pour
les
canaux
d’instrument
ou
audio,
et
de
l’ordre
du
millier
pour
les
canaux
MIDI.
Il
est
fort
probable
que
votre
ordinateur
atteigne
ses
limites
de
capacités
bien
avant
que
vous
ne
parveniez
à
ce
nombre
maximal
pour
chaque
type
de
canal.
Π Conseil
:
la
création
simple
et
rapide
de
canaux,
par
le
biais
de
la
création
de
pistes,
permet
de
ne
pas
avoir
à
générer
des
centaines
de
canaux
de
tout
type
dans
la
table
de
mixage
avant
de
commencer
à
jouer.
204 Chapitre
9
Utilisation
des
pistes
Commandes
de
création
de
pistes
et
de
canaux
Les
commandes
et
méthodes
présentées
dans
cette
rubrique
permettent
de
créer
à
la
fois
des
pistes
et
les
bandes
de
canaux
correspondantes.
Pour
créer
des
pistes
(et
les
canaux
correspondants)
:
1 Effectuez
l’une
des
opérations
suivantes
:
 Dans
la
barre
des
menus
locale
de
la
zone
Arrangement,
sélectionnez
Piste
>
Nouvelle
(ou
utilisez
le
raccourci
clavier
Créer
des
pistes).
 Cliquez
sur
le
bouton
Créer
une
piste
(il
s’agit
du
bouton
avec
le
signe
plus,
au-dessus
de
la
liste
des
pistes).
2 Dans
la
zone
de
dialogue
Nouvelles
pistes,
sélectionnez
le
type
et
saisissez
le
nombre
de
pistes
à
créer.
3 Cochez
la
case
Ouvrir
la
bibliothèque
(le
cas
échéant)
pour
ouvrir
automatiquement
l’onglet
Bibliothèque
dans
la
zone
Données.
Vous
pouvez
ainsi
définir
immédiatement
les
réglages
du
type
de
piste
créé.
4 Cliquez
sur
Créer.
La
nouvelle
piste
est
créée
à
l’emplacement
sélectionné
et
toutes
les
pistes
suivantes
(en
dessous)
se
décalent
dans
la
liste
des
pistes.
Chapitre
9
Utilisation
des
pistes 205
Utilisation de la zone de dialogue Nouvelles pistes
Lors
de
la
génération
de
pistes,
la
zone
de
dialogue
Nouvelles
pistes
propose
diverses
options
pour
chaque
type
de
piste.
Ces
options
sont
présentées
ci-après.
Création
de
pistes
MIDI
externes
dans
la
zone
de
dialogue
Nouvelles
pistes
Les
pistes
MIDI
externes
ne
disposent
d’aucune
option
supplémentaire
mais,
si
vous
choisissez
MIDI
externe
dans
la
zone
de
dialogue
Nouvelles
pistes,
voici
ce
qui
se
passe
:
 Un
objet
Multi
Instrument
MIDI
est
créé
dans
l’environnement
pour
la
première
piste.
Cette
dernière
est
ensuite
assignée
au
sous-canal
1.
 Les
pistes
suivantes
sont
assignées
aux
sous-canaux
de
l’objet
Multi
Instrument
MIDI
(jusqu’à
16).
 Si
plus
de
16
pistes
MIDI
externes
sont
créées,
elles
reprennent
à
partir
des
canaux
1,
2,
3
et
ainsi
de
suite.
Il
est
possible
de
réassigner
librement
ces
pistes
à
tout
sous-canal.
Si
votre
système
dispose
de
plusieurs
ports
MIDI,
vous
pouvez
réassigner
les
pistes
supplémentaires
(au-delà
des
16
premières)
à
un
second
objet
Multi
Instrument
MIDI.
 Une
bande
de
canal
est
automatiquement
générée
dans
la
table
de
mixage
pour
tous
les
sous-canaux
de
chaque
objet
Multi
Instrument
MIDI.
Π Conseil
:
une
fois
la
création
des
pistes
terminée,
vous
pouvez
rapidement
réassigner
les
différentes
pistes
aux
sous-canaux
de
tout
objet
Multi
Instrument
MIDI.
Pour
ce
faire,
vous
pouvez
utiliser
la
bibliothèque
ou
cliquer
sur
la
liste
des
pistes
tout
en
maintenant
la
touche
Contrôle
enfoncée
et
en
sélectionnant
les
éléments
souhaités
dans
le
menu
Réassignation
de
l’objet.
Pour
en
savoir
plus
sur
la
configuration
de
claviers
MIDI
externes
et
de
leurs
modules
sonores
internes,
consultez
la
rubrique
«
Configuration
d’instruments
MIDI
externes
»
à
la
page
262.
Options
de
création
de
pistes
audio
dans
la
zone
de
dialogue
Nouvelles
pistes
 Gestionnaire
:
ce
menu
local
vous
permet
de
sélectionner
le
gestionnaire
du
matériel
audio,
à
utiliser
pour
les
nouvelles
pistes.
Si
vous
n’avez
qu’un
seul
appareil
de
reproduction
musicale,
ce
menu
ne
s’affiche
pas.
206 Chapitre
9
Utilisation
des
pistes
 Format
:
sélectionnez
Mono
ou
Stéréo
dans
le
menu
local
pour
créer
plusieurs
pistes
audio
mono
ou
stéréo.
 Entrée
:
choisissez
l’entrée
ou
la
paire
d’entrées
souhaitée.
 Case
Ordre
croissant
:
cochez
cette
case
pour
assigner
les
entrées
par
ordre
croissant
(de
l’entrée
inférieure
à
l’entrée
supérieure)
à
chaque
piste,
si
plusieurs
pistes
sont
créées.
Cette
option
reste
sans
effet
si
une
seule
piste
est
créée.
Si
vous
créez
davantage
de
pistes
que
d’entrées
(par
exemple,
si
vous
créez
8
pistes
et
utilisez
4
appareils
en
entrée),
les
pistes
1
et
5
sont
assignées
à
l’entrée
1,
les
pistes
2
et
6,
à
l’entrée
2,
les
pistes
3
et
7,
à
l’entrée
3,
les
pistes
4
et
8,
à
l’entrée
4.
 Sortie
:
sélectionnez
la
sortie
ou
la
paire
de
sorties
souhaitée.
 Cases
Monitoring
de
l’entrée
et
Activation
pour
l’enregistrement
:
cochez
ces
cases
pour
activer
les
boutons
du
monitoring
de
l’entrée
et
d’activation
pour
l’enregistrement.
Ces
boutons
sont
pratiques
si
vous
souhaitez
commencer
à
enregistrer
immédiatement
après
avoir
créé
les
pistes,
par
exemple.
Options
de
création
de
pistes
d’instruments
logiciels
dans
la
zone
de
dialogue
Nouvelles
pistes
 Case
Multitimbral
:
cochez
cette
case
pour
créer
jusqu’à
16
pistes
en
utilisant
les
réglages
de
canaux
MIDI
par
ordre
croissant
(en
commençant
par
le
canal
MIDI
1
pour
la
première
piste,
le
canal
MIDI
2
pour
la
seconde
et
ainsi
de
suite).
 Ces
pistes
sont
indépendantes
de
la
première
:
elles
peuvent
notamment
être
automatisées
individuellement
et
comporter
différentes
régions.
Toutefois,
elles
sont
toutes
associées
au
même
canal
d’instrument
(qui
les
acheminent)
dans
la
table
de
mixage.
 Pour
que
cette
option
présente
un
intérêt,
l’instrument
logiciel
inséré
dans
le
canal
d’instrument
doit
donc
être
multitimbral
(capable
de
jouer
divers
sons
sur
des
canaux
MIDI
différents).
Aucun
des
instruments
Logic
Express
fournis
n’est
multitimbral.
 Sortie
:
sélectionnez
la
sortie
ou
la
paire
de
sorties
souhaitée.
Chapitre
9
Utilisation
des
pistes 207
Transfert d’un réglage de bande de canal vers une nouvelle piste
Vous
pouvez
créer
une
piste
utilisant
l’assignation
à
la
même
bande
de
canal
et
les
mêmes
réglages
que
la
piste
sélectionnée.
De
cette
manière,
vous
pouvez
créer
facilement
et
rapidement
la
copie
d’une
piste
et
d’une
bande
de
canal
existantes,
sans
avoir
à
recopier
les
données
dans
la
nouvelle
piste.
Pour
transférer
l’assignation
du
canal
à
une
nouvelle
piste
:
1 Sélectionnez
la
piste
source
(celle
dont
la
bande
de
canal
et
les
réglages
correspondent
à
ce
que
vous
souhaitez
dupliquer).
2 Effectuez
l’une
des
opérations
suivantes
:
 Dans
la
zone
Arrangement,
sélectionnez
Piste
>
Nouvelle
avec
les
même
réglages.
 Cliquez
sur
le
bouton
Dupliquer
la
piste,
situé
au-dessus
de
la
liste
des
pistes
dans
la
zone
Arrangement.
Logic
Express
crée,
directement
sous
la
piste
source,
la
nouvelle
piste
qui
utilise
les
mêmes
réglages
et
assignations
de
canaux.
Les
données
éventuellement
présentes
sur
la
piste
ne
sont
pas
dupliquées.
Si
vous
souhaitez
copier
une
piste,
y
compris
ses
données,
mais
non
sa
bande
de
canal,
consultez
la
rubrique
«
Copie
de
pistes
et
déplacement
de
régions
»
à
la
page
209.
Π Conseil
:
vous
pouvez
double-cliquer
sur
l’espace
vide
situé
en
dessous
de
l’en-tête
de
piste
de
la
dernière
piste,
afin
de
créer
une
nouvelle
piste.
Elle
sera
du
même
type
que
la
piste
sélectionnée.
Création de pistes par l’ajout de boucles Apple Loops
Vous
pouvez
aussi
créer
des
pistes
en
faisant
glisser
des
boucles
Apple
Loops
directement
depuis
le
navigateur
de
boucles
jusque
dans
une
zone
vide
de
la
fenêtre
Arrangement.
Une
piste
ainsi
que
la
bande
de
canal
correspondante
sont
automatiquement
créées
et
une
boucle
Apple
Loops
se
charge.
Pour
en
savoir
plus
sur
l’ajout
de
boucles
Apple
Loops,
consultez
la
rubrique
«
Recherche
de
boucles
Apple
Loops
dans
le
navigateur
de
boucles
»
à
la
page
290.
Création de pistes par l’ajout de fichiers audio
Vous
pouvez
aussi
créer
des
pistes
en
faisant
glisser
des
fichiers
audio
depuis
le
navigateur
multimédia
jusque
dans
une
zone
vide
de
l’arrangement.
Une
piste
ainsi
que
la
bande
de
canal
correspondante
sont
automatiquement
créées
et
une
région
(de
la
longueur
totale
du
fichier
audio)
s’ajoute
à
la
nouvelle
piste
de
l’arrangement.
Le
fichier
audio
est
également
ajouté
automatiquement
dans
le
chutier
audio
(de
même
que
la
région
correspondante).
208 Chapitre
9
Utilisation
des
pistes
Commandes
de
création
de
pistes
Les
commandes
et
méthodes
présentées
dans
cette
rubrique
permettent
uniquement
de
créer
des
pistes.
La
bande
de
canal
active
sert
de
cible
pour
la
nouvelle
piste.
Création d’une piste avec la même assignation de canal
Dans
certains
cas,
il
est
préférable
de
disposer
de
plusieurs
copies
d’une
même
piste
utilisant
toutes
le
même
canal
dans
la
table
de
mixage.
Par
exemple
:
vous
cherchez
à
créer
plusieurs
pistes
pour
un
même
instrument
logiciel,
tel
que
l’EXS24
mkII,
avec
une
batterie
chargée
en
mémoire.
Chaque
piste
peut
contenir
des
régions
MIDI
qui
déclenchent
des
sons
de
batterie
distincts
(grosse
caisse,
caisse
claire,
cymbale
charleston,
etc.).
Le
fait
de
disposer
d’une
piste
particulière
pour
chaque
son
permet
de
jouer
en
solo
ou
couper
certains
sons
de
la
batterie.
Π Conseil
:
utilisez
une
version
de
l’EXS24
mkII
prévoyant
des
sorties
différentes
si
vous
voulez
traiter
individuellement
les
sons
de
la
batterie
avec
des
effets
distincts.
Pour
créer
une
piste
avec
la
même
assignation
d’instrument
ou
de
bande
de
canal
:
1 Sélectionnez
la
piste
à
copier.
2 Effectuez
l’une
des
opérations
suivantes
:
 Choisissez
la
commande
Piste
>
Nouvelle
piste
avec
le
même
instrument/bande
de
canal
(raccourci
clavier
par
défaut
:
Contrôle
+
Retour)
pour
créer
une
piste
sous
la
piste
sélectionnée.
 Utilisez
le
raccourci
clavier
«
Ajouter
la
piste
à
la
liste
»
pour
créer
une
nouvelle
piste
en
bas
de
la
liste
des
pistes.
Création d’une piste avec l’assignation de canal suivante
La
commande
Piste
>
«
Nouvelle
avec
le
canal
MIDI
suivant
»
(raccourci
clavier
par
défaut
:
Maj
+
Contrôle
+
Retour)
crée
un
piste
sous
la
piste
sélectionnée
et
lui
assigne
le
canal
MIDI
ou
instrumental
suivant.
Si
le
canal
MIDI
de
la
piste
sélectionnée
correspond
au
canal
16,
le
premier
canal
est
réutilisé.
Cette
commande
n’est
pas
disponible
si
des
pistes
audio
(ou
des
pistes
sans
paramètre
de
canal
MIDI,
comme
les
pistes
assignées
aux
canaux
auxiliaires)
sont
sélectionnées.
Création de pistes avec le canal MIDI/la bande de canal suivant(e)
La
commande
Piste
>
Nouvelle
avec
l’instrument/bande
de
canal
suivant(e)
permet
de
créer
une
nouvelle
piste,
ou
une
nouvelle
piste
et
une
nouvelle
bande
de
canal.
La
commande
se
comporte
différemment
en
fonction
du
type
de
piste
sélectionné
:
 Si
la
piste
sélectionnée
est
une
piste
d’instrument
logiciel
ou
audio
:
la
commande
crée
une
nouvelle
piste
sous
la
piste
sélectionnée,
et
lui
assigne
la
bande
de
canal
suivante.
Si
aucune
bande
de
canal
n’existe,
elle
est
automatiquement
créée.
Chapitre
9
Utilisation
des
pistes 209
 Si
la
piste
sélectionnée
est
une
piste
MIDI
:
l’utilisation
de
cette
commande
revient
à
sélectionner
Piste
>
Nouvelle
avec
le
canal
MIDI
suivant
:
une
nouvelle
piste
est
créée
et
assignée
au
canal
MIDI
suivant.
Copie de pistes et déplacement de régions
Maintenez
la
touche
Option
enfoncée
tout
en
déplaçant
verticalement
une
piste
(en
faisant
glisser
le
numéro
de
la
piste)
afin
de
créer
une
copie
de
la
piste
à
l’emplacement
voulu.
Toutes
les
régions
sélectionnées
sur
la
piste
source
sont
déplacées
vers
la
nouvelle
piste.
Remarque
:
si
vous
maintenez
la
touche
Option
enfoncée
avant
de
cliquer
sur
le
numéro
de
piste,
aucune
autre
région
de
la
piste
n’est
sélectionnée.
Si
aucune
région
n’est
sélectionnée
au
préalable,
une
piste
vide
(assignée
au
même
canal
que
la
piste
initiale)
est
alors
créée
à
l’emplacement
voulu.
Si
la
fonction
Lecture
en
boucle
est
activée,
toutes
les
régions
du
cycle
sont
déplacées
de
l’ancienne
piste
vers
la
nouvelle.
Le
résultat
sonore
reste
le
même
:
la
nouvelle
piste
étant
une
copie,
elle
hérite
du
réglage
de
la
sortie
relative
à
la
bande
de
canal
de
la
piste
source.
Ainsi,
une
seule
bande
de
canal
est
utilisée
pour
plusieurs
pistes.
Vous
pouvez
donc
jouer
certaines
parties
en
double
piste
pour
les
renforcer.
En
outre,
cela
facilite
et
accélère
certaines
tâches
telles
que
la
création
de
voix
à
l’unisson
(c’est-à-dire
différant
d’une
octave
entre
deux
pistes)
pour
les
pistes
d’instruments
logiciels
ou
MIDI.
Pour
ce
faire,
en
maintenant
la
touche
Option
enfoncée,
faites
glisser
les
régions
de
la
piste
de
destination
pour
les
répliquer/restaurer
sur
la
piste
source.
Remarque
:
si
vous
modifiez
le
volume
(ou
d’autres
paramètres)
de
la
bande
du
canal,
indépendamment
de
la
piste
choisie,
toutes
les
pistes
dirigées
vers
cette
bande
sont
affectées
par
les
changements.
Création de pistes pour les régions superposées
La
fonction
Piste
>
«
Nouvelle
pour
les
régions
superposées
»
crée
des
pistes
pour
les
régions
totalement
ou
partiellement
superposées.
Les
régions
sont
alors
réparties
entre
les
pistes
créées.
Le
nombre
de
nouvelles
pistes
est
égal
au
nombre
de
superpositions.
Toutes
les
pistes
sont
dotées
de
la
même
assignation
de
canal
que
la
piste
d’origine.
Comme
présenté
précédemment,
une
seule
bande
de
canal
est
utilisée
pour
toutes
les
pistes.
210 Chapitre
9
Utilisation
des
pistes
Création de pistes pour les régions sélectionnées
La
fonction
Piste
>
«
Nouvelle
pour
les
régions
sélectionnées
»
crée
une
piste
destinée
aux
régions
sélectionnées
dans
la
piste
initiale.
Les
régions
sélectionnées
sont
déplacées
vers
la
nouvelle
piste,
disparaissant
ainsi
de
la
piste
source.
Toutes
les
nouvelles
pistes
utilisent
la
même
assignation
de
canal
que
la
piste
d’origine.
Si
vous
utilisez
cette
commande
alors
que
plusieurs
régions
sont
sélectionnées
entre
diverses
pistes,
une
piste
est
créée
pour
chaque
piste
source.
Par
exemple
:
 Deux
régions
sont
sélectionnées
sur
la
piste
A,
une
région
sur
la
piste
B
et
quatre
régions
sur
la
piste
C.
 Suite
à
l’utilisation
de
la
commande
relative
aux
régions
sélectionnées,
les
deux
régions
de
la
piste
A
sont
déplacées
vers
la
nouvelle
piste
«
copie
de
A
»,
la
région
de
la
piste
B
est
déplacée
vers
«
copie
de
B
»
et
les
quatre
régions
de
la
piste
C
vers
«
copie
de
C
».
 Si
vous
souhaitez
créer
des
pistes
distinctes
pour
les
deux
régions
de
la
piste
A
(désormais
situées
sur
la
copie
de
A),
sélectionnez
simplement
la
copie
de
A
:
l’ensemble
des
régions
de
cette
piste
sont
alors
automatiquement
sélectionnées
et
vous
pouvez
à
nouveau
exécuter
la
commande.
Suppression de pistes
Si
vous
supprimez
une
piste,
la
bande
de
canal
associée
est
également
supprimée
et
ne
figure
plus
dans
la
table
de
mixage
(à
moins
qu’elle
soit
assignée
à
une
piste
en
cours
d’utilisation).
Pour
supprimer
une
piste,
effectuez
l’une
des
opérations
suivantes
:
m Sélectionnez
la
piste,
puis
choisissez
Piste
>
Supprimer.
Π Conseil
:
si
aucune
région
n’est
sélectionnée
dans
la
zone
Arrangement,
vous
pouvez
supprimer
la
piste
sélectionnée
en
appuyant
sur
la
touche
Retour
arrière.
m Supprimez
la
piste
en
la
faisant
glisser
vers
la
gauche,
en
dehors
de
la
liste.
Pour
supprimer
toutes
les
pistes
ne
comportant
aucune
région
:
m Dans
la
zone
Arrangement,
sélectionnez
Piste
>
«
Supprimer
les
pistes
inutilisées
».
Chapitre
9
Utilisation
des
pistes 211
Sélection de pistes
Vous
pouvez
sélectionner
une
piste
en
cliquant
sur
son
nom
ou
son
icône
dans
la
liste
des
pistes.
Cette
opération
sélectionne
toutes
les
régions
de
la
piste
(ou
celles
qui
figurent
dans
la
boucle
définie,
si
le
mode
Lecture
en
boucle
est
activé).
Π Conseil
:
si
vous
cliquez
sur
une
piste
en
maintenant
la
touche
Option
enfoncée,
cette
piste
est
sélectionnée
sans
que
la
sélection
des
régions
déjà
établie
soit
perturbée
(pour
la
piste
choisie
ou
les
autres).
Vous
pouvez
également
utiliser
les
deux
raccourcis
clavier
suivants
pour
sélectionner
la
piste
située
au-dessus
ou
en
dessous
de
la
piste
active
dans
la
liste
des
pistes
:
 Sélection
de
la
piste
suivante
(touche
affectée
par
défaut
:
flèche
vers
le
haut)
 Sélection
de
la
piste
précédente
(touche
affectée
par
défaut
:
flèche
vers
le
bas)
Réorganisation des pistes
Il
est
possible
de
changer
l’ordre
des
pistes
dans
la
liste
afin,
par
exemple,
de
regrouper
visuellement
des
pistes
en
relation
(les
parties
issues
de
la
rubrique
des
cordes
ou
celles
des
percussions,
notamment).
Pour
changer
la
place
qu’occupe
une
piste
dans
la
liste
:
m Passez
le
pointeur
de
la
souris
sur
le
numéro
de
la
piste.
Lorsque
le
pointeur
représente
une
main,
cliquez
sur
le
numéro
et
faites-le
glisser
verticalement
dans
la
liste
des
pistes.
Relâchez
le
bouton
de
la
souris
une
fois
la
piste
placée
à
l’endroit
souhaité.
Le
cas
échéant,
les
pistes
suivantes
se
décalent
vers
le
bas.
Vous
pouvez
également
réorganiser
les
pistes
à
l’aide
des
commandes
suivantes
figurant
dans
le
menu
Piste
>
«
Trier
les
pistes
par
»
:
 Canal
MIDI
 Canal
audio
 Canal
de
sortie
 Nom
d’instrument
 Nom
de
piste
212 Chapitre
9
Utilisation
des
pistes
Attribution de noms à des pistes
Dans
la
zone
de
dialogue
Configuration
de
piste,
vous
pouvez
déterminer
lequel
des
noms
suivants
s’affiche
dans
l’en-tête
de
piste
:
 Nom
de
piste
:
cette
option
permet
d’entrer
manuellement
le
nom
d’une
piste
dans
la
liste
des
pistes.
 Nom
du
réglage
de
bande
de
canal
 Nom
du
réglage
d’instrument
logiciel
 Nom
de
bande
de
canal
 Numéro
et
type
de
bande
de
canal
 Nom
de
piste
automatique
:
cette
option
(par
défaut)
nomme
la
piste
judicieusement,
selon
les
actions
utilisateur
et
l’ordre
suivants
:
 Si
vous
saisissez
le
nom
d’une
piste
manuellement,
c’est
ce
nom
qui
s’affiche.
 Si
vous
avez
chargé
un
réglage
de
bande
de
canal
ou
un
instrument
logiciel,
le
nom
de
ce
réglage
ou
instrument
est
celui
affiché.
 Si
vous
n’avez
effectué
aucune
des
actions
ci-dessus,
c’est
alors
le
nom
de
la
bande
de
canal
qui
est
affiché.
Pour
indiquer
le
nom
des
pistes
que
vous
souhaitez
visualiser
:
1 Ouvrez
la
zone
de
dialogue
Configuration
de
piste
en
effectuant
l’une
des
méthodes
ci-dessous
:
 Dans
la
zone
Arrangement,
sélectionnez
Présentation
>
«
Configurer
l’en-tête
de
piste
».
 Cliquez
sur
une
en-tête
dans
la
liste
des
pistes
tout
en
maintenant
la
touche
Contrôle
enfoncée,
puis
sélectionnez
«
Configurer
l’en-tête
de
piste
»
dans
le
menu
local.
2 Sélectionnez
l’option
souhaitée
du
nom
de
piste
dans
le
premier
menu
local.
3 Cochez
la
case
du
second
menu
local
pour
visualiser
deux
possibilités
pour
le
nom
de
la
piste,
puis
choisissez
l’option
qui
vous
convient.
L’option
choisie
dans
le
premier
menu
local
s’affiche
à
gauche
si
les
deux
noms
sont
repris
(séparés
par
un
trait).
Vous
pouvez
déplacer
le
trait
de
séparation
en
faisant
glisser
sa
marque
correspondante
au-dessus
de
la
liste
des
pistes.
Chapitre
9
Utilisation
des
pistes 213
Pour
créer
le
nom
d’une
piste
:
m Sélectionnez
Piste
>
«
Créer
le
nom
d’une
piste
»,
puis
tapez
le
nom
dans
le
champ
de
texte
qui
s’affiche.
m Si
le
nom
de
la
piste
est
déjà
visible
dans
l’en-tête
de
la
piste
:
double-cliquez
sur
le
nom
de
la
bande
de
canal
repris
dans
la
liste
des
pistes,
puis
tapez
le
nom
dans
le
champ
de
texte
qui
s’affiche.
Le
nouveau
nom
de
la
piste
remplace
celui
de
la
bande
de
canal.
Il
est
utilisé
a
posteriori
comme
nom
par
défaut
pour
les
nouvelles
régions
enregistrées.
Le
nom
de
la
bande
de
canal
(vers
laquelle
la
piste
sélectionnée
est
associée)
figure
également
dans
la
zone
Paramètre
de
piste
de
l’Inspecteur.
Vous
pouvez
renommer
la
bande
de
canal
en
cliquant
sur
son
nom.
Pour
supprimer
le
nom
d’une
piste,
effectuez
l’une
des
opérations
suivantes
:
m Sélectionnez
Piste
>
«
Supprimer
le
nom
de
piste
».
m Double-cliquez
sur
le
nom
de
la
piste
pour
ouvrir
sa
zone
de
texte
et
appuyez
sur
Retour
arrière
pour
supprimer
le
nom.
Le
nom
de
la
bande
de
canal
de
la
piste
(audio
ou
instrumentale)
est
alors
utilisé
comme
nom
par
défaut
dans
la
liste
des
pistes
(et
pour
les
nouvelles
régions
enregistrées).
Important
:
l’option
NomAuto
doit
être
sélectionnée
dans
l’en-tête
de
configuration
de
la
piste
pour
que
la
fonction
fonctionne.
Nom
de
bande
de
canal
214 Chapitre
9
Utilisation
des
pistes
Assignation de pistes aux canaux
En
général,
vous
serez
amené
à
créer
des
pistes
pour
enregistrer
ou
lire
toute
nouvelle
région.
Les
bandes
de
canaux
correspondantes
sont
alors
automatiquement
créées
dans
la
table
de
mixage.
Dans
certains
cas
toutefois,
vous
pourriez
être
amené
à
réassigner
une
piste
existante
à
une
autre
bande
de
canal.
Par
exemple,
vous
pouvez
réassigner
la
sortie
d’une
piste
d’instruments
logiciels
vers
une
autre
bande
de
canal
instrumentale.
Les
régions
MIDI
de
la
piste
sont
alors
lues
via
le
module
d’instruments
logiciels
de
la
seconde
bande
de
canal.
Pour
réassigner
une
piste
à
une
bande
de
canal
spécifique
:
m Cliquez,
en
maintenant
la
touche
Contrôle
enfoncée,
sur
le
nom
ou
l’icône
de
la
piste
concernée
et
choisissez
la
destination
de
la
piste
dans
le
menu
hiérarchisé
Réassignation
piste/objet.
 Si
vous
souhaitez
utiliser
une
piste
pour
l’enregistrement
ou
la
lecture
d’une
région
audio,
sélectionnez
Audio
>
«
Bande
de
canal
de
piste
audio
»
comme
destination
de
la
piste.
 Si
vous
souhaitez
utiliser
une
piste
pour
l’enregistrement
ou
la
lecture
d’une
région
MIDI
(via
un
instrument
logiciel),
sélectionnez
Audio
>
«
Bande
de
canal
instrumental
»
comme
destination
de
la
piste.
Chapitre
9
Utilisation
des
pistes 215
 Si
vous
souhaitez
utiliser
une
piste
pour
l’enregistrement
ou
la
lecture
d’une
région
MIDI
(via
un
générateur
de
sons
MIDI),
sélectionnez
Instr.
MIDI
>
«
Bande
de
canal
du
modèle/nom
d’instrument
»
comme
destination
de
la
piste.
Pour
réassigner
de
manière
globale
plusieurs
pistes
partageant
une
même
bande
de
canal
de
destination
:
m Maintenez
la
touche
Option
enfoncée
tout
en
réassignant
une
bande
de
canal
de
piste,
puis
confirmez
l’opération
en
cliquant
sur
le
bouton
«
Réassigner
toutes
les
pistes
»
dans
la
zone
de
dialogue.
La
nouvelle
destination
de
piste
(bande
de
canal
réassignée)
est
alors
utilisée
par
toutes
les
pistes
partageant
la
même
destination
de
départ
dans
le
projet
actif
(y
compris
les
pistes
incluses
dans
des
dossiers).
Par
exemple
:
 Les
pistes
1
à
4
sont
assignées
au
canal
instrumental
6.
 Tout
en
maintenant
enfoncée
la
touche
Option,
réassignez
l’une
de
ces
pistes
au
canal
d’instrument
15.
 Les
pistes
1
à
4
sont
alors
réassignées
au
canal
instrumental
15.
Assignation
de
pistes
aux
objets
d’environnement
Il
n’est
pas
nécessaire,
à
proprement
parlé,
que
les
pistes
soient
redirigées
vers
une
bande
de
canal
audio
ou
instrumental
puisque
vous
pouvez
assigner
tout
objet
d’environnement
en
tant
que
destination
de
piste.
Les
données
de
piste
peuvent,
en
théorie,
être
envoyées
vers
un
curseur
ou
directement
vers
un
port
MIDI,
entre
autres.
Les
objets
d’environnement
sont
des
représentations
logicielles
d’éléments
particuliers
pour
le
traitement
des
données.
Parmi
les
divers
objets
Environnement,
figurent
les
arpégiateurs,
les
potentiomètres,
les
curseurs,
les
mémoriseurs
d’accord,
les
séparateurs
de
canaux,
etc.
Ces
différents
objets
peuvent
être
connectés
entre
eux,
à
l’aide
de
câbles
virtuels.
Le
résultat
final
du
câblage
de
plusieurs
objets
est
le
traitement
et
la
manipulation
en
temps
réel
de
données
MIDI
(et
de
certaines
données
audio).
Cela
peut
aller
d’une
tâche
aussi
simple
que
le
contrôle
du
volume
d’un
synthétiseur
MIDI
à
l’aide
d’un
curseur
jusqu’à
une
tâche
aussi
complexe
que
l’utilisation
d’un
générateur
de
rythmes
ou
d’un
séquenceur
pas
à
pas,
lequel
existe
en
tant
que
machine
virtuelle
dans
l’environnement.
Cette
machine
peut
être
activée
dès
qu’elle
est
requise.
(Pour
en
savoir
plus,
consultez
la
rubrique
chapitre
38,
«
Utilisation
de
l’Environnement
»
à
la
page
941.)
Évidemment,
les
signaux
audio
ne
seraient
pas
compris
par
un
module
de
son
MIDI
;
il
est
donc
inutile
d’acheminer
une
piste
contenant
des
régions
audio
à
une
bande
de
canal
instrumental,
et
inversement.
216 Chapitre
9
Utilisation
des
pistes
Destinations
particulières
Outre
les
bandes
de
canaux
normales,
il
existe
deux
autres
destinations
de
sortie
possibles
pour
les
pistes
:
 Aucune
sortie
:
les
pistes
ainsi
sans
assignation
n’envoient
aucune
donnée.
Cette
option
permet
notamment
de
stocker
des
données
(par
exemple,
SysEx)
que
vous
ne
souhaitez
pas
envoyer
via
Logic
Express.
 Dossier
:
vous
pouvez
utiliser
ce
réglage
pour
que
la
piste
joue
une
région
de
dossier
particulière
(voir
«
Utilisation
des
dossiers
»
à
la
page
381).
Les
régions
normales
ne
sont
pas
jouées
sur
une
piste
configurée
pour
la
lecture
de
dossier.
Zoom sur des pistes particulières
Il
est
possible
de
zoomer
sur
chaque
piste
de
la
zone
Arrangement,
avec
ou
sans
les
outils
Zoom
généraux
(et
l’outil
de
zoom
de
forme
d’onde)
de
la
fenêtre.
Un
réglage
de
zoom
par
défaut
pour
les
pistes
est
sélectionné
automatiquement
à
la
première
ouverture
de
la
fenêtre.
Cela
permet
d’obtenir
un
bon
compromis
entre
visibilité
du
texte
et
des
régions,
et
espace
de
travail
dans
la
zone
Arrangement.
Pour
effectuer
un
zoom
avant
ou
arrière
sur
une
piste
:
1 Placez
le
pointeur
de
la
souris
sur
le
coin
inférieur
gauche
de
la
piste.
Le
pointeur
prend
alors
la
forme
de
l’index
d’une
main.
2 Cliquez
puis
faites
glisser
cet
index
pour
effectuer
un
zoom
avant
ou
arrière
sur
la
piste.
Le
facteur
zoom
sur
la
piste,
comparé
au
niveau
de
zoom
général
de
la
fenêtre,
s’affiche
dans
une
bulle
d’aide
si
vous
maintenez
le
bouton
de
la
souris
enfoncé.
Π Conseil
:
vous
pouvez
zoomer
simultanément
sur
toutes
les
pistes
audio
ou
MIDI
de
votre
projet
en
appuyant
sur
la
touche
Commande
tout
en
zoomant.
Si
vous
appuyez
sur
Maj
pendant
que
vous
zoomez,
toutes
les
pistes
s’affichent
de
nouveau
avec
le
niveau
de
zoom
par
défaut.
Chapitre
9
Utilisation
des
pistes 217
Zoom
automatique
sur
la
piste
sélectionnée
Vous
pouvez
utiliser
le
réglage
Présentation
>
«
Zoom
automatique
sur
piste
»
(également
accessible
via
son
raccourci
clavier)
pour
augmenter
automatiquement
la
taille
de
la
piste
actuellement
sélectionnée.
Utilisez
la
technique
décrite
précédemment
pour
définir
le
niveau
de
zoom
souhaité
pour
la
piste.
Toute
piste
sélectionnée
ultérieurement
sera
automatiquement
affichée
avec
ce
niveau
de
zoom.
Zoom
sur
les
pistes
à
l’aide
de
raccourcis
clavier
Vous
pouvez
assigner,
puis
utiliser,
les
raccourcis
clavier
suivants
pour
zoomer
sur
les
pistes
:
 «
Zoom
avant
sur
une
piste
»
et
«
Zoom
arrière
sur
une
piste
»
:
permet
d’augmenter
ou
de
diminuer
d’une
unité
le
facteur
de
zoom
sur
la
piste
sélectionnée.
 «
Permuter
le
niveau
de
zoom
»
:
permet
de
passer
du
niveau
de
zoom
de
la
piste
à
celui
de
la
fenêtre
pour
l’affichage
de
la
piste
sélectionnée,
ce
qui
peut
s’avérer
utile
pour
effectuer
un
zoom
avant
sur
une
piste
en
vue
de
modifier
ses
données
d’automation.
Une
fois
la
modification
terminée,
utilisez
le
raccourci
clavier
«
Permuter
le
niveau
de
zoom
»
pour
revenir
au
niveau
de
zoom
initial.
 «
Réinitialiser
le
niveau
de
zoom
d’une
piste
»
:
rétablit
le
niveau
de
zoom
de
la
fenêtre
pour
la
piste
sélectionnée.
 «
Réinitialiser
le
niveau
de
zoom
de
chaque
piste
»
:
rétablit
le
niveau
de
zoom
de
la
fenêtre
pour
toutes
les
pistes
zoomées.
Assignation d’icônes à des pistes
Logic
Express
offre
des
icônes
de
haute
résolution
(128
x
128
pixels
ou
moins)
pour
représenter
les
pistes,
qui
sont
redimensionnables
et
peuvent
être
définies
par
l’utilisateur.
Pour
assigner
une
icône
à
une
piste
:
m Cliquez
sur
une
icône
de
piste
dans
l’en-tête
ou
dans
la
zone
Paramètres
de
piste
et
maintenez
le
bouton
de
la
souris
enfoncé,
puis
choisissez
l’icône
souhaitée
dans
le
menu.
218 Chapitre
9
Utilisation
des
pistes
Remarque
:
la
case
Icônes
de
piste
doit
être
cochée
dans
la
zone
de
dialogue
«
Configuration
de
l’en-tête
de
piste
»
pour
que
les
icônes
soient
visibles.
Cochez
la
case
Autoriser
les
grandes
icônes
pour
afficher
des
icônes
de
piste
de
grande
taille.
Les
grandes
icônes
sont
automatiquement
redimensionnées
et
repositionnées
lorsque
vous
zoomez
sur
une
piste.
Création
de
vos
propres
icônes
Vous
pouvez
créer
vos
propres
icônes
de
piste.
Les
icônes
crées
par
l’utilisateur
sont
enregistrées
dans
le
répertoire
suivant
:
~/Bibliothèque/Application
Support/Logic/
Images/Icons.
Ces
icônes
doivent
présenter
les
attributs
suivants
:
 Taille
de
128
x
128
pixels
 Canal
alpha
pour
la
transparence
 Enregistrement
au
format
portable
network
graphics
(extension
.png)
 Nom
de
fichier
débutant
par
un
numéro
à
trois
chiffres
Remarque
:
si
ce
numéro
est
identique
à
celui
d’une
des
icônes
Logic
Express
fournies,
l’icône
figurant
dans
le
dossier
utilisateur
est
prioritaire.
Vous
pouvez,
en
outre,
remplacer
directement
les
icônes
Logic
Express
fournies
et
figurant
dans
le
répertoire
/Contents/Resources/Images
du
paquet
Logic
Express.
Pour
ouvrir
le
paquet
Logic
Express
:
m Cliquez
avec
le
bouton
droit
de
la
souris
sur
l’icône
Logic
Express
dans
le
Finder
et
sélectionnez
l’élément
«
Afficher
le
contenu
du
paquet
»
dans
le
menu
local.
Désactivation du son des pistes
Le
bouton
Muet
d’une
piste
permet
d’en
arrêter
la
lecture.
Dans
la
fenêtre
«
Configuration
de
l’en-tête
de
piste
»,
vous
déterminez
si
les
boutons
Muet
sont
affichés
ou
masqués.
Les
sons
des
pistes
et
des
bandes
de
canaux
peuvent
être
désactivés
indépendamment,
en
utilisant
les
boutons
Muet
(M)
respectifs
dans
l’en-tête
de
piste
ou
la
bande
de
canal
correspondante
(Arrangement
ou
Table
de
mixage).
Chapitre
9
Utilisation
des
pistes 219
Le
comportement
de
ces
boutons
est
défini
par
le
réglage
«
Muet/Solo
pour
piste
»
choisi
dans
l’onglet
Logic
Express
>
Préférences
>
Audio
>
Général
:
 Rapide
(bandes
de
canaux
distantes)
:
lorsque
vous
cliquez
sur
le
bouton
Muet
d’une
bande
de
canal,
l’état
du
bouton
de
piste
associé
se
modifie
en
conséquence.
 Non
intensive
(réaction
lente)
:
utile
si
vous
préférez
limiter
l’utilisation
des
ressources
de
traitement
;
les
boutons
Muet
associés
aux
pistes
sont
alors
dissociés
des
bandes
de
canaux
correspondantes.
Remarque
:
les
états
Muet
des
différentes
pistes
acheminées
vers
la
même
bande
de
canal
sont
liés
:
si
vous
coupez
le
son
de
la
bande
de
canal,
toutes
les
pistes
associées
seront
muettes.
Désactivation
du
son
quand
les
boutons
Muet
sont
masqués
Même
si
les
boutons
Muet
sont
masqués
(par
exemple
pour
économiser
de
l’espace),
vous
pouvez
toujours
couper
le
son
d’une
piste
en
cliquant
à
gauche
de
son
numéro.
En
effet,
si
vous
déplacez
votre
souris
sur
la
gauche
de
la
liste
des
pistes,
en
regard
du
numéro
de
la
piste
concernée,
le
pointeur
prend
la
forme
d’une
main
et,
d’un
clic
rapide,
vous
pouvez
rendre
couper
le
son
de
la
piste
(ou
le
rétablir,
si
elle
était
déjà
muette).
Les
pistes
muettes
sont
signalées
par
une
puce
en
regard
de
leur
nom.
Vous
pouvez
également
utiliser
le
raccourci
clavier
Muet/Son
pour
la
piste
(par
défaut
:
Contrôle
+
M)
pour
couper
le
son
d’une
piste.
Désactivation
du
son
de
plusieurs
pistes
Si
vous
cliquez
sur
un
bouton
Muet
tout
en
maintenant
la
touche
Commande
enfoncée,
tous
les
boutons
Muet
ayant
le
même
état
(son
activé
ou
désactivé)
que
le
bouton
sur
lequel
vous
avez
cliqué
changent
également
d’état.
Par
exemple
:
si
vous
cliquez
sur
un
bouton
Muet
activé,
non
seulement
le
son
de
cette
piste
est
coupé,
mais
aussi
celui
de
toutes
les
autres
pistes
pour
lesquelles
le
son
était
activé
jusqu’alors.
Il
est
également
possible
d’utiliser
le
raccourci
clavier
Muet
pour
toutes
les
pistes
du
dossier.
220 Chapitre
9
Utilisation
des
pistes
Désactivation
du
son
de
plusieurs
pistes
utilisant
la
même
bande
de
canal
de
destination
Si
vous
coupez
le
son
d’une
piste
tout
en
maintenant
les
touches
Commande
et
Option
enfoncées,
toutes
les
pistes
assignées
à
la
même
bande
de
canal
de
destination
(y
compris
celles
incluses
dans
des
dossiers)
voient
leur
son
désactivé.
Vous
pouvez,
par
ailleurs,
utiliser
le
raccourci
clavier
«
Muet/Son
pour
toutes
les
pistes
utilisant
le
même
instrument
».
Il
est
également
possible
de
cliquer
sur
le
bouton
Muet
d’une
piste
et,
en
maintenant
le
bouton
de
la
souris
enfoncé,
de
déplacer
la
souris
verticalement.
Tous
les
boutons
Muet
des
pistes
ainsi
sélectionnés
passent
au
même
état.
Écoute en solo de pistes
Les
pistes
(ainsi
que
les
dossiers)
MIDI
et
audio
incluent
des
boutons
Solo.
Écouter
une
piste
en
solo
permet
d’isoler
sa
lecture
et
de
couper
par
là
même
le
son
des
autres
pistes.
Dans
la
fenêtre
«
Configuration
de
l’en-tête
de
piste
»,
vous
pouvez
masquer
ou
afficher
les
boutons
Solo
des
pistes.
Dans
la
pratique,
il
peut
s’avérer
utile
en
musique
d’écouter
plusieurs
pistes
à
part
(les
parties
de
basse
ou
de
batterie,
par
exemple)
pour
faciliter
l’adaptation
avec
d’autres
morceaux.
Connexion
des
boutons
Solo
d’une
piste
et
Solo
d’une
bande
de
canal
Les
états
Solo
sur
les
pistes
et
les
bandes
de
canaux
peuvent
fonctionner
indépendamment,
en
utilisant
les
boutons
S
respectifs
dans
l’en-tête
de
piste
ou
la
bande
de
canal
correspondante
(de
l’arrangement
ou
de
la
table
de
mixage).
Le
comportement
de
ces
boutons
est
défini
par
le
réglage
«
Muet/Solo
pour
la
piste
»
choisi
dans
l’onglet
Logic
Express
>
Préférences
>
Audio
>
Général
:
 Rapide
(bandes
de
canaux
distantes)
:
lorsque
vous
cliquez
sur
le
bouton
Solo
d’une
bande
de
canal,
l’état
du
bouton
de
piste
associé
se
modifie
en
conséquence.
 Non
intensive
(réaction
lente)
:
choisissez
cette
option
si
vous
souhaitez
économiser
les
ressources
de
traitement
et
rompre
le
lien
entre
les
boutons
Solo
associés
aux
pistes
et
les
bandes
de
canaux
correspondantes.
Remarque
:
les
états
Solo
des
différentes
pistes
acheminées
vers
une
même
bande
de
canal
sont
liés
:
si
vous
activez
la
lecture
solo
pour
la
bande
de
canal,
cela
s’applique
à
toutes
les
pistes
associées.
Chapitre
9
Utilisation
des
pistes 221
Activation
de
la
lecture
solo
des
pistes
en
mode
Non
intensive
Si
la
préférence
«
Muet/Solo
de
la
piste
»
est
définie
sur
Non
intensive
(réaction
lente),
l’activation
du
bouton
Solo
d’une
piste
quelconque
active
le
mode
Verrouillage
Solo
et
ajoute
toutes
les
régions
de
la
piste
en
question
au
groupe
Verrouillage
Solo.
(Le
mode
Verrouillage
Solo
verrouille
l’état
Solo
de
toutes
les
régions
sélectionnées.
Pour
obtenir
des
informations
détaillées
à
ce
sujet,
reportez-vous
à
la
section
«
Verrouillage
du
mode
Solo
»
à
la
page
337.)
Le
bouton
Solo
pour
le
transport
devient
jaune
et
s’orne
d’une
icône
en
forme
de
cadenas
indiquant
le
mode
Verrouillage
Solo.
En
désactivant
le
bouton
Solo
d’une
piste
donnée,
vous
supprimez
du
groupe
de
verrouillage
solo
toutes
les
régions
de
cette
piste.
De
plus,
dans
le
cas
où
aucun
autre
bouton
Solo
n’est
actif
au
niveau
piste,
cela
désactive
le
mode
Verrouillage
solo.
Si
vous
désactivez
le
bouton
(Verrouillage)
Solo
général
au
niveau
du
transport,
tous
les
boutons
Solo
des
différentes
pistes
sont
désactivés.
Écoute
en
solo
quand
le
bouton
Solo
est
masqué
sur
des
pistes
Même
si
le
bouton
Solo
est
masqué
sur
des
pistes
(par
exemple
pour
économiser
de
l’espace),
vous
pouvez
toujours
écouter
une
piste
en
solo
en
cliquant
sur
le
bouton
Solo
de
la
barre
de
transport.
Utilisez
simplement
le
bouton
Solo
situé
sur
la
barre
de
transport
et
cliquez
sur
la
piste
souhaitée.
Écoute
en
solo
de
plusieurs
pistes
Si,
alors
que
le
bouton
Solo
est
actif
sur
le
transport,
que
vous
maintenez
la
touche
Maj
enfoncée
et
que
cliquez
sur
le
nom
des
pistes
à
écouter,
vous
pouvez
jouer
les
différentes
pistes
en
solo
(même
si
le
bouton
Solo
est
masqué
au
niveau
des
pistes).
Si
vous
maintenez
une
touche
de
modification
enfoncée
(hormis
la
touche
Contrôle)
tout
en
cliquant
sur
un
bouton
Solo
dans
la
liste
des
pistes,
toutes
les
pistes
du
niveau
d’affichage
sélectionné
sont
lues
en
solo.
Si
les
pistes
étaient
déjà
en
cours
de
lecture
en
solo,
elles
ne
le
sont
plus.
Il
est
également
possible
de
cliquer
sur
le
bouton
Solo
d’une
piste
et,
en
maintenant
le
bouton
de
la
souris
enfoncé,
de
déplacer
la
souris
verticalement.
Tous
les
boutons
Solo
des
pistes
ainsi
sélectionnés
présentent
alors
le
même
état.
Activation de l’enregistrement de pistes
Vous
pouvez
utiliser
le
bouton
d’activation
pour
l’enregistrement
d’une
piste
pour
la
préparer
à
l’enregistrement.
Pour
en
savoir
plus
sur
l’activation
de
pistes
pour
l’enregistrement,
consultez
la
rubrique
chapitre
14,
«
Enregistrement
dans
Logic
Express
»
à
la
page
395.
222 Chapitre
9
Utilisation
des
pistes
Freeze des pistes
La
fonction
Freeze
permet
de
libérer
la
quasi
totalité
des
ressources
de
traitement
dédiées
au
calcul
pour
les
modules
d’effets
et
d’instruments
logiciels.
Vous
pouvez
effectuer
un
Freeze
chaque
piste
audio
ou
piste
d’instruments
logiciels
indépendamment.
À
propos
de
la
fonction
Freeze
Cette
fonction
effectue
un
bounce
déconnecté
en
interne
pour
chaque
piste
«
gelée
»
(faisant
l’objet
du
Freeze).
L’ensemble
des
modules
de
la
piste
(dont
les
modules
d’instruments
logiciels,
le
cas
échéant,
ainsi
que
toutes
les
données
d’automation
qui
s’y
rapportent)
sont
alors
rendus
sous
forme
de
«
fichier
de
Freeze
».
Tant
qu’une
piste
fait
l’objet
d’un
Freeze,
après
avoir
appliqué
le
processus
de
la
fonction,
le
fichier
de
Freeze
est
lu
à
la
place
de
la
piste
d’origine
(et
à
la
place
de
ses
modules,
gourmands
en
ressources
de
calcul).
La
piste
d’origine
et
ses
modules
sont
temporairement
désactivés.
Ils
n’utilisent
donc
plus
les
ressources.
Π Conseil
:
la
fonction
Freeze
fonctionne
également
avec
les
matériels
de
traitement
numérique
des
signaux
(DSP)
tels
que
les
appareils
PowerCore,
LiquidMix,
Duende
et
UAD,
notamment.
Vous
pouvez
ainsi
combiner
les
instruments
et
effets
Logic
Express
avec
ceux
fournis
par
votre
matériel
DSP,
même
si
la
capacité
de
traitement
de
votre
ordinateur
et/ou
du
matériel
DSP
est
dépassée.
La
fonction
Freeze
effectue
toujours
un
bounce
sur
la
totalité
du
signal
d’un
canal.
Ainsi,
si
vous
utilisez
plusieurs
pistes
pour
un
même
canal
audio
ou
instrumental
dans
l’arrangement,
toutes
ces
(sous-)pistes
font
l’objet
du
Freeze
et
ne
peuvent
plus
être
modifiées
séparément.
En
d’autres
termes,
la
bande
de
canal
est
gelée,
et
non
la
piste.
Critères
de
Freeze
d’une
piste
Dans
la
réalité,
la
fonction
Freeze
permet
d’effectuer
les
opérations
suivantes
:
 Utilisation
d’instruments
logiciels
ou
modules
d’effets
complémentaires
dans
des
pistes
audio
ou
instrumentales
supplémentaires,
dans
les
cas
où
cela
s’avère
généralement
impossible
car
la
puissance
de
traitement
de
votre
ordinateur
est
insuffisante.
 Lecture
de
projets
créés
sur
des
ordinateurs
dotés
d’une
puissance
de
calcul
supérieure.
La
conception
de
la
fonction
Freeze
permet
de
parer
aux
processus
gourmands
en
ressources,
lesquels
sont
généralement
repérés
de
la
manière
suivante
(du
plus
au
moins
demandeur)
:
 Instruments
logiciels
avec
une
architecture
vocale
complexe
 Modules
avec
une
structure
complexe
(réverbérations,
banques
de
filtres
ou
effets
FFT)
 Instruments
logiciels
avec
une
architecture
vocale
simple
 Échantillonneur
logiciel
où
un
filtre
est
activé
 Échantillonneur
logiciel
où
un
filtre
est
désactivé
 Modules
de
structure
simple
Chapitre
9
Utilisation
des
pistes 223
Si
votre
ordinateur
est
capable
de
calculer
tous
les
processus
actifs
en
temps
réel,
il
n’est
pas
nécessaire
d’appliquer
un
Freeze
aux
pistes.
Il
est
recommandé
d’utiliser
la
fonction
Freeze
si
votre
système
atteint
ses
capacités
de
traitement
ou
lorsque
plusieurs
pistes
existantes
utilisant
des
modules
d’effets
ou
d’instruments
logiciels
(consommant
énormément
de
ressources)
sont
finalisées
ou,
du
moins,
semblent
ne
plus
nécessiter
aucune
modification
pour
le
moment.
En
d’autres
termes,
si
le
mixage
est
terminé
voire
final.
Tant
qu’une
piste
fait
l’objet
du
Freeze,
l’utilisation
des
ressources
qui
lui
sont
allouées
se
limite
à
celle
d’une
piste
de
lecture
audio
de
haute
résolution,
sans
aucun
ajout
de
module
d’effets
;
et
ce,
quel
que
soit
le
nombre
de
modules
(ou
nécessités
de
traitement)
initialement
utilisés
sur
la
piste.
Procédure
de
Freeze
d’une
piste
Le
Freeze
d’une
piste
est
une
opération
particulièrement
simple.
Pour
ce
faire,
il
suffit
d’activer
le
bouton
Freeze.
Sur
ce
bouton
figure
une
icône
représentant
un
petit
cristal
de
glace
(blanc
lorsque
la
fonction
est
active).
Utilisez
la
fenêtre
«
Configuration
de
l’en-tête
de
piste
»
pour
afficher
ou
masquer
les
boutons
Freeze
sur
chaque
piste.
Si
vous
maintenez
la
touche
Commande
enfoncée
pendant
que
vous
cliquez
sur
un
bouton
Freeze
dans
la
liste
des
pistes,
toutes
les
pistes
comprenant
des
données
au
même
niveau
d’affichage
(ou
dossier)
sélectionné
sont
«
gelées
».
Si
leur
bouton
Freeze
était
déjà
activé,
il
ne
l’est
plus.
Il
est
également
possible
de
cliquer
sur
le
bouton
Freeze
d’une
piste
et,
en
maintenant
le
bouton
de
la
souris
enfoncé,
de
déplacer
la
souris
verticalement.
Tous
les
boutons
Freeze
des
pistes
ainsi
sélectionnés
prennent
le
même
état.
Logic
Express
crée
les
fichiers
de
Freeze
après
avoir
reçu
la
commande
Lecture
suivante.
Vous
pouvez
ainsi
activer
les
boutons
Freeze
de
plusieurs
pistes
et
effectuer
leur
rendu
sous
forme
de
fichier
de
Freeze
en
une
fois.
Vous
pouvez
abandonner
les
processus
de
Freeze
en
appuyant
sur
les
touches
Commande
+
point
(.).
Dans
ce
cas,
la
partie
des
pistes
déjà
rendue
sous
forme
de
fichier
de
Freeze
demeure
dans
ces
fichiers
et
est
utilisée
lors
de
la
lecture.
Le
son
des
pistes
faisant
l’objet
du
Freeze
reste
désormais
coupé.
224 Chapitre
9
Utilisation
des
pistes
Coulisses
du
processus
de
Freeze
Lors
du
processus
de
Freeze, la tête de lecture indique l’avancée du rendu. Une barre
de progression libre est, en outre, affichée.
Le
rendu
des
fichiers
de
Freeze
s’effectue
toujours
entre
les
marques
de
début
et
de
fin
de
projet.
Il
est
donc
recommandé
de
vérifier
la
marque
de
fin
de
projet
dans
la
règle
Mesure
avant
de
lancer
le
processus
de
Freeze.
Π Conseil
:
vous
devez
régler
la
marque
de
fin
de
projet
afin
d’inclure
les
queues
de
réverbération
ou
les
répétitions
inhérentes
à
l’effet
d’écho.
Les
zones
vides
(de
valeur
numérique
zéro)
à
la
fin
des
fichiers
de
Freeze
sont
automatiquement
supprimées
à
la
fin
du
processus
de
Freeze.
Le
processus
de
Freeze
utilise
la
totalité
des
capacités
de
traitement
disponible.
Si,
par
exemple,
une
piste
utilise
40
pour
cent
des
ressources
pour
le
calcul
des
modules
en
temps
réel,
la
création
de
son
fichier
de
Freeze
est
deux
fois
et
demie
plus
rapide
que
sa
lecture
en
temps
réel.
Si
la
piste
d’origine
utilise
la
totalité
de
la
puissance
de
traitement,
le
processus
de
Freeze
s’effectue
(quasiment)
en
temps
réel,
même
si
le
bounce
déconnecté
est
utilisé.
Utilisation
de
pistes
faisant
l’objet
de
Freeze
Lorsqu’une
piste
se
voit
appliquée
la
fonction
Freeze
:
 Il
est
impossible
de
couper
certains
fichiers
de
Freeze
et
de
les
réorganiser,
ou
de
les
associer
à
leurs
originaux,
sur
une
seule
piste
;
en
effet,
vous
pouvez
utiliser
l’un
ou
l’autre,
mais
pas
les
deux.
 Il
est
également
impossible
d’enregistrer
des
signaux
audio
sur
les
pistes
où
le
Freeze
a
été
appliqué.
D’ailleurs,
le
bouton
d’activation
de
l’enregistrement
est
masqué
si
le
Freeze
est
appliqué
à
la
piste.
 Vous
ne
pouvez
pas
modifier
les
paramètres
des
instruments
ou
des
modules
(ou
les
données
d’automation
correspondantes).
Vous
pouvez,
cependant,
toujours
modifier
les
paramètres
suivants
sur
les
pistes
faisant
l’objet
du
Freeze
:
 destinations
et
niveaux
d’envoi
des
effets,
 paramètres
Panorama,
 volume,
muet
et
solo.
Cela
inclut
les
données
d’automation
de
ces
paramètres.
Chapitre
9
Utilisation
des
pistes 225
À
chaque
tentative
de
modification
de
paramètres
«
interdits
»
sur
des
pistes
où
le
Freeze
est
appliqué
(notamment
les
paramètres
de
module
rendus
sous
forme
de
fichier
de
Freeze),
Logic
Express
affiche
un
message
d’erreur
:
Pour
dégeler
et
modifier
une
piste
:
1 Cliquez
sur
Libération
du
Freeze
pour
désactiver
le
bouton
Freeze
de
la
piste.
Le
fichier
de
Freeze
est
alors
supprimé.
Remarque
:
la
piste
utilise
désormais
la
puissance
de
traitement
requise
initialement
si
vous
appuyez
sur
Lecture.
2 Vous
pouvez
à
présent
effectuer
vos
modifications
et
activer
de
nouveau
le
bouton
Freeze,
si
nécessaire.
Fichiers
Freeze
Les
fichiers
de
Freeze
temporaires
sont
enregistrés
dans
un
dossier
intitulé
«
Freeze
Files
»
qui
est
créé
à
la
racine
du
répertoire
de
votre
projet.
En
général,
vous
n’avez
pas
besoin
d’accéder
à
ces
fichiers
directement.
Logic
Express
gère
ces
fichiers
automatiquement
en
arrière-plan
:
ils
sont
créés
lors
de
la
phase
de
Freeze
et
lus
à
la
place
des
pistes
d’origine
(tant
qu’elles
font
l’objet
du
Freeze),
puis
supprimés
lorsque
le
bouton
Freeze
de
la
piste
correspondante
est
désactivé.
Actualisation
des
fichiers
de
Freeze
La
commande
Options
>
Audio
>
«
Actualiser
tous
les
fichiers
de
Freeze
»
régénère
tous
les
fichiers
de
Freeze
actuels.
Cette
commande
est
utile
si
des
modifications
globales
affectent
également
la
lecture
des
pistes
faisant
l’objet
du
Freeze
(changements
de
tempo,
par
exemple).
226 Chapitre
9
Utilisation
des
pistes
Masquage de pistes
S’il
n’est
pas
utile
que
certaines
pistes
de
la
zone
Arrangement
soient
visibles
(par
exemple,
lorsque
vous
travaillez
sur
des
arrangements
avec
de
nombreuses
pistes),
vous
pouvez
utiliser
la
fonction
Masquer
les
pistes.
Les
pistes
masquées
continuent
d’être
lues
normalement.
Un
bouton
général
Masquer
la
présentation
est
situé
dans
le
coin
supérieur
gauche
de
la
zone
Arrangement.
Il
s’agit
du
bouton
représenté
par
un
H
(pour
«
Hide
»,
«
Masquer
»
en
anglais),
à
droite
du
bouton
Capture.
Pour
masquer
des
pistes
:
1 Cliquez
sur
le
bouton
Masquer
la
présentation
pour
activer
la
fonction
de
masquage
des
pistes.
De
petits
boutons
Masquer
(H)
apparaissent
alors
en
regard
de
chaque
piste.
2 Activez
les
boutons
Masquer
individuellement
pour
les
pistes
appropriées.
3 Cliquez
ensuite
sur
le
bouton
général
Masquer
la
présentation
:
toutes
les
pistes
(dont
le
bouton
Masquer
a
été
activé)
disparaissent
de
la
fenêtre
Arrangement.
La
lettre
H
figurant
sur
le
bouton
général
Masquer
la
présentation
s’affiche
en
surbrillance,
indiquant
qu’une
ou
plusieurs
pistes
(dont
le
bouton
Masquer
est
activé)
sont
masquées.
Pour
visualiser
les
pistes
masquées
:
m Réactivez
simplement
le
bouton
Masquer
la
présentation
lorsque
vous
souhaitez
voir
réapparaître
les
pistes
masquées.
Menu
et
raccourcis
clavier
pour
le
masquage
Plusieurs
éléments
de
menu
et
raccourcis
clavier
se
rapportent
à
la
fonction
de
masquage
des
pistes.
Chapitre
9
Utilisation
des
pistes 227
Même
lorsque
le
bouton
général
Masquer
la
présentation
est
désactivé,
vous
pouvez
toujours
masquer
une
piste
particulière
à
l’aide
de
la
commande
Présentation
>
«
Masquer
la
piste
et
sélectionner
la
suivante
»
(raccourci
clavier
par
défaut
:
Contrôle
+
H).
La
commande
Présentation
>
«
Révéler
toutes
les
pistes
»
(raccourci
clavier
par
défaut
:
Maj
+
Contrôle
+
H)
réinitialise
le
bouton
Masquer
de
chaque
piste
;
toutes
les
pistes
sont
alors
affichées.
Remarque
:
masquer
des
pistes
n’affecte
en
rien
leur
lecture.
Vous
pouvez,
en
outre,
lier
ensemble
la
fonction
Masquer
de
toutes
les
pistes
appartenant
à
un
même
groupe
en
sélectionnant
Masquer
dans
les
réglages
des
propriétés
du
groupe.
(Pour
en
savoir
plus
sur
les
groupes,
consultez
la
rubrique
«
Utilisation
des
groupes
»
à
la
page
629.)
Par
ailleurs,
il
n’existe
aucun
raccourci
clavier
permettant
de
révéler
une
piste
masquée
dans
l’arrangement
puisqu’il
est
impossible
de
la
sélectionner
;
elle
est
en
effet
masquée...
Protection des pistes
Les
pistes
peuvent
être
protégées
contre
toute
modification.
Dans
ce
cas,
il
est
impossible
:
 de
modifier
les
régions
existantes
(et
leur
contenu)
;
 d’effectuer
un
enregistrement
sur
les
pistes
protégées
;
 de
créer
des
régions
sur
les
pistes
protégées.
Si
le
bouton
de
protection
ne
figure
pas
dans
la
liste
des
pistes,
vous
pouvez
l’activer
via
la
fenêtre
«
Configuration
de
l’en-tête
de
piste
».
En
cliquant
sur
les
boutons
de
protection,
vous
passez
du
mode
verrouillé
à
la
modification
libre.
Le
bouton
de
protection
d’une
piste
de
la
liste,
activé
tout
en
maintenant
la
touche
Commande
enfoncée,
permet
de
protéger
toutes
les
pistes
du
niveau
d’affichage
(ou
dossier)
sélectionné.
Si
les
pistes
étaient
déjà
protégées,
elles
ne
le
sont
plus.
228 Chapitre
9
Utilisation
des
pistes
Utilisation de la fonction d’activation en série pour
les boutons placés au niveau de chaque piste
Les
boutons
qui
se
trouvent
en
regard
des
pistes
de
l’arrangement
(Solo,
Muet,
Masquer,
Protection
de
piste,
Freeze)
prennent
en
charge
la
fonction
d’«
activation
en
série
»,
ce
qui
revient,
sur
les
tables
de
mixage
matérielles
de
qualité,
à
déplacer
simultanément
plusieurs
boutons
de
bande
de
canal.
Un
exemple
d’utilisation
de
l’activation
en
série
dans
Logic
Express
consiste
à
cliquer
sur
le
bouton
Muet
d’une
piste
et,
en
maintenant
le
bouton
de
la
souris
enfoncé,
à
déplacer
la
souris
verticalement.
Tous
les
boutons
Muet
des
pistes
ainsi
sélectionnés
passent
au
même
état.
Il
vous
suffit
ensuite
de
faire
à
nouveau
glisser
le
pointeur
de
la
souris
sur
les
boutons
Muet
de
ces
mêmes
pistes
pour
rétablir
le
son.
10
229
10 Utilisation
des
instruments
et
des
effets
Logic Express est livré avec un vaste éventail d’instruments
logiciels et de modules de traitement d’effets insérés dans
des bandes de canaux. Vous avez également la possibilité
d’utiliser des instruments et des unités d’effets MIDI externes.
Ce
chapitre
couvre
toutes
les
étapes
importantes
nécessaires
à
l’utilisation
des
instruments
et
des
effets
dans
Logic
Express.
 Insertion,
suppression
et
contournement
de
modules
 Chargement
et
retrait
de
configurations
entières
de
modules
dans
une
bande
de
canaux
 Utilisation
de
l’en-tête
de
la
fenêtre
de
module
 Sélection
et
gestion
des
réglages
de
modules
 Configuration
et
utilisation
d’instruments
et
d’effets
MIDI
externes
 Configuration
et
utilisation
d’applications
et
d’instruments
ReWire
externes
La
relation
entre
les
pistes
et
les
bandes
de
canaux
de
la
fenêtre
Arrangement
est
traitée
au
début
du
chapitre
9,
«
Utilisation
des
pistes
»
et
est
également
abordée
ici.
Ce
chapitre
contient
également
d’autres
informations
utiles
sur
l’acheminement
de
modules
et
l’utilisation
de
modules
d’autres
fabricants.
Pour
en
savoir
plus
sur
les
modules
d’instruments
et
d’effets
fournis
et
sur
l’utilisation
de
tous
leurs
paramètres,
reportez-vous
au
manuel
Instruments
et
effets
de
Logic
Express
8.
230 Chapitre
10
Utilisation
des
instruments
et
des
effets
Aperçu des bandes de canaux et de la table de mixage
Avant
d’aborder
l’utilisation
des
modules,
il
est
nécessaire
de
comprendre
certaines
fonctions
essentielles
des
bandes
de
canaux.
Pour
en
savoir
plus
sur
l’ensemble
des
fonctions
de
la
table
de
mixage
et
des
bandes
de
canaux,
reportez-vous
au
chapitre
25,
«
Mixage
»
à
la
page
613.
Les
bandes
de
canaux
de
la
table
de
mixage
et
d’arrangement
concernent
les
pistes
audio
et
d’instruments
(logiciel
ou
MIDI)
affichées
dans
la
fenêtre
Arrangement,
ainsi
que
les
canaux
de
sortie
et
les
canaux
auxiliaires.
Chaque
piste
de
l’arrangement
est
représentée
et
contrôlée
par
une
bande
de
canal.
Autrement
dit,
les
pistes
d’arrangement
sont
acheminées
vers
des
bandes
de
canaux
spécifiques
:
 Les
bandes
de
canaux
audio
contrôlent
les
pistes
audio.
 Les
canaux
d’instrument
contrôlent
les
pistes
d’instrument
(les
modules
d’instruments
logiciels
sont
insérés
dans
le
logement
d’instrument
des
canaux
d’instrument).
 Les
canaux
MIDI
externes
contrôlent
les
pistes
MIDI
externes.
Les
données
de
ces
pistes
sont
acheminées
vers
un
canal
et
un
port
de
sortie
MIDI,
pour
le
contrôle
des
claviers
et
modules
internes
de
son
MIDI.
Il
est
possible
de
représenter
et
de
contrôler
l’instrument
entier
ou
les
sous-canaux
MIDI.
Les
canaux
de
la
table
de
mixage
sont
générés
automatiquement
lorsque
vous
créez
des
pistes
audio,
des
pistes
d’instruments
ou
des
pistes
MIDI
externes
dans
la
fenêtre
Arrangement.
Chapitre
10
Utilisation
des
instruments
et
des
effets 231
Les
bandes
de
canaux
de
l’arrangement
affichées
en
bas
de
l’Inspecteur
représentent
la
bande
de
canal
audio
ou
d’instrument
de
la
piste
sélectionnée
sur
la
gauche
et
la
destination
principale
(première)
de
cette
bande
de
canal
sur
la
droite.
La
destination
peut
être
:
 Une
bande
de
canaux
de
sortie,
qui
représente
une
sortie
audio
physique
(ou
paire
de
sorties)
de
votre
interface
audio.
 Une
bande
de
canaux
auxiliaire
(où
sont
insérés
les
effets
d’envoi).
Par
exemple,
si
l’envoi
1
de
la
bande
de
canaux
gauche
est
acheminé
vers
le
canal
auxiliaire
4,
la
quatrième
bande
de
canaux
auxiliaire
sera
affichée.
Si
vous
cliquez
sur
le
logement
d’envoi
2
sur
la
bande
de
canaux
gauche
(acheminée
vers
l’auxiliaire
7),
cela
met
à
jour
le
canal
de
droite
afin
d’afficher
la
septième
bande
de
canaux
auxiliaire.
La
sélection
d’une
sortie
particulière
dans
le
logement
Sortie
de
la
bande
de
canaux
gauche
permet
d’afficher
la
bande
de
canaux
de
sortie
choisie
sur
la
droite.
Si
la
bande
de
canaux
gauche
est
simplement
acheminée
vers
un
canal
de
sortie,
la
bande
de
canaux
de
sortie
est
affichée
par
défaut.
Dans
le
cadre
de
votre
flux
de
production
créatif,
vous
effectuerez
la
plupart
des
tâches
d’insertion
de
modules,
d’acheminement
et
de
configuration
de
canaux
dans
la
fenêtre
Arrangement.
Par
conséquent,
au
lieu
d’accéder
à
la
table
de
mixage,
vous
devez
utiliser
les
bandes
de
canaux
d’arrangement
pour
toutes
les
fonctions
associées
abordées
dans
ce
chapitre.
232 Chapitre
10
Utilisation
des
instruments
et
des
effets
La
bande
de
canaux
d’arrangement
(de
la
piste
sélectionnée)
est
un
«
miroir
»
de
la
bande
affichée
dans
la
table
de
mixage.
Elle
peut
être
considérée
comme
une
sorte
de
télécommande
pour
le
canal
de
la
table
de
mixage.
Π Conseil
:
pour
accéder
rapidement
à
la
zone
Table
de
mixage,
il
vous
suffit
de
doublecliquer
sur
l’icône
de
n’importe
quelle
piste
dans
la
liste
des
pistes
de
la
fenêtre
Arrangement.
La
bande
de
canaux
correspondante
(de
la
piste
sur
laquelle
vous
avez
cliqué)
est
alors
sélectionnée
dans
la
table
de
mixage.
Avant
de
continuer,
vous
devez
d’abord
comprendre
trois
notions
essentielles
sur
les
bandes
de
canaux
audio
ou
d’instrument
:
le
format
d’entrée
du
canal,
la
commande
Pan
et
le
curseur
Niveau.
Réglage
du
format
d’entrée
du
canal
Le
format
d’entrée
du
canal
détermine
l’état
mono
ou
stéréo
de
ce
dernier.
Remarque
:
les
canaux
MIDI
externes
et
d’instruments
logiciels
ne
possèdent
pas
de
bouton
de
format.
Le
format
d’entrée
choisi
a
un
double
impact
:
 Les
modules
affichés
sur
la
bande
de
canaux
sont
disponibles
en
:
 versions
mono
vers
mono
ou
mono
vers
stéréo
sur
les
bandes
de
canaux
mono
;
 versions
stéréo
vers
stéréo
sur
les
bandes
de
canaux
stéréo.
 La
commande
Pan
détermine
la
position
du
signal
du
canal
dans
le
champ
stéréo.
Bouton
Format
Contrôle
Pan/Balance
Curseur
de
niveau
Menu
Réglages
des
bandes
de
canaux
Logement
d’instrument
Logement
de
sortie
Logement
d’envoi
(Send)
Logement
d’insertion
Chapitre
10
Utilisation
des
instruments
et
des
effets 233
 Sur
les
canaux
mono
(y
compris
les
canaux
de
format
d’entrée
gauche
et
droit),
la
commande
Pan
détermine
la
position
gauche/droite
du
signal.
 Sur
les
canaux
stéréo,
la
commande
Pan
détermine
la
balance
entre
les
signaux
des
canaux
gauche
et
droit.
Pour
définir
le
format
d’entrée
de
la
bande
de
canaux
pour
la
piste
audio
sélectionnée
:
m Cliquez
sur
le
bouton
situé
directement
sous
le
VU-mètre
de
la
bande
de
canaux
de
l’arrangement
et,
tout
en
le
maintenant
enfoncé,
choisissez
le
format
d’entrée
voulu
dans
le
menu.
Π Conseil
:
sur
un
canal
stéréo
ou
mono,
il
suffit
de
cliquer
sur
le
bouton
pour
passer
de
mono
à
stéréo
et
vice
versa.
 Mono
:
le
format
d’entrée
mono
est
représenté
par
un
cercle.
Le
VU-mètre
ne
contient
qu’une
seule
colonne.
 Stéréo
:
le
format
d’entrée
stéréo
est
représenté
par
deux
cercles
entrelacés.
Lorsque
le
format
d’entrée
stéréo
est
sélectionné,
le
VU-mètre
se
décompose
en
deux
colonnes
indépendantes.
 Gauche
:
deux
cercles,
dont
celui
de
gauche
est
plein,
indiquent
un
format
d’entrée
de
canal
gauche.
Lorsque
ce
format
d’entrée
est
choisi,
la
bande
de
canaux
lit
uniquement
le
canal
gauche
d’un
fichier
audio.
 Droit
:
deux
cercles,
dont
celui
de
droite
est
plein,
indiquent
un
format
d’entrée
de
canal
droit.
Lorsque
ce
format
d’entrée
est
choisi,
la
bande
de
canaux
lit
uniquement
le
canal
droit
d’un
fichier
audio.
Mono Stéréo Gauche Droit
234 Chapitre
10
Utilisation
des
instruments
et
des
effets
Réglage
de
la
balance
et
du
niveau
de
lecture
des
canaux
La
commande
Pan
et
le
curseur
Niveau
permettent
de
régler
la
balance
et
le
niveau
de
lecture
d’un
canal.
Pour
régler
le
Pan
(pour
les
canaux
au
format
d’entrée
mono)
ou
la
Balance
(pour
les
canaux
au
format
stéréo),
effectuez
l’une
des
opérations
suivantes
:
m Cliquez
au
centre
de
la
commande
Pan
et,
tout
en
maintenant
le
bouton
de
la
souris
enfoncé,
faites
glisser
la
souris
verticalement.
 Faites
glisser
le
curseur
vers
le
haut
pour
déplacer
le
Pan
ou
la
balance
vers
le
canal
droit.
 Faites
glisser
le
curseur
vers
le
bas
pour
déplacer
le
Pan
ou
la
balance
vers
le
canal
gauche.
m En
maintenant
la
touche
Option
enfoncée,
cliquez
au
centre
de
la
commande
Pan
pour
la
ramener
en
position
centrale.
Pour
régler
le
niveau
de
lecture,
effectuez
l’une
des
opérations
suivantes
:
m Cliquez
et
faites
glisser
verticalement
la
poignée
du
curseur
Niveau.
m En
maintenant
la
touche
Option
enfoncée,
cliquez
sur
la
poignée
pour
la
ramener
en
position
centrale
(0,0
dB).
Traitement
des
effets
mono
et
stéréo
Vous
pouvez
insérer
des
instances
mono
ou
stéréo
d’effets
dans
des
bandes
de
canaux.
Seules
les
versions
des
modules
correspondant
au
format
d’entrée
des
bandes
de
canaux
peuvent
être
insérées
(versions
des
modules
mono
vers
mono
ou
mono
vers
stéréo
dans
des
canaux
dont
le
format
d’entrée
est
mono,
par
exemple).
Pour
insérer
des
modules
ne
correspondant
pas
au
format
des
canaux
:
m Cliquez
sur
un
logement
d’insertion
de
canal
tout
en
maintenant
la
touche
Option
enfoncée.
Le
menu
du
module
affiche
alors
tous
les
formats
disponibles
dans
le
module,
et
non
uniquement
le
format
correspondant.
Tout
mixage
élévateur
ou
réducteur
s’avérant
nécessaire
est
effectué
automatiquement.
Insertion, déplacement et retrait de modules
Les
modules
sont,
d’une
manière
générale,
divisés
en
deux
catégories
:
 Les
instruments
logiciels
(qui
répondent
aux
messages
des
notes
MIDI)
 Les
effets
audio
(qui
ne
répondent
pas
aux
messages
des
notes
MIDI)
Le
format
Audio
Units
offre
également
deux
types
de
modules
supplémentaires
:
 Les
générateurs
 Les
effets
contrôlés
par
la
norme
MIDI
Chapitre
10
Utilisation
des
instruments
et
des
effets 235
Comme
leur
nom
l’indique,
les
modules
Générateur
Audio
Unit
génèrent
des
signaux
audio.
Toutefois,
contrairement
aux
instruments
logiciels,
ils
n’ont
pas
besoin
d’un
message
de
note
MIDI
pour
être
déclenchés.
Contrairement
aux
modules
d’effets
audio
standard,
il
est
impossible
de
contrôler
via
MIDI
les
effets
Audio
Unit
contrôlés
par
MIDI.
Leur
utilisation
est
donc
différente.
Cas
d’emploi
des
différents
types
de
modules
 Les
modules
d’effet
peuvent
être
installés
dans
les
logements
d’insertion
de
tous
les
types
de
bandes
de
canaux
audio
(audio,
instrument,
auxiliaire,
sortie).
 Les
instruments
logiciels
peuvent
uniquement
être
insérés
dans
des
bandes
de
canaux
d’instrument.
Ces
bandes
de
canaux
disposent
d’un
logement
Instrument,
juste
au-dessus
du
logement
Sortie,
réservé
à
l’insertion
d’instruments
logiciels.
 De
la
même
façon,
les
générateurs
Audio
Unit
ne
peuvent
être
insérés
que
dans
des
bandes
de
canaux
d’instrument.
 Les
effets
contrôlés
MIDI
Audio
Unit
doivent
être
insérés
dans
le
logement
Instrument
des
canaux
d’instrument.
Vous
pouvez
alors
sélectionner
le
signal
audio
à
traiter
via
le
menu
Side
Chain
du
module.
Pour
insérer
un
module
d’effet
:
1 Cliquez
sur
le
logement
d’insertion
d’une
bande
de
canaux.
Le
menu
Module
s’affiche
et
fait
apparaître
tous
les
modules
d’effet
disponibles,
classés
sous
différentes
catégories.
2 Parcourez
les
différents
niveaux
du
menu
et
cliquez
sur
le
nom
d’un
module
pour
le
sélectionner.
Cela
permet
de
charger
une
version
de
module
qui
correspond
au
format
d’entrée
de
bande
de
canaux
choisi.
Vous
avez
également
la
possibilité
de
choisir
une
version
mono
ou
mono
vers
stéréo
du
module,
par
exemple,
en
cliquant
sur
l’entrée
adéquate.
236 Chapitre
10
Utilisation
des
instruments
et
des
effets
Les
effets
Logic
Express
sont
affichés
sous
diverses
catégories,
telles
que
Retard
et
Réverbération,
et
les
effets
Audio
Unit
apparaissent
dans
les
sous-menus
correspondants
(ces
derniers
ne
s’affichent
que
si
des
modules
utilisant
ces
formats
sont
installés
sur
votre
système).
Pour
insérer
un
instrument
logiciel,
un
Générateur
Audio
Unit
ou
un
effet
contrôlé
par
MIDI
:
m Cliquez
sur
le
logement
Instrument
d’une
bande
de
canaux
d’instrument
et
choisissez
l’instrument
logiciel,
le
Générateur
Audio
Unit
ou
l’effet
contrôlé
par
MIDI
(nom
et
type)
voulu
dans
le
menu
Module.
Π Conseil
:
pour
insérer
un
instrument
en
stéréo
sur
un
canal
au
format
stéréo,
il
suffit
de
choisir
le
nom
d’un
instrument.
La
fenêtre
de
module
de
l’instrument,
de
l’effet
ou
du
générateur
choisi
s’ouvre
automatiquement.
Si
vous
ne
souhaitez
pas
que
la
fenêtre
de
module
s’ouvre
automatiquement
après
l’insertion,
désactivez
la
préférence
«
Ouvrir
la
fenêtre
du
module
à
l’insertion
»
dans
l’onglet
Logic
Express
>
Préférences
>
Audio
>
Général.
Vous
pouvez
ajuster
tous
les
paramètres
de
module
dans
la
fenêtre
de
module.
Pour
en
savoir
plus,
consultez
la
rubrique
«
Ajustement
des
paramètres
de
module
»
à
la
page
247.
Pour
retirer
un
module
:
m Cliquez
sur
le
logement
d’insertion
ou
d’instrument
souhaité
et
choisissez
Aucun
module
dans
le
menu.
Pour
remplacer
un
module
:
m Cliquez
sur
le
logement
d’insertion
et
naviguez
jusqu’au
type
de
module
souhaité.
Chapitre
10
Utilisation
des
instruments
et
des
effets 237
Accès
à
plusieurs
sorties
d’instrument
Logic
Express
peut
gérer
les
multiples
sorties
de
l’EXS24
mkII,
d’Ultrabeat
et
de
tous
les
instruments
Audio
Unit.
Une
ou
plusieurs
options
Multi
Output
peuvent
apparaître
en
plus
des
versions
Mono
et
Stéréo
affichées
dans
le
menu
Module
d’instrument.
Le
menu
Module
fournit
des
informations
complémentaires
sur
la
configuration
d’une
sortie.
Exemples
:
 Nom
d’instrument
:
sortie
multiple
(2
x
stéréo,
4
x
mono)
 Nom
d’instrument
:
sortie
multiple
(4
x
stéréo)
Remarque
:
tous
les
instruments
(qu’il
s’agisse
de
modules
Logic
Express
ou
tiers)
n’offrent
pas
forcément
plusieurs
sorties.
Si
un
instrument
ne
propose
aucune
option
Multi-sortie,
il
n’est
tout
simplement
pas
équipé
de
plusieurs
sorties.
Pour
insérer
et
configurer
un
instrument
à
plusieurs
sorties
:
1 Choisissez
l’instance
de
sorties
multiples
voulue
dans
le
menu
Module.
 Les
deux
premières
sorties
d’un
instrument
à
plusieurs
sorties
voient
toujours
leurs
données
lues
sous
forme
d’une
paire
stéréo
par
le
canal
d’instrument
dans
lequel
le
module
est
inséré.
 Pour
accéder
aux
autres
sorties
(3
et
4,
5
et
6,
etc.),
il
faut
passer
par
des
bandes
de
canaux
auxiliaires.
238 Chapitre
10
Utilisation
des
instruments
et
des
effets
2 Dans
l’interface
de
l’instrument,
vous
devez
configurer
l’acheminement
de
sortie
pour
chaque
son
ou
échantillon.
Cette
action
est
généralement
effectuée
via
un
menu,
qui
présente
des
entrées
telles
que
:
principal,
3-4,
5-6,
etc.
3 Ouvrez
la
table
de
mixage
et
cliquez
sur
le
bouton
+
du
canal
d’instrument
dans
lequel
vous
avez
inséré
l’instrument
à
sorties
multiples
(Ultrabeat,
par
exemple).
Remarque
:
le
bouton
+
n’apparaît
que
sur
les
canaux
d’instruments
à
sorties
multiples.
Chapitre
10
Utilisation
des
instruments
et
des
effets 239
Une
bande
de
canaux
auxiliaire,
déjà
assignée
à
l’instrument
à
plusieurs
sorties
inséré,
s’affiche
à
droite
du
canal
d’instrument.
4 Cliquez
à
plusieurs
reprises
sur
le
bouton
+
pour
créer
d’autres
canaux
auxiliaires,
pour
toutes
les
sorties
stéréo
ou
mono
disponibles
pour
le
module
d’instrument.
Vous
devez
créer
exactement
le
même
nombre
de
canaux
auxiliaires
que
le
nombre
de
sorties
utilisées
par
l’instrument
à
plusieurs
sorties.
Après
la
création
de
la
première
bande
de
canaux
auxiliaire
de
votre
instrument
à
sorties
multiples,
un
bouton
–
apparaît
à
côté
du
bouton
+.
Cliquez
sur
ce
bouton
–
pour
supprimer
des
canaux
auxiliaires.
Utilisation
du
Channel
EQ
Le
Channel
EQ
est
un
effet
d’insertion,
semblable
à
n’importe
quel
autre.
Dans
la
plupart
des
situations
de
mixage,
il
est
utilisé
comme
premier
effet
sur
un
canal,
ce
qui
vous
permet
de
sculpter
le
son
du
signal
du
canal
avant
d’appliquer
d’autres
types
d’effet.
Pour
insérer
le
Channel
EQ,
effectuez
l’une
des
opérations
suivantes
:
m Sur
les
bandes
de
canaux
où
le
logement
d’insertion
1
n’est
pas
utilisé
:
double-cliquez
sur
la
zone
de
l’égaliseur
dans
la
partie
supérieure
de
la
bande
de
canaux
pour
placer
le
Channel
EQ
dans
le
premier
logement
d’insertion.
La
zone
de
l’égaliseur
adopte
une
vue
miniature
de
l’écran
Channel
EQ.
Les
vignettes
donnent
un
aperçu
des
réglages
d’égalisation
utilisés
dans
chaque
canal.
240 Chapitre
10
Utilisation
des
instruments
et
des
effets
m Sur
les
bandes
de
canaux
où
le
logement
d’insertion
1
est
utilisé
:
double-cliquez
sur
la
zone
de
l’égaliseur
en
maintenant
la
touche
Option
enfoncée
afin
d’insérer
le
Channel
EQ
comme
premier
module
et
déplacez
tous
les
modules
existants
du
logement
1
de
la
bande
de
canaux
vers
le
bas
(en
redirigeant
leurs
données
d’automatisation
en
conséquence,
si
nécessaire).
Lorsque
vous
double-cliquez
sur
la
zone
de
l’égaliseur
des
bandes
de
canaux
dont
le
logement
d’insertion
1
est
occupé,
le
Channel
EQ
est
inséré
dans
le
prochain
logement
disponible
(inutilisé).
Comme
pour
les
autres
modules,
vous
pouvez
insérer
le
Channel
EQ
dans
n’importe
quel
autre
logement
d’insertion.
Vous
le
trouverez
dans
la
rubrique
de
l’égaliseur
du
menu
Module.
Notez
que
seul
le
premier
(tout
en
haut)
Channel
EQ
s’affiche
sous
forme
de
vignette
dans
la
zone
de
l’égaliseur.
Pour
en
savoir
plus
sur
les
paramètres
du
Channel
EQ,
reportez-vous
au
manuel
Instruments
et
effets
de
Logic
Express
8.
Déplacement
d’effets
et
d’instruments
Pour
déplacer
des
effets
et
des
instruments
d’une
bande
de
canal
à
une
autre,
vous
pouvez
recourir
à
l’outil
Main.
Pour
déplacer
un
module
vers
un
autre
logement
d’insertion
ou
d’instrument
:
1 Ouvrez
la
table
de
mixage
et
sélectionnez
l’outil
Main.
2 Sélectionnez
le
nom
du
module
(visible
sur
une
étiquette
bleue)
dans
l’un
des
logements
d’insertion
ou
d’instrument,
puis
faites-le
glisser
vers
le
logement
cible
souhaité
(qui
doit
être
inutilisé).
Au
cours
de
l’opération
de
glisser/déposer,
la
destination
potentielle
s’affiche
sous
forme
de
rectangle
orange
(logement
vide)
ou
de
ligne
orange
(lors
du
positionnement
d’un
effet
entre
deux
logements
d’insertion,
voir
ci-après).
Pour
copier
un
module
dans
un
autre
logement
:
m Après
avoir
sélectionné
l’outil
Main,
cliquez
sur
le
nom
d’un
module
tout
en
maintenant
la
touche
Option
enfoncée,
puis
faites-le
glisser
d’un
logement
utilisé
vers
le
logement
cible
inutilisé
de
votre
choix.
Chapitre
10
Utilisation
des
instruments
et
des
effets 241
Pour
permuter
deux
modules
d’effet
dans
une
même
bande
de
canaux
:
m Après
avoir
sélectionné
l’outil
Main,
faites
glisser
le
nom
d’un
module
d’effet
depuis
un
logement
Insertion
utilisé
jusque
dans
le
logement
cible
utilisé
de
votre
choix.
Les
deux
modules
échangent
alors
leurs
positions
respectives.
Prenons
l’exemple
d’une
bande
de
canaux
avec
des
effets
de
réverbération,
de
chorus
et
de
retard
insérés
respectivement
dans
les
logements
1
à
3
;
si
vous
faites
glisser
le
module
du
logement
1
sur
le
logement
3,
l’effet
de
réverbération
se
retrouvera
dans
ce
troisième
logement,
tandis
que
l’effet
de
retard
sera
déplacé
vers
le
logement
1.
Bien
entendu,
tout
changement
de
position
des
effets
modifie
le
son
du
canal.
Remarque
:
si
vous
utilisez
l’outil
Main
pour
faire
glisser
des
modules
d’une
bande
de
canal
vers
une
autre,
le
module
préalablement
présent
sur
le
canal
de
destination
est
remplacé,
mais
il
n’est
pas
permuté.
Pour
placer
un
module
d’effet
entre
deux
logements
d’insertion
:
1 Sélectionnez
l’outil
Main.
2 Cliquez
sur
le
nom
de
module
d’un
logement
d’insertion
utilisé
et
faites-le
glisser
entre
deux
autres
logements
d’insertion
utilisés,
puis
relâchez
le
bouton
de
la
souris.
L’effet
est
alors
inséré
dans
un
logement
créé
entre
les
deux
logements
utilisés.
Les
effets
situés
sous
le
point
d’insertion
(le
nouveau
logement)
sont
décalés
d’une
position
vers
le
bas.
Remarque
:
si
les
15
logements
d’insertion
sont
utilisés,
vous
ne
pouvez
plus
insérer
aucun
module
dans
le
canal,
à
moins
de
remplacer
un
module
existant.
Utilisation
de
l’outil
Main
avec
des
touches
de
modification
L’outil
Main
est
le
deuxième
outil
par
défaut
de
la
table
de
mixage.
Si
vous
appuyez
sur
Commande
tout
en
cliquant,
vous
passez
de
l’outil
Pointeur
à
l’outil
Main,
ce
qui
vous
permet
de
déplacer
des
modules
en
les
faisant
glisser
tout
en
appuyant
sur
Commande.
Pour
copier
un
module,
faites-le
glisser
tout
en
maintenant
les
touches
Option
et
Commande
enfoncées.
Vous
pouvez
aussi
utiliser
l’outil
Main
dans
les
bandes
de
canaux
de
l’arrangement
en
appuyant
sur
la
touche
Commande
lorsque
le
pointeur
se
trouve
au-dessus
d’un
logement
Instrument
ou
Insertion.
242 Chapitre
10
Utilisation
des
instruments
et
des
effets
Chargement et suppression de configurations entières
de bandes de canaux
L’onglet
Bibliothèque
de
la
zone
Média
vous
permet
de
charger
et
d’enregistrer
plusieurs
modules
(avec
leur
paramétrage)
dans
une
bande
de
canaux.
Vous
pouvez
faire
de
même
en
cliquant
sur
le
bouton
Réglages
situé
en
haut
d
es
bandes
de
canaux.
Vous
pouvez
utiliser
cette
fonction
de
différentes
façons
:
 Le
réglage
et
l’enregistrement
de
configurations
complexes
comprenant
plusieurs
effets,
sur
n’importe
quel
type
de
canal.
 Le
réglage
de
configurations
d’acheminement
particulières
pour
leur
utilisation
avec
des
instruments
logiciel
à
plusieurs
sorties.
 La
copie
d’une
configuration
d’acheminement
ou
d’effet
entre
projets.
 La
création
rapide
de
nouveaux
modèles
de
projet.
Les
réglages
des
bandes
de
canaux
(fichiers
CST)
sont
propres
à
chaque
type
de
canal.
Autrement
dit,
les
canaux
d’instrument
bénéficient
d’un
certain
nombre
de
réglages
(ou
préréglages)
d’instrument,
tels
que
Bright
Pop
Piano
ou
Hard
Flanging
Clav,
répartis
dans
les
catégories
Instrument,
GarageBand
et
Jam
Pack.
Les
canaux
audio
offrent
des
acheminements
d’effet
optimisés
pour
des
tâches
de
traitement
instrumentales,
vocales
et
autres.
De
même,
les
canaux
auxiliaires
et
de
sortie
disposent
de
réglages
de
bandes
de
canaux
destinés
à
des
processus
de
mastérisation
ou
de
«
finalisation
»
particuliers.
Pour
charger
un
réglage
de
bande
de
canaux
à
l’aide
du
menu
Réglages
:
1 Cliquez
sur
le
bouton
Réglages
en
haut
d’une
bande
de
canaux.
Un
menu
apparaît,
dressant
la
liste
de
tous
les
réglages
disponibles
pour
ce
type
de
bande
de
canaux.
2 Naviguez
jusqu’au
réglage
souhaité
et
sélectionnez-le
en
cliquant
sur
son
nom.
Chapitre
10
Utilisation
des
instruments
et
des
effets 243
Pour
charger
un
réglage
de
bande
de
canaux
à
l’aide
de
l’onglet
Bibliothèque
:
1 Sélectionnez
tout
d’abord
la
bande
de
canaux
que
vous
souhaitez
utiliser
(dans
la
table
de
mixage
ou
en
sélectionnant
une
piste
d’arrangement).
2 Cliquez
sur
l’onglet
Bibliothèque
de
la
zone
Média
pour
visualiser
la
Bibliothèque.
Si
la
zone
n’est
pas
visible,
cliquez
sur
le
bouton
Média
de
la
barre
d’outils
Arrangement.
La
Bibliothèque
affiche
tous
les
réglages
de
bandes
de
canaux
disponibles
pour
la
bande
de
canaux
sélectionnée,
classés
par
menus
correspondant
à
des
catégories.
3 Parcourez
les
différents
menus,
puis
cliquez
sur
le
nom
du
réglage
voulu
pour
insérer
tous
les
modules
associés
dans
la
bande
de
canaux
sélectionnée.
Pour
réinitialiser
un
réglage
de
bande
de
canal :
m Choisissez
«
Réinitialiser
la
bande
de
canaux
»
dans
le
menu
«
Réglages
des
bandes
de
canaux
».
Pour
revenir
au
réglage
de
bandes
de
canaux
chargé
au
préalable
:
m Cliquez
sur
le
bouton
Rétablir
au
cas
de
l’onglet
Bibliothèque.
244 Chapitre
10
Utilisation
des
instruments
et
des
effets
Pour
supprimer
un
réglage
d’une
bande
de
canal
:
m Choisissez
«
Supprimer
le
réglage
de
bande
de
canal
»
dans
le
menu
«
Réglages
des
bandes
de
canaux
».
Pour
sélectionner
le
réglage
de
bande
de
canaux
précédent
ou
suivant,
effectuez
l’une
des
opérations
suivantes
:
m Cliquez
sur
le
bouton
Réglage
et
choisissez
la
commande
«
Réglage
de
bande
de
canaux
précédent
»
ou
«
Réglage
de
bande
de
canaux
suivant
».
m Utilisez
l’un
des
raccourcis
clavier
suivants
:
 Réglage
de
bande
de
canaux
suivant
 Réglage
de
bande
de
canaux
précédent
 Réglage
de
bande
de
canaux
ou
Programme
ou
Instrument
EXS
suivant
 Réglage
de
bande
de
canaux
ou
Programme
ou
instrument
EXS
précédent
Cela
permet
de
charger
le
réglage
de
bande
de
canaux
précédent
ou
suivant
dans
la
liste.
Cette
fonction
est
très
utile
lorsque
vous
essayez
de
trouver
le
bon
retard
ou
son
de
clavinet,
par
exemple.
Pour
copier
et
coller
un
réglage
de
bande
de
canaux
:
m Cliquez
sur
le
bouton
Réglage
et
choisissez
l’option
de
menu
«
Copier
réglage
de
bande
de
canaux
»
ou
«
Coller
réglage
de
bande
de
canaux
»,
selon
le
cas.
Vous
pouvez
également
utiliser
les
raccourcis
clavier
correspondants.
Remarque
:
lorsque
vous
collez
des
bandes
de
canaux
(au
lieu
de
les
charger),
le
curseur
Niveau,
le
niveau
d’envoi
du
panorama
et
toutes
les
destinations
d’acheminement
sont
également
définis
en
fonction
du
réglage
de
bande
de
canaux
présent
dans
le
Presse-papiers.
Pour
enregistrer
un
réglage
de
bande
de
canaux
:
1 Cliquez
sur
le
bouton
Réglage
et
choisissez
«
Enregistrer
réglage
de
bande
de
canaux
sous
»
(ou
utilisez
le
raccourci
clavier
correspondant).
2 Dans
la
zone
de
dialogue
«
Enregistrer
réglage
de
bande
de
canaux
sous
»,
sélectionnez
le
sous-dossier
adéquat
(si
cela
s’avère
utile)
et
tapez
un
nom
pour
ce
réglage
de
bande
de
canaux.
Étant
donné
qu’il
existe
plusieurs
catégories
de
bandes
de
canaux,
le
dossier
«
Channel
Strip
Settings
»
est
subdivisé
en
plusieurs
sous-dossiers
propres
à
chaque
type
de
canal.
Cette
hiérarchie
de
sous-dossiers
est
reproduite
dans
le
menu
Réglages
pour
chaque
type
de
bande
de
canaux
:
Chapitre
10
Utilisation
des
instruments
et
des
effets 245
Il
est
déconseillé
d’essayer
de
modifier
la
structure
du
dossier
«
Channel
Strip
Settings
».
Vous
pouvez
en
revanche,
si
vous
le
souhaitez,
créer
un
dossier
dans
lequel
vous
pourrez
enregistrer.
Si
aucun
dossier
n’est
sélectionné,
le
réglage
de
bande
de
canaux
enregistré
est
affiché
directement
dans
le
menu
«
Réglages
des
bandes
de
canaux
»,
sous
les
fonctions.
Vous
pouvez
modifier
à
distance
les
réglages
de
bande
de
canaux
en
envoyant
des
messages
de
changement
de
programme
MIDI.
Cela
vous
permet
de
sélectionner
vos
sons
favoris
(constitués
d’un
réglage
de
bande
de
canaux
complet
pouvant
contenir
un
instrument
logiciel
et
des
modules
d’effets)
en
appuyant
sur
un
bouton
de
votre
clavier
MIDI.
Cette
fonction,
appelée
«
Performances
de
bande
de
canaux
»,
est
conçue
pour
une
utilisation
en
direct
de
Logic
Express.
Important
:
seuls
les
messages
de
changement
de
programme
envoyés
sur
le
canal
MIDI
1
permettent
de
changer
d’option
«
Performances
de
bande
de
canaux
».
Tous
les
messages
de
changement
de
programme
envoyés
sur
les
autres
canaux
MIDI
sont
transférés
vers
les
instruments
Audio
Units,
le
cas
échéant.
Les
performances
de
bande
de
canaux
peuvent
être
utilisées
pour
tous
les
types
de
bande
de
canaux
audio.
Elles
sont
enregistrées
dans
le
sous-dossier
Performances
(dans
~/Bibliothèque/Application
Support/Logic/Channel
Strip
Settings/).
Les
noms
des
performances
commencent
par
le
numéro
du
changement
de
programme
correspondant
(tels
que
:
001Piano,
045FlangeGuitar,
111ArcoCelloHall).
Il
existe
128
performances
(correspondant
aux
128
événements
de
changement
de
programme
disponibles).
Pour
créer
un
réglage
de
performance
:
1 Configurez
une
bande
de
canaux
que
vous
souhaitez
avoir
à
disposition
en
tant
que
performance
(en
ouvrant
un
réglage
de
bande
de
canaux
à
partir
de
la
bibliothèque
d’origine
et
en
l’adaptant
à
vos
besoins,
par
exemple).
2 Cliquez
sur
le
bouton
Réglage,
puis
choisissez
Enregistrer
comme
performance.
3 Dans
la
zone
de
dialogue
qui
s’affiche,
tapez
le
nom
d’une
performance,
choisissez
un
numéro
de
changement
de
programme
et
cliquez
sur
OK.
4 Envoyez
le
numéro
de
changement
de
programme
à
partir
de
votre
contrôleur
MIDI.
Lorsqu’une
bande
de
canaux
reçoit
un
message
de
changement
de
programme
(sur
le
canal
MIDI
1)
correspondant
à
un
numéro
de
performance
assigné,
elle
charge
cette
performance.
246 Chapitre
10
Utilisation
des
instruments
et
des
effets
Remarque
:
si
la
valeur
de
changement
de
programme
envoyée
n’est
pas
assignée,
la
bande
de
canaux
ignore
le
message
et
le
réglage
de
performance
de
la
bande
de
canaux
actuellement
chargé
reste
en
place.
Tous
les
réglages
de
performance
enregistrés
apparaissent
dans
le
dossier
Performances
du
menu
«
Réglages
des
bandes
de
canaux
».
Utilisation de la fenêtre de module
Toutes
les
manipulations
pratiques
de
modules
s’effectuent
dans
la
fenêtre
de
module,
qui
permet
d’accéder
à
tous
les
paramètres
des
modules.
Chaque
occurrence
d’un
module
dispose
de
sa
propre
fenêtre,
chacune
peut
donc
avoir
ses
propres
réglages.
La
fenêtre
de
module
s’ouvre
automatiquement
lorsqu’un
module
est
inséré.
Ce
comportement
peut
être
modifié
en
désactivant
la
case
à
cocher
«
Ouvrir
la
fenêtre
du
module
à
l’insertion
»
dans
l’onglet
Logic
Express
>
Préférences
>
Audio
>
Général.
Pour
fermer
une
fenêtre
de
module
:
m Cliquez
sur
l’icône
X
en
haut
à
gauche
de
la
fenêtre
de
module.
Chapitre
10
Utilisation
des
instruments
et
des
effets 247
Remarque
:
le
fait
de
fermer
la
fenêtre
ne
désactive
pas
le
module.
Pour
ouvrir
une
fenêtre
de
module
fermée
:
m Double-cliquez
sur
un
logement
d’insertion
ou
d’instrument
assigné
(le
nom
du
module
est
indiqué
sur
le
logement).
Pour
afficher
ou
masquer
toutes
les
fenêtres
de
module
ouvertes
:
m Utilisez
le
raccourci
clavier
«
Afficher/Masquer
toutes
les
fenêtres
de
module
»
(par
défaut
:
V).
Ajustement
des
paramètres
de
module
Cette
rubrique
aborde
brièvement
l’interaction
avec
les
éléments
de
paramétrage
communs
que
vous
trouverez
dans
les
fenêtres
de
module
Logic
Express.
Pour
obtenir
des
détails
complets
sur
les
paramètres
de
chaque
module,
reportez-vous
au
manuel
Instruments
et
effets
de
Logic
Express
8.
Pour
passer
d’un
bouton
à
l’autre
dans
la
fenêtre
de
module :
m Cliquez
sur
le
bouton.
Il
passe
à
l’option
suivante
ou
précédente
ou
est
activé
ou
désactivé.
Pour
ajuster
le
curseur
d’un
paramètre
:
m Cliquez
n’importe
où
sur
le
curseur,
puis
maintenez
enfoncé
le
bouton
de
la
souris
et
faites
glisser
vers
le
haut,
vers
le
bas,
vers
la
gauche
ou
vers
la
droite.
m Cliquez
n’importe
où
dans
la
plage
de
valeurs
du
curseur
tout
en
maintenant
la
touche
Commande
enfoncée.
La
valeur
définie
correspond
à
la
valeur
sur
laquelle
vous
avez
cliqué.
248 Chapitre
10
Utilisation
des
instruments
et
des
effets
Pour
ajuster
les
potentiomètres
rotatifs
:
m Cliquez
au
centre
du
potentiomètre
rotatif
et,
tout
en
maintenant
le
bouton
de
la
souris
enfoncé,
faites
glisser
la
souris
vers
le
haut
et
vers
le
bas.
m Cliquez
n’importe
où
sur
le
cercle
entourant
le
potentiomètre
tout
en
maintenant
la
touche
Commande
enfoncée.
La
valeur
définie
correspond
à
la
valeur
sur
laquelle
vous
avez
cliqué.
Pour
ajuster
les
champs
numériques,
effectuez
l’une
des
opérations
suivantes
:
m Cliquez
sur
la
valeur
numérique
tout
en
maintenant
le
bouton
de
la
souris
enfoncé,
puis
faites-le
glisser
vers
le
haut
ou
vers
le
bas.
m Cliquez
(ou
double-cliquez)
dans
le
champ
et
tapez
des
valeurs
numériques
à
l’aide
du
clavier.
m Si
des
flèches
vers
le
haut
et
vers
le
bas
se
trouvent
à
côté
de
ces
panneaux,
cliquez
dessus
pour
augmenter
ou
diminuer
la
valeur
d’une
unité.
m Si
le
panneau
numérique
ouvre
un
menu
local
de
valeurs,
choisissez
la
valeur
souhaitée.
Pour
rétablir
la
valeur
par
défaut (ou centrée) de n’importe quel paramètre :
m Cliquez
dessus
en
maintenant
la
touche
Option
enfoncée.
Pour
affiner
les
ajustements
de
paramètres
:
m Maintenant
la
touche
Maj
enfoncée
avant
de
cliquer
sur
une
commande
et
de
la
faire
glisser.
Vous
pouvez
également
vous
servir
de
la
molette
de
la
souris
ou
du
clavier
pour
ajuster
les
paramètres
des
modules
Logic
Express.
Pour
ajuster
les
paramètres
de
module
avec
la
molette
de
la
souris
:
1 Sélectionnez
le
paramètre
de
module
Logic
Express
souhaité
en
cliquant
dessus.
2 Faites
tourner
la
molette
de
la
souris.
Π Conseil
:
vous
pouvez
également
utiliser
le
trackpad
d’un
MacBook
ou
d’un
PowerBook
au
lieu
de
la
molette
de
la
souris.
Chapitre
10
Utilisation
des
instruments
et
des
effets 249
Pour
ajuster
les
paramètres
d’un
module
à
l’aide
du
clavier
:
m Sélectionnez
le
paramètre
de
module
Logic
Express
souhaité,
puis
procédez
de
l’une
des
manières
suivantes
:
 Appuyez
sur
la
touche
plus
pour
augmenter
la
valeur
du
paramètre.
 Appuyez
sur
la
touche
moins
pour
réduire
la
valeur
du
paramètre.
Fonctions communes de la fenêtre de module
La
zone
d’e
Appuyez
sur
n-tête
située
en
haut
de
la
fenêtre
de
module
est
commune
à
tous
les
modules.
Elle
contient
un
certain
nombre
de
fonctions
importantes
pour
l’utilisation
des
modules.
Pour
masquer
ou
afficher
l’en-tête
de
la
fenêtre
de
module
:
m Cliquez
sur
l’icône
située
en
haut
à
droite
de
la
fenêtre
de
module.
Liaison
de
la
fenêtre
de
module
Le
bouton
situé
à
l’extrême
gauche
de
la
fenêtre
(avec
une
chaîne
représentée
dessus)
est
le
bouton
Lien.
Lorsque
le
bouton
Lien
est
activé
 Une
seule
fenêtre
de
module
est
utilisée
pour
afficher
tous
les
modules
ouverts.
Chaque
fois
que
vous
ouvrez
un
nouveau
module,
la
fenêtre
est
actualisée
pour
prendre
en
compte
le
module
que
vous
venez
de
choisir.
 La
sélection
d’une
piste
d’arrangement
différente
actualise
la
fenêtre
de
module
ouverte,
de
façon
à
afficher
le
numéro
de
logement
correspondant
à
la
piste
ou
à
la
bande
de
canaux
récemment
sélectionnée.
Par
exemple
:
 Une
instance
ES1
est
chargée
(dans
le
logement
Instrument)
sur
la
piste
1,
assignée
à
la
bande
de
canaux
d’instrument
1.
 Une
instance
EXS24
mkII
est
chargée
dur
la
piste
11,
assignée
à
la
bande
canal
d’instrument
2.
 Lorsque
vous
basculerez
entre
les
pistes
1
et
11,
la
fenêtre
de
module
sera
automatiquement
actualisée
pour
afficher
respectivement
l’ES
1
ou
l’EXS24
mkII.
250 Chapitre
10
Utilisation
des
instruments
et
des
effets
Lorsque
le
bouton
Lien
est
désactivé
Vous
pouvez
ouvrir
plusieurs
fenêtres
de
module
simultanément,
sans
qu’elles
ne
soient
actualisées
pour
refléter
les
pistes
ou
les
modules
que
vous
sélectionnez.
Toutes
les
fenêtres
de
module
ouvertes
continueront
bien
sûr
à
afficher
toutes
les
mises
à
jour
et
modifications
apportées
aux
paramètres.
Il
est
pratique
de
désactiver
le
bouton
Lien
lorsque
vous
souhaitez
comparer
les
réglages
de
deux
modules
ou
ajuster
en
même
temps
les
paramètres
de
plusieurs
fenêtres
de
module
ouvertes.
Contournement
de
modules
Pour
désactiver
un
module,
sans
pour
autant
le
supprimer
ou
le
retirer
d’un
canal,
vous
avez
la
possibilité
de
le
contourner.
Les
modules
contournés
n’utilisent
pas
de
ressources
système.
Pour
contourner
un
module,
effectuez
l’une
des
opérations
suivantes
:
m Cliquez
sur
le
bouton
Contournement
à
gauche
de
l’en-tête
de
la
fenêtre
de
module.
m Tout
en
maintenant
la
touche
Option
enfoncée,
cliquez
sur
le
logement
d’insertion
ou
d’instrument
approprié
sur
la
bande
de
canaux
voulue
(dans
la
table
de
mixage
ou
dans
l’Inspecteur).
Le
logement
d’insertion
du
module
contourné
passe
du
bleu
au
gris,
indiquant
que
le
module
est
actuellement
contourné.
Utilisation
des
fonctions
de
réglages
Tous
les
réglages
actuels
des
paramètres
d’un
module
sont
stockés
avec
le
fichier
du
projet
et
sont
automatiquement
rappelés
lors
du
prochain
chargement.
Vous
pouvez
également
enregistrer
et
rappeler
toutes
les
modifications
apportées
aux
paramètres
de
module.
Ces
paramètres
sont
stockés
et
rappelés
sous
forme
de
réglages
individuels
(ou
préréglages,
si
vous
préférez)
via
la
zone
Réglages.
Chapitre
10
Utilisation
des
instruments
et
des
effets 251
La
zone
Réglages
se
trouve
à
droite
du
bouton
Contournement.
 Boutons
Réglage
suivant
et
Réglage
précédent
:
cliquez
sur
ces
boutons
pour
charger
le
réglage
de
module
suivant
ou
précédent.
 Champ
Réglages
:
affiche
le
nom
du
réglage
de
module
actuel.
Cliquez
sur
ce
champ
pour
accéder
au
menu
Réglages.
 Bouton
Comparer
:
cliquez
sur
ce
bouton
pour
comparer
un
réglage
de
module
modifié
avec
le
réglage
enregistré
avec
le
projet.
 Boutons
Copier
et
Coller
:
cliquez
sur
ces
boutons
pour
copier
ou
coller
un
réglage
de
module.
Pour
charger
un
réglage
:
1 Ouvrez
le
menu
Réglages
(de
la
fenêtre
de
module,
et
non
du
menu
«
Réglages
des
bandes
de
canaux
»)
en
cliquant
sur
le
champ
Réglages.
2 Effectuez
l’une
des
opérations
suivantes
:
 Accédez
au
réglage
souhaité
depuis
le
menu
ou
les
sous-menus
de
catégorie,
puis
sélectionnez-le.
 Choisissez
la
commande
Charger
Réglages.
Lorsque
cette
commande
est
utilisée,
une
zone
de
sélection
de
fichier
s’ouvre.
Seuls
les
réglages
correspondant
aux
types
de
modules
compatibles
s’affichent.
Chaque
module
possède
son
propre
jeu
de
paramètres,
et
donc
son
propre
format
de
fichier.
Remarque
:
vous
pouvez
également
sélectionner
les
réglages
de
module
dans
l’onglet
Bibliothèque
de
la
zone
Média
de
la
fenêtre
Arrangement.
Reportez-vous
à
la
rubrique
«
Utilisation
de
la
bibliothèque
pour
sélectionner
les
réglages
de
module
»
à
la
page
256.
252 Chapitre
10
Utilisation
des
instruments
et
des
effets
Pour
choisir
le
réglage
suivant
ou
précédent,
effectuez
l’une
des
opérations
suivantes
:
m Dans
l’en-tête
de
la
fenêtre
de
module,
cliquez
sur
la
flèche
gauche
pour
choisir
le
réglage
précédent,
ou
sur
la
flèche
droite
pour
choisir
le
suivant.
m Utilisez
les
raccourcis
clavier
suivants
:
 Réglage
de
module
suivant
 Réglage
de
module
précédent
 Programme
ou
instrument
EXS
suivant
 Programme
ou
instrument
EXS
précédent
 Réglage
de
bande
de
canaux
ou
Programme
ou
Instrument
EXS
suivant
 Réglage
de
bande
de
canaux
ou
Programme
ou
instrument
EXS
précédent
Pour
remplacer
un
réglage,
effectuez
l’une
des
opérations
suivantes
:
m Naviguez
jusqu’au
menu
des
réglages
de
module
et
choisissez
le
réglage
que
vous
souhaitez
utiliser.
m Sélectionnez
la
commande
Charger
Réglages
et
choisissez
le
réglage
voulu
dans
la
zone
de
sélection
de
fichier.
Remplacement
de
modules
compatibles
avec
les
réglages
Lorsque
vous
remplacez
un
module
par
un
autre
module
compatible
avec
les
réglages,
le
nouveau
module
utilise
automatiquement
les
réglages
du
module
remplacé.
Par
exemple
:
lorsque
vous
remplacez
un
instrument
GarageBand
reposant
sur
le
module
ES2
par
l’ES2
lui-même,
ce
dernier
utilise
le
même
réglage
que
l’instrument
GarageBand
ES2
remplacé.
Il
en
va
de
même
pour
la
plupart
des
instruments
Garage-
Band
reposant
sur
ESW,
à
deux
exceptions
près
:
Métamorphose
hybride
et
Hybride
de
base.
Pour
comparer
les
paramètres
de
module
modifiés
avec
les
réglages
d’origine
:
1 Ajustez
les
paramètres
de
module
souhaités.
2 Cliquez
sur
le
bouton
Comparer
pour
passer
des
réglages
de
paramètres
chargés
à
l’origine
(avec
le
projet)
à
ceux
qui
ont
été
modifiés.
Cette
fonction
vous
permet
d’auditionner
la
lecture
de
vos
pistes
audio
ou
instrument
sur
deux
variations
d’un
même
module.
Si
vous
décidez
de
conserver
la
version
remaniée,
vous
pouvez
l’enregistrer
en
tant
que
nouveau
réglage
de
module
via
le
menu
Réglages.
Le
bouton
Comparer
permet
de
comparer
le
réglage
modifié
au
réglage
de
référence
qui
a
été
sauvegardé
lors
du
dernier
enregistrement
du
projet
(même
si
vous
avez
enregistré
le
réglage
depuis
la
dernière
ouverture
du
projet).
Cela
signifie
que,
pour
modifier
rapidement
le
réglage
de
référence,
il
suffit
d’enregistrer
le
projet.
Chapitre
10
Utilisation
des
instruments
et
des
effets 253
Pour
rétablir
le
réglage
par
défaut
d’un
module :
m Dans
le
menu
Réglages,
choisissez
Réinitialiser
le
réglage.
Pour
copier
les
paramètres
de
module
actuels
:
m Cliquez
sur
le
bouton
Copier
dans
l’en-tête
de
la
fenêtre
de
module
(ou
choisissez
Copier
le
réglage
dans
le
menu
Réglages).
Cela
permet
de
copier
tous
les
réglages
de
paramètre
dans
le
Presse-papiers
des
réglages
de
module,
qui
est
indépendant
du
Presse-papiers
global
de
Logic
Express.
Pour
coller
les
paramètres
de
module
copiés
:
m Cliquez
sur
le
bouton
Coller
dans
l’en-tête
de
la
fenêtre
de
module
(ou
choisissez
Coller
le
réglage
dans
le
menu
Réglages).
Remarque
:
cela
ne
fonctionne
qu’avec
des
modules
du
même
type
(deux
instances
de
Compressor,
par
exemple).
Certains
modules,
tels
que
l’ES2
et
certains
instruments
GarageBand
basés
sur
ES2
partagent
un
certain
nombre
de
paramètres,
ce
qui
vous
permet
de
copier
et
coller
librement
les
réglages
de
paramètre
d’un
module
à
l’autre
(voir
«
Changement
du
contenu
de
la
fenêtre
de
module
»
à
la
page
254).
Pour
enregistrer
un
réglage,
effectuez
l’une
des
opérations
suivantes
dans
le
menu
Réglages
:
m Choisissez
Enregistrer
le
réglage
:
les
valeurs
actuelles
des
paramètres
de
module
sont
enregistrées
comme
réglage.
Cette
action
écrase
le
réglage
existant.
m Choisissez
Enregistrer
le
réglage
sous
:
cette
option
permet
de
nommer
et
d’enregistrer
un
réglage
en
indiquant
l’emplacement
du
dossier.
Vous
pouvez
également,
si
vous
le
souhaitez,
créer
un
dossier
dans
la
zone
de
dialogue
Enregistrer
sous.
Remarque
:
l’emplacement
du
dossier
(existant
ou
nouvellement
créé)
doit
se
trouver
dans
le
dossier
du
module
associé.
Par
exemple,
vous
pourriez
enregistrer
un
réglage
appelé
Euro
Lead
dans
le
sous-dossier
Lead
Synths
du
dossier
ES2.
Pour
créer
un
réglage
par
défaut
:
m Enregistrez
un
réglage
appelé
«
#default
»
dans
le
dossier
Réglages
de
n’importe
quel
type
de
module.
Ce
réglage
sera
chargé
automatiquement
à
l’ouverture
de
ce
type
de
module.
Le
réglage
«
#default
»
constitue
également
un
bon
point
de
départ
pour
créer
de
nouveaux
réglages
de
module
ou
une
bonne
position
de
repli
lorsque
vous
faites
des
essais.
Pour
supprimer
un
réglage
:
m Choisissez
Supprimer
le
réglage
dans
le
menu
Réglages.
254 Chapitre
10
Utilisation
des
instruments
et
des
effets
Changement
du
contenu
de
la
fenêtre
de
module
Vous
pouvez
réassigner
n’importe
quelle
fenêtre
de
module
ouverte
(de
deux
façons
différentes)
via
les
menus
«
Afficher
la
bande
de
canaux
»
et
Afficher
l’insertion
:
 Cliquez
sur
le
menu
«
Afficher
la
bande
de
canaux
»
pour
que
la
fenêtre
de
module
bascule
entre
tous
les
canaux
qui
utilisent
le
même
module.
Par
exemple,
si
vous
avez
inséré
l’ES2
sur
les
pistes
1
et
6,
vous
pouvez
passer
de
l’une
de
ces
bandes
de
canaux
à
l’autre
et
ajuster
les
paramètres
de
chaque
instance
ES2
respectivement.
 Cliquez
sur
le
menu
Afficher
l’insertion
pour
basculer
entre
les
logements
de
module
du
canal
sélectionné.
Par
exemple,
si
un
canal
particulier
utilise
un
égaliseur
et
un
module
ES2,
vous
pouvez
passer
de
l’un
à
l’autre.
Changement
du
mode
de
présentation
de
la
fenêtre
de
module
Les
paramètres
de
module
peuvent
être
affichés
sous
deux
formes
:
la
présentation
Contrôles
et
la
présentation
Éditeur.
La
présentation
Éditeur
affiche
l’interface
graphique
du
module,
s’il
en
comprend
une.
La
présentation
Contrôles
affiche
toutes
les
fonctions
du
module
sous
forme
d’ensembles
de
curseurs
horizontaux,
avec
des
champs
numériques
à
gauche
de
chaque
paramètre.
Ces
champs
servent
aussi
bien
à
l’affichage
qu’à
la
saisie
des
valeurs.
Pour
passer
d’un
mode
de
présentation
à
l’autre
:
m Choisissez
l’option
Contrôles
ou
Éditeur
dans
le
menu
Présentation
de
l’en-tête
de
module.
Présentation
Contrôles Présentation
Éditeur
Chapitre
10
Utilisation
des
instruments
et
des
effets 255
Modules
avec
entrée
latérale
(Side
Chain)
Tous
les
modules
qui
gèrent
les
entrées
latérales
comportent
un
menu
supplémentaire
Side
Chain
à
droite
de
l’en-tête
de
la
fenêtre
de
module.
Cela
vous
permet
d’acheminer
n’importe
quel
canal
audio,
d’entrée
ou
auxiliaire
dans
le
module,
via
une
entrée
latérale.
Vous
pouvez
également
acheminer
un
canal
d’instrument
sous
forme
de
signal
Side
Chain
en
suivant
ces
étapes
:
1 Créez
un
envoi
(Send)
vers
un
canal
auxiliaire
(par
exemple
«
Aux
3
»)
sur
le
canal
d’instrument
(«
Instrument
5
»,
par
exemple).
2 Sur
le
canal
audio
que
vous
souhaitez
traiter,
choisissez
le
canal
auxiliaire
sélectionné
(Aux
3)
dans
le
menu
Side
Chain
du
module.
Une
fois
l’entrée
latérale
choisie,
le
module
traite
l’audio
du
canal
dans
lequel
il
est
inséré,
en
tenant
compte
des
impulsions
de
déclenchement
fournies
par
l’entrée
latérale.
Les
crêtes
du
signal
arrivant
sur
l’entrée
latérale
(le
signal
d’instrument
envoyé),
associées
au
paramètre
Seuil
du
module,
conditionnent
le
déclenchement
du
module.
Quelques
exemples
d’utilisation
d’entrée
latérale
(Side
Chain)
 Un
son
de
nappe
de
niveau
quasi-constant
est
envoyé
à
travers
une
porte
de
bruit,
elle-même
déclenchée
par
le
signal
d’une
piste
de
batterie
arrivant
sur
son
entrée
latérale.
Vous
obtenez
un
son
de
nappe
«
découpé
»
en
rythme
par
les
crêtes
du
signal
provenant
de
la
piste
de
batterie.
 Une
porte
de
bruit
insérée
dans
le
canal
d’une
guitare
basse
est
déclenchée
par
la
piste
de
grosse
caisse
via
l’entrée
latérale.
Cette
astuce
permet
de
resserrer
le
timing
de
la
guitare
basse,
qui
suit
alors
le
signal
de
la
grosse
caisse.
 Les
entrées
latérales
peuvent
également
être
utilisées
pour
mélanger
une
musique
et
une
voix
off.
Pour
cela,
le
mixage
doit
être
acheminé
à
travers
un
compresseur
qui
reçoit
par
ailleurs
sur
son
entrée
latérale
la
piste
de
la
voix
off.
Dans
ce
type
de
configuration,
le
niveau
de
la
musique
baisse
lorsque
le
narrateur
parle
et
remonte
lorsqu’il
ne
parle
plus.
Cet
effet
est
également
appelé
atténuation
(ou
Ducking).
Veuillez
noter
que
pour
que
cette
configuration
puisse
fonctionner,
il
faut
désactiver
la
fonction
de
compensation
automatique
de
gain
ou
«
Auto
Gain
»
(si
celle-ci
s’applique
au
module
de
compression).
256 Chapitre
10
Utilisation
des
instruments
et
des
effets
Masquage
et
affichage
des
paramètres
étendus
Certains
modules
de
Logic
Express
peuvent
disposer
de
paramètres
supplémentaires
qui
n’apparaissent
pas
dans
la
présentation
Éditeur
(l’interface
graphique
du
module).
Leur
présence
est
signalée
par
un
triangle
d’affichage
qui
apparaît
en
bas
à
gauche
de
la
fenêtre
de
module.
Si
aucun
triangle
d’affichage
n’est
visible,
cela
signifie
que
le
module
de
possède
pas
de
paramètres
supplémentaires.
Pour
masquer
ou
faire
apparaître
les
paramètres
supplémentaires
:
m Cliquez
sur
le
triangle
d’affichage
situé
en
bas
de
la
fenêtre
de
module.
Utilisation de la bibliothèque pour sélectionner les réglages
de module
Au
lieu
d’utiliser
le
menu
Réglages
de
l’en-tête
de
la
fenêtre
de
module,
vous
pouvez
aussi
utiliser
l’onglet
Bibliothèque
de
la
zone
Média.
Pour
charger
un
réglage
de
module
à
partir
de
la
Bibliothèque
:
1 Si
la
zone
Média
n’est
pas
visible,
cliquez
sur
le
bouton
Média
dans
la
barre
d’outils
de
la
fenêtre
Arrangement,
puis
cliquez
sur
l’onglet
Bibliothèque.
2 Sélectionnez
la
piste
d’arrangement
qui
est
acheminée
vers
la
bande
de
canaux
dont
vous
souhaitez
ajuster
les
réglages.
Chapitre
10
Utilisation
des
instruments
et
des
effets 257
3 Cliquez
sur
le
logement
d’insertion
ou
d’instrument
du
module
souhaité
dans
la
bande
de
canaux
de
la
zone
Arrangement.
La
Bibliothèque
affiche
tous
les
réglages
disponibles
pour
le
type
de
module
choisi,
classés
par
menus
de
catégories.
Par
exemple,
pour
le
module
Compressor
:
Drum
Compressors,
Instrument
Compressors,
Vocal
Compressors.
4 Cliquez
sur
le
menu
de
catégorie
approprié,
puis
cliquez
sur
le
nom
du
réglage
voulu
afin
de
modifier
le
réglage
du
module
sélectionné.
Remarque
:
vous
pouvez
cliquer
sur
le
bouton
Rétablir
pour
revenir
au
réglage
de
module
précédent.
5 Le
cas
échéant,
cliquez
sur
d’autres
logements
d’insertion
ou
d’instrument
pour
mettre
à
jour
l’onglet
Bibliothèque
et
ainsi
afficher
tous
les
réglages
associés
au
type
de
module
sélectionné.
6 Si
vous
cliquez
sur
un
logement
d’insertion
ou
d’instrument
non
utilisé,
le
menu
du
module
est
affiché
normalement.
Choisissez
un
module
et
l’onglet
Bibliothèque
est
actualisé
pour
refléter
votre
sélection.
Dossier
Bibliothèque
et
structure
de
menus
Chaque
type
de
module
possède
un
sous-dossier
spécifique
(portant
le
nom
du
module
en
question)
qui
est
créé
automatiquement
dans
le
dossier
Plug-in
Settings.
D’autres
sous-dossiers,
destinés
aux
catégories,
peuvent
être
créés
à
l’intérieur
de
ces
sous-dossiers.
Ces
structures
de
dossier
sont
reproduites
dans
l’onglet
Bibliothèque
(et
dans
le
menu
Réglages)
pour
chaque
module.
Les
dossiers
Plug-In
Settings
se
trouvent
dans
les
emplacements
suivants
:
 ~/Bibliothèque/Application
Support/Logic
:
contient
les
réglages
de
module
définis
ou
modifiés
par
l’utilisateur.
 /Bibliothèque/Application
Support/Logic
:
les
réglages
d’origine
sont
toujours
stockés
dans
ce
répertoire.
Les
réglages
de
module
sont
identifiés
par
l’extension
de
fichier
.pst.
Le
cadre
blanc
indique
que
la
Bibliothèque
est
active.
258 Chapitre
10
Utilisation
des
instruments
et
des
effets
À propos des acheminements d’effets
Il
existe
deux
moyens
d’envoyer
des
données
audio
dans
les
effets
:
via
une
insertion
ou
via
un
envoi
auxiliaire.
Effets
d’insertion
Lorsqu’un
module
est
inséré
directement
dans
un
canal,
on
parle
d’effet
d’insertion.
Le
signal
est
traité
intégralement
ou,
autrement
dit,
100
%
du
signal
traverse
l’effet.
Ce
comportement
intégral
est
idéal
pour
les
égaliseurs
et
les
effets
dynamiques,
tels
que
les
compresseurs.
Si
vous
disposez
d’une
puissance
de
calcul
suffisante,
vous
pouvez
utiliser
jusqu’à
15
effets
d’insertion
sur
chaque
bande
de
canaux.
Par
défaut,
deux
logements
d’insertion
seulement
sont
affichés
sur
les
bandes
de
canaux.
Un
logement
d’insertion
supplémentaire
vierge
est
automatiquement
créé,
dès
que
tous
les
logements
d’insertion
actuellement
affichés
sont
utilisés,
jusqu’au
maximum
utilisé.
Autrement
dit,
si
vous
insérez
un
module
d’effet
dans
le
logement
d’insertion
2,
un
troisième
logement
est
automatiquement
affiché.
De
même,
si
vous
insérez
un
module
dans
le
logement
3,
un
quatrième
est
affiché
et
ainsi
de
suite.
Effets
d’envoi
Lorsque
vous
utilisez
un
effet
d’envoi,
une
quantité
contrôlée
du
signal
est
envoyée
à
l’effet
en
question.
Cette
méthode
est
généralement
employée
pour
des
effets
qui
seront
appliqués
à
plusieurs
signaux
en
même
temps.
Les
effets
d’envoi
sont
également
appelés
effets
bus,
envois
ou
retours
de
bus,
envois
ou
retours
auxiliaires,
ou
tout
simplement
envois
ou
retours.
Dans
Logic
Express,
les
effets
d’envoi
sont
placés
dans
un
logement
Insertion
d’un
canal
auxiliaire.
Les
signaux
des
différents
canaux
que
vous
souhaitez
traiter
sont
envoyés
vers
ce
canal
auxiliaire
par
le
biais
d’un
bus.
La
quantité
de
signal
est
contrôlée
par
un
potentiomètre
d’envoi
(Send)
sur
chaque
canal.
Le
signal
audio
est
alors
traité
par
l’effet
inséré
dans
le
canal
auxiliaire,
puis
mélangé
à
la
sortie
stéréo.
Cette
méthode
est
indéniablement
plus
efficace
que
l’insertion
directe
dans
les
pistes.
En
effet,
au
lieu
d’insérer
le
même
effet
directement
dans
plusieurs
canaux,
elle
permet
de
traiter
plusieurs
canaux
avec
un
seul
effet
inséré
et
donc
d’économiser
beaucoup
de
puissance
de
calcul
(et
de
temps).
Un
autre
avantage
est
que
vous
pouvez
passer
rapidement
de
la
version
sèche
à
la
version
mouillée
(et
inversement)
de
tous
les
canaux
qui
sont
envoyés
à
un
canal
auxiliaire,
en
contournant
simplement
l’effet
sur
ce
dernier.
Chapitre
10
Utilisation
des
instruments
et
des
effets 259
De
même,
vous
pouvez
complètement
modifier
la
configuration
des
effets
pour
plusieurs
canaux
envoyés
en
choisissant
différents
effets
pour
le
canal
auxiliaire.
Il
est
toujours
préférable
d’insérer
les
effets
très
gourmands
en
puissance
de
calcul,
tels
que
la
réverbération,
dans
un
canal
auxiliaire.
Il
en
va
de
même
pour
les
effets
Chorus,
Flanger
et
Delay
s’ils
doivent
être
utilisés
sur
plusieurs
pistes.
Toutefois,
dans
certains
cas,
il
peut
être
judicieux
d’un
point
de
vue
musical
de
placer
un
effet
tel
qu’un
retard
ou
un
chorus
directement
dans
le
logement
d’insertion
d’un
canal.
Cela
vous
permet
en
effet
d’utiliser
des
couleurs
et
des
réglages
précis
sur
les
différents
éléments
de
votre
mixage.
La
règle
d’or
est
que
vous
devez
utiliser
ce
qui
convient
le
mieux
à
votre
mixage.
Logic
Express
n’impose
aucune
restriction
sur
l’endroit
où
peuvent
être
insérés
les
effets.
Pour
envoyer
un
signal
de
canal
à
un
canal
auxiliaire
:
1 Cliquez
sur
un
logement
d’envoi
(d’un
canal
audio,
par
exemple)
et
sélectionnez
un
bus
dans
le
menu.
2 Faites
glisser
le
potentiomètre
d’envoi
sur
la
quantité
de
signal
que
vous
souhaitez
envoyer
au
canal
auxiliaire.
Lorsque
vous
faites
cela,
la
valeur
(quantité
d’envoi)
s’affiche
dans
le
logement
d’envoi.
Lorsqu’elle
est
définie
sur
100
%,
la
quantité
d’envoi
achemine
l’intégralité
du
signal
depuis
le
canal
audio
ou
d’instrument
vers
le
canal
auxiliaire
cible
(reportez-vous
aux
informations
Pré
et
Post
ci-après).
260 Chapitre
10
Utilisation
des
instruments
et
des
effets
3 Insérez
les
modules
d’effet
voulus
et
réglez
le
niveau,
la
balance
et
la
sortie
du
canal
auxiliaire
cible.
Π Conseil
:
il
est
plus
facile
d’effectuer
cette
action
dans
les
bandes
de
canaux
de
l’arrangement
de
l’Inspecteur
:
la
bande
de
canaux
gauche
correspond
à
la
source
(le
canal
audio
dans
l’exemple)
et
la
bande
de
canaux
droite
correspond
à
la
destination
(le
canal
auxiliaire)
de
cette
source.
Si
vous
travaillez
dans
la
table
de
mixage,
vous
pouvez
double-cliquer
sur
un
logement
d’envoi
pour
accéder
directement
au
canal
auxiliaire
alloué.
Pour
supprimer
un
envoi
:
m Cliquez
sur
un
logement
d’envoi
actif,
puis
sélectionnez
Pas
d’envoi
dans
le
menu.
Pour
contourner
un
envoi
:
m Cliquez
sur
le
logement
d’envoi
tout
en
appuyant
sur
la
touche
Option.
L’arrière-plan
de
ce
dernier
devient
grisé.
Pour
normaliser
(réinitialiser)
le
niveau
d’envoi
:
m Cliquez
sur
le
potentiomètre
d’envoi
tout
en
appuyant
sur
la
touche
Option.
Le
niveau
d’envoi
est
alors
ramené
à
0
dB.
Effets d’envoi auxiliaires Post, Post-pan et Pré-fader
Les
effets
d’envoi
peuvent
être
positionnés
avant
(Pré)
ou
après
(Post)
le
curseur
de
niveau
des
bandes
de
canaux
(source).
Un
niveau
de
signal
Post-fader,
acheminé
vers
un
effet
d’envoi,
évolue
en
même
temps
que
les
mouvements
du
curseur
de
volume.
Si
vous
utilisez
l’effet
d’envoi
pour
acheminer
un
signal
depuis
le
canal
vers
une
réverbération
insérée
sur
un
canal
auxiliaire,
cela
signifie
que
la
relation
entre
le
signal
initial
et
le
signal
d’effet
reste
constante.
Lorsque
vous
baissez
au
maximum
le
curseur
de
volume
du
canal,
la
réverbération
disparaît
également.
Ce
réglage
est
généralement
le
plus
utile,
c’est
pourquoi
il
est
défini
par
défaut
dans
Logic
Express.
Envoi
Pré-fader Envoi
Post-balance
Envoi
Post-fader
Chapitre
10
Utilisation
des
instruments
et
des
effets 261
Si
un
effet
d’envoi
est
réglé
en
mode
Pré-fader,
le
niveau
du
signal
acheminé
vers
l’effet
d’envoi
reste
constant,
quels
que
soient
les
mouvements
du
curseur
de
volume
sur
le
canal
source.
Le
signal
est
toujours
envoyé
au
canal
auxiliaire
sélectionné,
même
si
le
curseur
de
volume
du
canal
source
est
entièrement
abaissé.
Les
envois
Pré-fader
sont
principalement
utilisés
pour
les
tâches
de
contrôle
:
contrôle
du
casque
dans
un
studio
ou
contrôle
du
foldback
sur
scène.
Les
envois
Pré-fader
sont
également
utiles
lorsque
vous
souhaitez
entendre
le
signal
d’effet
de
façon
isolée
(sans
le
signal
d’origine).
L’égaliseur
continue
d’affecter
les
envois
en
mode
Pré-fader
(pré-fader,
post-égaliseur).
Si
vous
optez
pour
le
mode
Post-pan,
le
signal
est
non
seulement
en
post-fader,
mais
aussi
en
post-pan.
Cela
signifie
que
la
balance
du
signal
d’envoi
sur
l’auxiliaire
(qui
doit
être
stéréo
ou
multicanal)
correspondra
à
la
position
Pan/Balance
de
la
bande
de
canal.
Pour
sélectionner
l’une
de
ces
options
dans
Logic
Express
:
m Cliquez
sur
un
logement
d’envoi
utilisé,
puis
choisissez
Post-pan,
Post
ou
Pré
en
haut
du
menu.
Acheminement
d’envois
en
parallèle
et
en
série
Lorsque
plusieurs
effets
sont
insérés
dans
une
bande
de
canaux,
on
dit
qu’ils
sont
acheminés
en
série.
Ce
terme
fait
référence
à
la
nature
séquentielle
de
la
chaîne
d’effets,
selon
laquelle
les
données
de
sortie
d’un
effet
sont
insérées
dans
les
données
d’entrée
de
l’effet
suivant,
et
ainsi
de
suite.
Lorsqu’une
bande
de
canaux
est
acheminée
vers
plusieurs
canaux
auxiliaires
par
le
biais
d’envois,
alors
que
des
effets
de
réverbération,
de
chorus
et
de
retard
sont
assignés
respectivement
aux
canaux
1,
2
et
3,
on
parle
d’acheminement
en
parallèle.
Cela
signifie
que
les
données
de
sortie
de
la
bande
de
canaux
sont
divisées
et
acheminées
vers
trois
effets
distincts,
un
pour
chaque
bande
de
canaux
auxiliaire.
Ces
trois
signaux
indépendants
sont
renvoyés
depuis
leurs
canaux
auxiliaires
respectifs,
puis
réunis
en
un
flux
de
sortie
depuis
la
bande
de
canaux.
Vous
pouvez
également
diriger
le
signal
audio
depuis
les
bandes
de
canaux
auxiliaires
vers
des
canaux
de
sortie
individuels
(ou
d’autres
canaux
auxiliaires),
indépendamment
ou
en
association
avec
la
sortie
mixte
de
bandes
de
canaux.
D’autres
possibilités
vous
sont
offertes
si
vous
combinez
des
acheminements
en
série
et
des
acheminements
en
parallèle
pour
des
canaux
individuels.
262 Chapitre
10
Utilisation
des
instruments
et
des
effets
Pourquoi
acheminer
une
bande
de
canaux
vers
plusieurs
canaux
auxiliaires,
eux-mêmes
renvoyés
vers
le
canal,
vers
des
sorties
ou
vers
d’autres
canaux
auxiliaires
?
Pour
résumer,
les
résultats
sonores
de
chaque
approche,
simple
ou
combinée,
peuvent
être
différents.
À
vous
de
jouer
:
explorez,
testez
!
Utilisation des instruments
Cette
rubrique
traite
de
l’utilisation
des
instruments
logiciels
et
des
générateurs
de
son
MIDI
externes.
Les
pistes
des
instruments
logiciels
et
celles
des
instruments
MIDI
externes
sont
traitées
de
manière
presque
identique.
Les
régions
MIDI
des
pistes
acheminées
vers
l’un
ou
l’autre
type
de
canal
(instrument
logiciel
ou
MIDI
externe)
peuvent
être
utilisées
de
manière
interchangeable.
Vous
pouvez
également
réassigner
complètement
une
piste
acheminée
vers
un
synthétiseur
MIDI
externe
vers
une
piste
utilisant
des
instruments
logiciels,
ou
encore
copier
les
données
d’une
piste
MIDI
externe
vers
une
piste
d’instrument
logiciel,
afin
d’obtenir
une
lecture
superposée
du
morceau
sur
les
deux
instruments.
Les
instruments
logiciels
utilisent
des
bandes
de
canaux
d’instrument,
tandis
que
les
instruments
MIDI
utilisent
des
bandes
de
canaux
MIDI
externes.
Les
instruments
ReWired
utilisent
quant
à
eux
des
bandes
de
canaux
auxiliaires.
Pour
en
savoir
plus
sur
la
configuration
et
l’utilisation
des
instruments
ReWired,
consultez
la
rubrique
«
Utilisation
des
applications
ReWire
»
à
la
page
275.
Π Conseil
:
bon
nombre
des
tâches
de
configuration
et
d’acheminement
décrites
dans
cette
rubrique
peuvent
être
effectuées
une
seule
fois
et
enregistrées
comme
modèle.
Ce
qui
signifie
que,
la
prochaine
fois
que
vous
chargerez
le
modèle,
toutes
ces
tâches
préliminaires
ne
seront
pas
nécessaires
et
vous
pourrez
ainsi
vous
consacrer
pleinement
à
la
création
musicale.
Pour
en
savoir
plus,
reportez-vous
à
la
rubrique
«
Enregistrement
d’un
projet
en
tant
que
modèle
»
à
la
page
166.
Configuration
d’instruments
MIDI
externes
La
configuration
et
l’utilisation
des
modules
internes
et
claviers
MIDI
externes
peuvent
s’effectuer
de
plusieurs
façons
dans
Logic
Express.
Pour
illustrer
cela,
nous
prendrons
quelques
exemples
concrets.
Suivez
les
étapes
décrites
ci-dessous.
Pour
créer
un
instrument
MIDI
externe
dans
la
fenêtre
Arrangement
:
1 Cliquez
sur
le
bouton
Nouvelles
pistes
(le
signe
plus
au-dessus
de
la
liste
des
pistes)
de
la
fenêtre
Arrangement.
2 Choisissez
l’option
MIDI
externe
et
cliquez
sur
le
bouton
Créer.
Chapitre
10
Utilisation
des
instruments
et
des
effets 263
Remarque
:
la
case
Ouvrir
la
bibliothèque
de
la
zone
de
dialogue
Nouvelles
pistes
est
cochée
par
défaut.
Ne
changez
rien
car
l’onglet
Bibliothèque
(qui
s’ouvre
automatiquement)
vous
facilitera
grandement
la
tâche.
Une
nouvelle
piste
est
créée
dans
la
liste
et
assignée
au
Périphérique
GM
1.
Chaque
fois
que
vous
créez
une
nouvelle
piste
MIDI
externe
dans
un
projet,
Logic
Express
génère
automatiquement
un
nouvel
objet
Multi
Instrument
MIDI
externe.
Ce
dernier
est
inséré
dans
la
couche
Instr.
MIDI
de
la
fenêtre
Environnement.
Choisissez
Fenêtre
>
Environnement
pour
visualiser
cet
objet
(pour
plus
de
détails,
consultez
le
chapitre
38,
«
Utilisation
de
l’Environnement
»
à
la
page
941).
Une
autre
tâche
effectuée
en
arrière-plan
est
la
création
automatique
des
bandes
de
canaux
de
la
table
de
mixage
pour
tous
les
sous-canaux
Multi
Instrument.
Cliquez
sur
le
bouton
Table
de
mixage
au
bas
de
la
fenêtre
Arrangement
et
cliquez
sur
le
bouton
Tous
dans
la
barre
des
menus
de
la
table
de
mixage.
Vous
verrez
apparaître
16
bandes
de
canaux
assignées
aux
Périphériques
GM
1
à
16
(plus
quelques
autres
pour
les
canaux
audio).
À
droite
de
la
zone
Arrangement
se
trouve
l’onglet
Bibliothèque.
Il
affiche
la
liste
de
vos
ports
et
autres
objets
MIDI.
Parmi
les
éléments
affichés
figure
le
Périphérique
GM.
264 Chapitre
10
Utilisation
des
instruments
et
des
effets
3 Cliquez
sur
Périphérique
GM
dans
la
colonne
gauche
de
l’onglet
Bibliothèque
et
vous
verrez
s’afficher
16
entrées
dans
la
colonne
de
droite
:
1
(Grand
Piano),
2
(Polysynth),
etc.
4 Cliquez
sur
le
triangle
d’affichage
situé
à
gauche
de
l’entrée
Périphérique
GM
1
dans
l’Inspecteur
(si
la
zone
Paramètre
de
piste
n’est
pas
déjà
ouverte).
Si
l’Inspecteur
n’est
pas
visible,
appuyez
sur
le
bouton
Inspecteur
dans
la
barre
d’outils
Arrangement.
Deux
paramètres
sont
particulièrement
importants
ici
:
Port
et
Canal
(voir
«
Réglages
des
paramètres
de
canaux
MIDI
externes
»
à
la
page
269).
5 Cliquez
sur
Tous,
à
côté
du
paramètre
Port.
Tous
les
ports
de
sortie
de
votre
interface
MIDI
sont
présentés
dans
une
liste.
Exemples
:
Port
1
(Unitor
8),
Port
2
(Unitor
8),
MIDI1
(Réseau
mLan).
Si
vous
choisissez
un
port
spécifique,
par
exemple
le
Port
1
(Unitor
8),
l’objet
Multi
Instrument
Périphérique
GM
sera
acheminé
vers
ce
port
MIDI
en
particulier.
Cette
liste
de
ports
est
identique
à
la
liste
de
la
colonne
gauche
de
l’onglet
Bibliothèque.
Chapitre
10
Utilisation
des
instruments
et
des
effets 265
6 Vous
remarquerez
que
le
paramètre
Canal
est
défini
sur
1.
Créez
plusieurs
nouvelles
pistes
MIDI
externes
en
suivant
les
étapes
1
et
2.
Vous
remarquerez
que
ces
nouvelles
pistes
sont
appelées
Périphérique
GM
2,
Périphérique
GM
3,
Périphérique
GM
4,
etc.
Cliquez
sur
chacune
de
ces
pistes
dans
la
liste
des
pistes
et
observez
bien
le
paramètre
Canal
dans
la
zone
Paramètre
de
piste
de
l’Inspecteur.
Chacune
de
ces
pistes
est
acheminée
vers
un
sous-canal
de
l’objet
Multi
Instrument
Périphérique
GM.
La
sélection
de
chaque
piste
est
reflétée
par
les
16
entrées
de
sous-canaux
affichées
dans
la
colonne
droite
de
l’onglet
Bibliothèque.
Il
est
important
de
noter
que
Logic
Express
n’a
pas
créé
de
nouvel
objet
Multi
Instrument
pour
chaque
nouvelle
piste
MIDI
externe.
Au
lieu
de
cela,
il
a
assigné
chaque
piste
à
des
sous-canaux
de
l’objet
Multi
Instrument
Périphérique
GM.
Vous
pouvez
créer
jusqu’à
16
pistes,
chacune
pouvant
être
assignée
à
un
sous-canal
d’un
objet
Multi
Instrument.
Mais
alors,
que
se
passe-t-il
si
vous
avez
besoin
de
canaux
supplémentaires
pour
d’autres
modules
internes
et
synthétiseurs
MIDI
externes
?
Plusieurs
options
s’offrent
à
vous.
Le
plus
simple
est
d’utiliser
l’onglet
Bibliothèque
pour
réassigner
les
pistes
nouvellement
créées
vers
des
ports
et
des
canaux
MIDI
particuliers.
Pour
réassigner
des
pistes
à
des
canaux
à
l’aide
de
l’onglet
Bibliothèque
:
1 Créez
plusieurs
pistes
MIDI
externes
dans
la
fenêtre
Arrangement,
en
suivant
les
étapes
2
et
3
de
l’exemple
ci-dessus.
2 Cliquez
sur
une
piste,
puis
sur
un
Port
et
sur
une
entrée
de
sous-canal
dans
l’onglet
Bibliothèque.
 Si
vous
choisissez
un
sous-canal
du
Périphérique
GM,
vous
devez
réassigner
la
piste
sélectionnée
à
ce
sous-canal.
 Si
vous
choisissez
le
sous-canal
d’un
autre
Port
MIDI,
la
piste
sera
réassignée
en
conséquence
(Unitor
8
Port
5,
sous-canal
4
par
exemple).
Observez
le
nouvel
objet
Multi
Instrument
(Unitor
8,
Port
5)
dans
la
fenêtre
Environnement.
Remarque
:
la
première
fois
que
vous
effectuez
cette
opération
pour
chaque
port
ou
sous-canal,
un
nouvel
objet
Multi
Instrument
est
créé
dans
l’Environnement
(ainsi
que
les
canaux
correspondants
dans
la
Table
de
mixage).
Une
fois
que
des
objets
ont
été
créés
pour
tous
les
ports,
la
réaffectation
des
pistes
vers
des
ports
ou
des
canaux
n’entraîne
pas
la
création
de
nouveaux
objets.
Outre
l’onglet
Bibliothèque,
vous
avez
également
la
possibilité
d’utiliser
la
fenêtre
Environnement
pour
créer
des
objets
Multi
Instrument.
266 Chapitre
10
Utilisation
des
instruments
et
des
effets
Pour
créer
un
instrument
MIDI
externe
dans
la
fenêtre
Environnement
:
1 Ouvrez
la
fenêtre
Environnement
en
choisissant
Fenêtre
>
Environnement
(ou
en
utilisant
le
raccourci
clavier
correspondant,
par
défaut
:
Commande
+
8).
2 La
fenêtre
devrait
s’ouvrir
par
défaut
sur
la
couche
Instr.
MIDI,
sinon,
cliquez
sur
la
flèche
vers
le
bas
située
à
gauche
du
bouton
Lien
et
choisissez
l’entrée
Instr.
MIDI.
3 Cliquez
sur
le
menu
Nouveau
et
examinez
les
options
disponibles.
Il
s’agit
de
tous
les
objets
d’environnement
que
vous
pouvez
créer.
Pour
l’instant,
choisissez
Multi
Instrument.
4 Le
nouvel
objet
Multi
Instrument
créé
est
appelé
«
(Multi
Instr.)
».
Vous
pourrez
le
renommer
par
la
suite
(en
général
d’après
le
nom
de
votre
synthétiseur,
JV5080,
Microwave,
etc.).
 Vous
noterez
la
présence
de
lignes
diagonales
qui
barrent
chacune
des
16
cases
de
sous-canal.
 Notez
également
que
les
paramètres
Port
et
Canal
s’affichent
à
gauche
de
la
fenêtre
Environnement.
5 Cliquez
sur
le
menu
Port
et
choisissez
une
nouvelle
sortie
MIDI
pour
l’objet
Multi
Instr.
Assurez-vous
qu’il
s’agit
un
port
différent
de
celui
utilisé
par
l’objet
Périphérique
GM.
6 La
dernière
étape
consiste
à
activer
chaque
sous-canal.
Pour
cela,
il
suffit
de
cliquer
sur
la
case
de
chaque
sous-canal.
La
ligne
diagonale
disparaît
dès
que
la
case
est
cochée.
7 Cliquez
sur
le
bouton
Table
de
mixage
au
bas
de
la
fenêtre
Arrangement
et
vous
verrez
apparaître
16
nouvelles
bandes
de
canaux
(Multi
Instr.).
Π Conseil
:
dès
qu’un
objet
a
été
créé
dans
la
fenêtre
Environnement
(à
l’aide
de
l’une
des
méthodes
décrites
précédemment),
vous
pouvez
cliquer
sur
les
noms
de
piste
de
la
liste
en
maintenant
la
touche
Contrôle
enfoncée.
Choisissez
le
port
et
le
sous-canal
voulus
dans
le
menu
«
Réassigner
l’objet
de
piste
»
pour
réassigner
rapidement
les
pistes.
Chapitre
10
Utilisation
des
instruments
et
des
effets 267
Réglage
des
paramètres
de
canaux
pour
les
instruments
Lorsque
vous
sélectionnez
une
piste
qui
est
déjà
assignée
à
une
bande
de
canal
MIDI
ou
d’instrument
logiciel,
la
zone
Paramètres
de
piste
de
l’Inspecteur
affiche
les
paramètres
décrits
dans
cette
rubrique.
Toute
modification
apportée
à
ces
paramètres
affecte
l’ensemble
de
la
bande
de
canal,
ainsi
que
toutes
les
pistes
acheminées
vers
cette
bande.
Cette
distinction
est
importante
car
certains
paramètres,
tels
que
la
transposition,
sont
disponibles
à
la
fois
en
tant
que
paramètre
de
canal
et
que
paramètre
de
région.
Pour
remettre
cela
en
contexte,
imaginez
un
projet
composé
de
6
pistes
acheminées
vers
le
module
EXS24
mkII
(avec
un
kit
de
batterie
chargé)
sur
le
canal
d’instrument
1.
Vous
voudriez
transposer
la
rubrique
de
la
caisse
claire
(jouée
par
des
régions
de
la
piste
2)
de
deux
demi-tons.
Cela
va
déclencher
un
échantillon
de
caisse
claire
différent.
 Si
vous
utilisez
le
paramètre
Transposition
de
la
zone
Paramètre
de
région
pour
toutes
les
régions
de
la
piste
2,
tout
se
déroulera
comme
prévu.
 Si
vous
utilisez
le
paramètre
Transposition
de
la
zone
de
paramètres
Piste
(canal),
l’intégralité
du
kit
de
batterie
EXS24
mkII
(canal
Instrument
1)
sera
affecté.
Toutes
les
régions
des
6
pistes
seront
alors
lues
par
d’autres
échantillons
de
batterie.
Paramètres communs à tous les instruments
Les
paramètres
suivants
sont
disponibles
à
la
fois
pour
les
bandes
de
canaux
d’instruments
MIDI
et
d’instruments
logiciels.
Icône
L’icône
utilisée
par
l’instrument
peut
être
modifiée
pour
répondre
à
vos
envies
ou
à
vos
besoins.
Il
suffit
pour
cela
de
cliquer
sur
l’icône
et
d’en
choisir
une
autre
dans
le
menu.
Une
icône
par
défaut
est
utilisée
lors
de
l’insertion
de
tous
les
instruments
Logic
Express
internes,
vous
pouvez
ainsi
reconnaître
instantanément
une
piste
EXS24
mkII
ou
ES1.
268 Chapitre
10
Utilisation
des
instruments
et
des
effets
Transposition
Le
paramètre
Transposition
vous
permet
de
définir
le
nombre
de
demi-tons
selon
lequel
tous
les
événements
de
note
seront
transposés
à
la
sortie.
Les
valeurs
négatives
effectuent
une
transposition
vers
le
bas.
Vélocité
Le
paramètre
Vélocité
vous
permet
d’augmenter
ou
de
diminuer
les
vélocités
de
note
activée
de
tous
les
événements
de
note,
d’une
valeur
comprise
entre
–99
et
99.
Lim
Les
deux
valeurs
de
note
du
paramètre
Lim
définissent
une
plage
de
tonalités.
Toutes
les
notes
non
comprises
dans
cette
gamme
ne
sont
pas
prises
en
compte
par
l’instrument.
VLim
Les
deux
valeurs
du
paramètre
VLim
définissent
l’étendue
des
valeurs
de
vélocité.
Toutes
les
notes
dont
la
valeur
Vélocité
n’est
pas
comprise
dans
cette
plage
ne
sont
pas
jouées
par
l’instrument.
Retard
Le
paramètre
Retard
a
pour
effet
de
retarder
ou
d’avancer
l’envoi
de
tous
les
événements
MIDI
d’une
valeur
comprise
entre
–99
et
99.
Il
vous
permet
de
compenser
les
différences
de
temps
de
réponse
entre
vos
divers
équipements
MIDI
ou
de
créer
des
décalages
entre
les
canaux.
Si
vous
cherchez
à
créer
des
effets
de
retard
rythmique,
utilisez
plutôt
l’option
Retard
de
la
zone
Paramètres
de
région,
qui
autorise
des
temps
de
retard
supérieurs
sans
avoir
d’impact
sur
la
synchronisation
de
la
lecture
du
canal
(toutes
les
régions
de
la
piste
ou
d’autres
pistes
acheminées
vers
le
même
canal).
Aucune
transposition
Activez
le
paramètre
Aucune
transposition
pour
protéger
toutes
les
régions
MIDI
(sur
n’importe
quelle
piste
acheminée
vers
ce
canal)
contre
la
transposition.
En
d’autres
termes,
le
paramètre
Transposition
de
la
zone
Paramètres
de
région
est
ignoré.
Cela
s’avère
très
utile
pour
les
instruments
assignés
à
des
échantillons
de
batterie
ou
d’autres
échantillons
multitimbraux,
car
une
transposition
modifierait
les
sons
(et
pas
seulement
la
tonalité)
de
ces
instruments.
Aucune
réinitialisation
Activez
le
paramètre
Aucune
réinitialisation
pour
qu’aucun
message
de
réinitialisation
ne
soit
envoyé
à
ce
canal.
Cela
peut
être
utile
si
des
contrôleurs
sont
utilisés
dans
un
but
autre
que
musical,
tel
que
l’automatisation
de
la
table
de
mixage.
L’onglet
Logic
Express
>
Préférences
>
MIDI
>
Messages
de
réinitialisation
détermine
quels
messages
de
réinitialisation
sont
envoyés,
mais
ces
messages
ne
sont
pas
envoyés
aux
instruments
définis
sur
Aucune
réinitialisation.
Chapitre
10
Utilisation
des
instruments
et
des
effets 269
Style
À
chaque
fois
qu’une
région
MIDI
est
créée
sur
l’une
des
pistes
acheminées
vers
un
canal
donné,
le
style
de
portée
défini
dans
le
menu
local
Style
lui
est
assigné.
Si
vous
sélectionnez
le
paramètre
Auto,
Logic
Express
utilise
un
style
approprié
en
fonction
de
la
tessiture
des
notes
de
la
région.
Π Conseil
:
vous
pouvez
modifier
à
tout
moment
le
style
de
portée
d’une
région
MIDI
dans
la
case
Paramètre
d’affichage
de
l’Éditeur
de
partition.
Réglage des paramètres de canaux des instruments logiciels
Les
paramètres
suivants
sont
propres
aux
bandes
de
canaux
d’instrument.
Canal
MIDI
Ce
paramètre
définit
le
canal
MIDI
utilisé
par
l’instrument
logiciel.
Valeur
en
Ce
paramètre
permet
de
changer
l’affichage
des
bandes
de
canaux
(compteurs
et
autres
paramètres)
pour
afficher
des
valeurs
en
décibels
(dB)
et
des
valeurs
numériques
(Num).
L’affichage
par
défaut
est
en
décibels.
Réglages des paramètres de canaux MIDI externes
Les
paramètres
suivants
sont
propres
aux
bandes
de
canaux
MIDI
externes.
Connexion
du
canal
MIDI
et
du
port
Le
paramètre
Port
définit
la
sortie
MIDI
physique
vers
laquelle
les
données
sont
envoyées.
Votre
module
interne
de
son
MIDI
est
connecté
à
cette
prise
de
sortie
MIDI.
Le
canal
MIDI
est
défini
à
l’aide
du
paramètre
Canal.
Celui-ci
définit
le
canal
utilisé
pour
la
sortie
MIDI
par
la
piste
d’instrument,
ce
qui
permet
à
votre
instrument
«
réel
»
de
recevoir
les
données.
270 Chapitre
10
Utilisation
des
instruments
et
des
effets
Réglage
du
canal
MIDI
:
multi-instruments
Vous
pouvez
également
changer
le
canal
MIDI
d’une
partition
d’instrument
MIDI
externe
en
choisissant
un
autre
sous-canal
du
multi-instrument
actuel.
Un
sous-canal
correspond
à
l’une
des
rubriques
ou
l’un
des
16
canaux
MIDI
pouvant
être
lus
par
un
objet
multi-instrument.
Bien
entendu,
le
synthétiseur
MIDI
externe
(représenté
par
l’objet
multi-instrument)
doit
être
capable
de
jouer
sur
plusieurs
canaux
MIDI
pour
que
la
sélection
de
sous-canaux
soit
utile.
Vous
ne
pouvez
pas
réellement
modifier
le
canal
de
réception
d’un
sous-canal
dans
le
synthétiseur
multitimbral.
Cela
n’est
possible
que
sur
quelques
modèles
(et,
de
toute
façon,
ce
n’est
pas
particulièrement
utile
si
vous
utilisez
Logic
Express).
Si
le
canal
MIDI
est
réglé
sur
Tous,
vous
pouvez
modifier
les
paramètres
de
tout
l’objet
multi-instrument.
Une
fonction
fort
utile
pour
remplacer
de
manière
globale
le
port
MIDI
(Port
A,
B,
etc.),
par
exemple.
Programme,
Volume
et
Panoramique
Les
paramètres
Programme,
Volume
et
Pan
transmettent
respectivement
les
informations
de
changement
de
programme,
de
contrôleur
de
volume
(CC
n°
7)
et
de
contrôleur
de
panoramique
(CC
n°
10).
Si
la
case
correspondante
n’est
pas
cochée,
la
valeur
par
défaut
du
périphérique
MIDI
est
utilisée.
Un
changement
de
programme
(préréglage
ou
numéro
de
sonorité
dans
votre
module
interne
MIDI)
peut
être
sélectionné
sur
la
droite,
via
un
menu
local.
Lorsqu’il
s’agit
de
sous-canaux
multi-instruments,
les
sons
peuvent
être
sélectionnés
par
leur
nom
dans
un
menu
local.
Vous
pouvez
également
double-cliquer
sur
le
nom
de
la
piste
(Périphérique
GM
1,
par
exemple).
Cela
permet
de
lancer
la
fenêtre
Multi
Instrument.
Chapitre
10
Utilisation
des
instruments
et
des
effets 271
Il
suffit
de
cliquer
sur
le
nom
du
son
(sonorité)
que
vous
souhaitez
utiliser.
Cliquez
sur
le
bouton
de
fermeture
situé
en
haut
à
gauche
pour
fermer
la
fenêtre
ou
appuyez
sur
Commande
+
W.
Pour
en
savoir
plus
sur
cette
fenêtre,
notamment
sur
la
personnalisation
des
noms
de
sonorités,
reportez-vous
à
la
rubrique
«
Utilisation
de
la
fenêtre
Multi
Instrument
»
à
la
page
973.
À
droite
du
numéro
de
programme
se
trouve
un
paramètre
supplémentaire
utilisé
pour
la
Sélection
de
banque.
Si
votre
source
de
sons
reçoit
des
messages
Sélection
de
banque
(contrôleur
MIDI
n°
0
ou
n°
32,
consultez
le
manuel
de
votre
synthétiseur
pour
plus
de
détails
sur
le
format),
vous
pouvez
basculer
entre
les
différentes
banques
contenant
chacune
un
maximum
de
128
sons.
Pour
en
savoir
plus
sur
les
autres
paramètres
d’instrument,
reportez-vous
à
la
rubrique
«
Instruments
standard
»
à
la
page
968.
Ajout
de
réglages
de
changement
de
programme,
de
volume
et
de
panoramique
à
une
région
MIDI
La
commande
MIDI
>
Insérer
les
réglages
MIDI
d’instruments
sous
forme
d’événements
vous
permet
d’insérer
les
réglages
de
changement
de
programme,
de
volume
et
de
panoramique
(depuis
la
zone
Paramètres
de
piste
de
l’Inspecteur)
sous
la
forme
d’événements
MIDI
proprement
dits,
dans
une
ou
plusieurs
régions
MIDI
sélectionnées.
Les
événements
sont
placés
un
quart
de
note
avant
le
début
des
régions
MIDI
concernées.
Seuls
les
réglages
activés
(cochés)
dans
la
ou
les
zones
Paramètres
de
piste
peuvent
être
ajoutés
comme
événements.
S’il
existe
déjà
des
événements
du
même
type
dans
la
ou
les
régions,
ils
sont
écrasés.
Les
valeurs
des
paramètres
Programme,
Volume
et
Pan
ne
sont
pas
actualisées
chaque
fois
que
de
tels
événements
Control
Change
sont
lus.
Ces
paramètres
sont
les
valeurs
initiales,
lorsque
vous
chargez
un
projet
ou
choisissez
la
commande
MIDI
>
«
Insérer
les
réglages
MIDI
d’instruments
sous
forme
d’événements
»
(avant
de
commencer
à
enregistrer
les
données
d’automatisation
de
la
table
de
mixage).
Traitement
d’instruments
MIDI
externes
à
l’aide
d’effets
Vous
pouvez
acheminer
des
générateurs
de
son
MIDI
externes
via
la
table
de
mixage
de
Logic
Express,
afin
de
les
traiter
à
l’aide
d’effets
Logic
Express.
Vous
devez
pour
cela
utiliser
le
module
External
Instrument.
L’idéal
serait
d’utiliser
une
interface
audio
à
plusieurs
entrées
et
sorties
pour
éviter
de
brancher/débrancher
constamment
les
périphériques.
Pour
traiter
des
instruments
MIDI
externes
avec
des
effets
:
1 Connectez
la
sortie
(ou
paire
de
sorties)
de
votre
module
interne
MIDI
à
une
entrée
(paire
d’entrées)
de
votre
interface
audio.
272 Chapitre
10
Utilisation
des
instruments
et
des
effets
Remarque
:
Il
peut
s’agir
aussi
bien
de
connexions
analogiques
que
numériques
si
votre
interface
audio
et
l’unité
d’effets
sont
équipées
de
l’une
ou
de
l’autre,
ou
bien
des
deux.
2 Créez
un
canal
d’instrument.
3 Cliquez
sur
le
logement
Instrument
et
choisissez
External
Instrument
dans
le
menu
local.
4 Choisissez
la
destination
MIDI
dans
le
menu
de
la
fenêtre
de
module
External
Instrument.
Le
menu
MIDI
Destination
affiche
tous
les
sous-canaux
des
objets
multi-instrument
de
l’Environnement.
5 Choisissez
l’entrée
(de
votre
interface
audio)
à
laquelle
le
générateur
de
son
MIDI
est
connecté
dans
le
menu
local
Entrée.
6 Ajustez
le
volume
d’entrée,
si
nécessaire.
7 Insérez
les
effets
voulus
dans
les
logements
d’insertion
du
canal.
Étant
donné
que
la
piste
est
acheminée
vers
un
canal
d’instrument
(qui
est
destiné
à
un
module
de
son
MIDI
externe),
elle
se
comporte
comme
une
piste
d’instrument
logiciel
standard,
ce
qui
signifie
que
vous
pouvez
y
enregistrer
et
y
lire
des
régions
MIDI.
Cela
présente
les
avantages
suivants
:
 Vous
pouvez
tirer
profit
des
sons
et
du
moteur
de
synthèse
de
votre
module
interne
MIDI,
sans
surcharger
l’unité
centrale
de
votre
Macintosh
(sauf
par
les
effets
utilisés
sur
le
canal).
 Vous
pouvez,
bien
entendu,
utiliser
des
effets
d’insertion,
mais
pouvez
également
utiliser
des
effets
d’envoi
(Send)
en
acheminant
le
canal
Instrument
vers
des
canaux
auxiliaires.
 Vous
pouvez
effectuer
un
bounce
en
temps
réel
des
parties
d’instrument
MIDI
externe,
avec
ou
sans
les
effets,
dans
un
fichier
audio.
Cela
permet
de
créer
un
mixage,
avec
tous
les
périphériques
et
pistes
internes
et
externes,
en
une
seule
étape.
Remarque
:
vous
n’avez
pas
la
possibilité
d’utiliser
la
fonction
Freeze
sur
de
telles
pistes,
ni
d’effectuer
un
bounce
hors
ligne.
Chapitre
10
Utilisation
des
instruments
et
des
effets 273
Lecture
des
instruments
logiciels
Contrairement
aux
modules
d’effet,
les
modules
d’instrument
logiciel
répondent
à
des
messages
de
note
MIDI.
Le
signal
de
sortie
d’un
instrument
logiciel
est
inséré
dans
l’entrée
(logement
Instrument)
de
la
bande
de
canaux
de
l’instrument,
où
il
peut
alors
être
traité
via
des
modules
d’effets
insérés
ou
envoyés
vers
des
bus.
Logic
Express
peut
gérer
jusqu’à
255
canaux
d’instrument
distincts.
Le
nombre
d’instruments
logiciels
que
vous
pouvez
exécuter
simultanément
dépend
de
la
quantité
de
ressources
de
traitement
disponible
sur
l’ordinateur.
Après
l’insertion
d’un
module
d’instrument,
le
canal
d’instrument
peut
être
piloté
par
une
région
MIDI
enregistrée
ou
une
entrée
MIDI
directe
qui,
autrement
dit,
contrôle
votre
clavier
MIDI
!
Activation du mode Live des instruments logiciels
Lorsque
vous
sélectionnez
une
piste
d’instrument
(logiciel),
celle-ci
ne
passe
pas
immédiatement
en
mode
Live
ou
Performances.
Vous
devez
envoyer
un
événement
MIDI
pour
activer
le
mode
Live
;
il
faut
toutefois
environ
100
millisecondes
pour
que
l’opération
prenne
effet,
ce
qui
suffit
à
anéantir
la
synchronisation
de
la
note
lue
en
premier.
S’il
est
nécessaire
que
la
première
note
lue
soit
parfaitement
synchronisée,
vous
devez
envoyer
des
événements
MIDI
silencieux
à
l’avance
;
par
exemple,
appuyez
sur
la
pédale
Sustain
ou
faites
bouger
légèrement
la
roulette
de
modulation
de
hauteur.
Ainsi,
le
mode
Live
sera
activé.
Nécessité
du
mode
Live
Les
instruments
en
mode
Live
doivent
le
rester
tant
que
le
moteur
audio
tourne
(lorsque
Logic
Express
est
en
mode
de
lecture
ou
d’enregistrement).
En
effet,
si
vous
désactivez
le
mode
Live
pour
une
piste
d’instrument
logiciel,
cela
risque
de
créer
un
blanc
(ou
un
bruit)
dans
le
flux
audio.
Évidemment,
cela
n’est
pas
acceptable.
Les
instruments
logiciels
en
mode
Live
(prêts
pour
la
lecture)
requièrent
beaucoup
plus
de
ressources
que
ceux
qui
se
contentent
de
lire
des
régions
existantes.
Si
le
mode
Live
était
automatiquement
activé
dès
que
l’on
sélectionnait
une
piste
d’instrument
logiciel,
le
passage
d’une
piste
à
une
autre
ne
ferait
qu’aggraver
le
problème
et
risquerait
même
d’entraîner
des
surcharges
sur
le
processeur.
274 Chapitre
10
Utilisation
des
instruments
et
des
effets
Le
bouton
Enregistrer
des
pistes
d’instrument
logiciel
sélectionnées
permet
de
savoir
en
temps
réel
l’état
d’un
instrument
:
Économies de puissance de calcul pour les instruments logiciels
La
fonction
Bounce
permet
d’enregistrer
une
piste
d’instrument
entière
sous
la
forme
d’un
fichier
audio.
Ce
fichier
audio
qui
a
fait
l’objet
d’un
bounce
peut
ensuite
être
utilisé
(comme
une
région
audio)
sur
une
piste
audio
standard,
ce
qui
vous
permet
de
libérer
des
ressources
du
processeurs
pour
d’autres
pistes
d’instrument
logiciel.
Pour
en
savoir
plus,
reportez-vous
à
la
rubrique
chapitre
27,
«
Bounce
de
votre
projet
»
à
la
page
673.
Vous
pouvez
également
utiliser
la
fonction
Freeze
pour
récupérer
la
sortie
d’une
piste
d’instrument
logiciel,
là
aussi
en
économisant
de
la
puissance
de
calcul.
Pour
en
savoir
plus,
reportez-vous
à
la
rubrique
«
Freeze
des
pistes
»
à
la
page
222.
Accord
des
instruments
logiciels
Le
paramètre
Fichier
>
Projet
Réglages
>
Accord
>
«
Tonalité
de
l’instrument
logiciel
»
contrôle
à
distance
le
paramètre
d’accord
principal
de
tous
les
instruments
logiciels
(l’ES1
ou
l’EXS24
mkII,
par
exemple)
par
pas
de
±
50
centièmes.
La
valeur
par
défaut
est
le
La
de
concert
à
440
Hz.
Faites
simplement
glisser
le
curseur
jusqu’à
la
valeur
voulue.
Les
valeurs
de
centième
et
de
Hz
sont
actualisées
en
fonction
de
la
position
du
curseur.
Remarque
:
certains
instruments
Audio
Unit
ne
reconnaissent
pas
cette
commande
à
distance.
Aucun
Hermode
Tuning
Logic
Express
permet
d’accorder
simultanément
tous
les
instruments
logiciels
selon
différents
tempéraments,
notamment
l’Hermode
Tuning
(reportez-vous
à
la
rubrique
«
Définition
d’Hermode
Tuning
»
à
la
page
1042).
Il
se
peut
toutefois
que
vous
souhaitiez
soustraire
certains
instruments
logiciels
de
cet
accord
global.
Instrument
en
mode
Live
Instrument
sélectionné,
pas
encore
en
mode
Live
Chapitre
10
Utilisation
des
instruments
et
des
effets 275
Lorsque
l’option
Fichier
>
Réglages
projet
>
Accord
>
Hermode
Tuning
est
activée,
une
case
à
cocher
Pas
d’HMT
est
visible
dans
les
zones
Paramètres
de
l’Inspecteur
de
tous
les
canaux
d’instrument.
Il
suffit
de
cocher
cette
case
pour
éviter
que
l’instrument
logiciel
sélectionné
ne
suive
le
tempérament
Hermode
Tuning
global.
Les
pistes
d’instrument
logiciel
dont
la
case
Pas
d’HMT
est
cochée
sont
jouées
selon
un
tempérament
égal.
Cette
fonction
est
idéale
pour
une
batterie
EXS
que
vous
ne
voulez
pas
accorder
comme
vos
rubriques
d’instrument
logiciel
mélodiques,
par
exemple.
Utilisation des applications ReWire
Logic
Express
fait
office
d’hôte
pour
les
applications
ReWire,
telles
que
Ableton
Live
et
Propellerhead
Reason.
Important
:
commencez
par
lancer
Logic
Express,
puis
démarrez
votre
ou
vos
applications
ReWire.
Lorsque
ces
applications
sont
exécutées
en
même
temps
que
Logic
Express,
les
informations
audio
synchronisées
sont
acheminées
vers
des
bandes
de
canaux
auxiliaires
dans
la
table
de
mixage
de
Logic
Express,
où
elles
peuvent
alors
être
associées
à
d’autres
pistes,
recevoir
des
effets
et
un
bounce
dans
de
nouveaux
fichiers
audio.
En
principe,
la
sortie
de
ces
programmes
ReWired
est
traitée
à
peu
près
comme
les
données
audio
Logic
Express
internes.
La
synchronisation
est
automatique,
vous
n’avez
donc
pas
grand-chose
à
faire
à
part,
si
vous
le
souhaitez,
configurer
les
canaux
auxiliaires.
Une
fois
que
les
sorties
des
applications
ReWired
sont
acheminées
dans
Logic
Express,
vous
pouvez
aussi
directement
jouer,
enregistrer
et
lire
les
instruments
logiciels
disponibles
dans
ces
programmes.
Propellerhead
Reason,
par
exemple,
est
l’équivalent
logiciel
d’un
rack
de
synthétiseurs
et
d’échantillonneurs.
Vous
pouvez
directement
lire
chaque
synthétiseur
dans
le
rack
de
Reason
et
enregistrer
ces
rubriques
sous
forme
de
régions
MIDI
sur
les
pistes
Logic
Express,
comme
vous
le
feriez
avec
les
instruments
internes
ou
externes
MIDI
de
Logic
Express.
276 Chapitre
10
Utilisation
des
instruments
et
des
effets
Pour
accéder
à
un
instrument
ReWired
:
1 Créez
une
piste
MIDI
externe
dans
la
fenêtre
Arrangement.
2 Double-cliquez
sur
le
nom
de
l’application
ReWire
dans
l’onglet
Bibliothèque
(Reason
ou
Ableton
Live,
par
exemple).
L’application
ReWired
s’ouvre
et
une
liste
de
tous
les
instruments
ReWire
disponibles
s’affiche
dans
la
Bibliothèque.
3 Cliquez
sur
la
piste
d’instrument
souhaitée
dans
la
Bibliothèque.
Pour
configurer
manuellement
un
canal
auxiliaire
pour
l’utilisation
de
ReWire
:
1 Cliquez
sur
le
bouton
Table
de
mixage
au
bas
de
la
fenêtre
Arrangement.
Dans
la
fenêtre
Table
de
mixage,
choisissez
Options
>
Créer
des
bandes
de
canaux
auxiliaires.
2 Créez
autant
de
bandes
de
canaux
auxiliaires
que
nécessaire,
avec
les
réglages
Format,
Entrée
et
Sortie
appropriés.
Pour
cet
exemple,
créez
une
bande
de
canal
stéréo
acheminée
vers
les
Entrée/Sortie
1-2.
3 Choisissez
le
canal
ReWire
voulu
dans
le
menu
Entrée
de
la
bande
de
canaux
auxiliaires.
Différentes
entrées
Canal
RW
sont
disponibles
dans
le
menu
Canal.
Elles
peuvent
être
assignées
individuellement
pour
permettre
à
chaque
canal
ReWired
d’être
acheminé
vers
un
canal
auxiliaire
particulier
dans
la
table
de
mixage
de
Logic
Express.
Cela
offre
des
options
de
traitement
et
de
mixage
plus
vastes.
Définition
du
comportement
des
applications
ReWire
Dans
Logic
Express
>
Préférences
>
Audio
>
Périphériques,
vous
pouvez
choisir
parmi
les
modes
suivants
lorsque
vous
utilisez
des
applications
ReWired
:
 Mode
Lecture
(Charge
CPU
inférieure)
:
utilisez
ce
mode
lorsque
vous
diffusez
des
canaux
via
ReWire.
Ce
réglage
nécessite
moins
de
puissance
de
calcul
de
la
part
de
l’unité
centrale.
Il
est
conseillé
de
l’utiliser
lors
de
la
lecture
de
pistes
dans
les
applications
ReWired.
 Mode
Live
(Charge
CPU
élevée)
:
utilisez
ce
mode
lorsque
vous
souhaitez
jouer
un
instrument
ReWire
(un
instrument
exécuté
dans
une
application
ReWired
externe)
en
temps
réel.
Ce
réglage
nécessite
davantage
de
ressources
CPU
mais
réduit
le
temps
de
latence,
ce
qui
garantit
que
l’instrument
ReWired
peut
être
joué.
Chapitre
10
Utilisation
des
instruments
et
des
effets 277
Utilisation d’effets audio externes
Vous
pouvez
utiliser
des
unités
d’effets
audio
externes
de
la
même
façon
que
vous
utilisez
les
effets
internes
de
Logic
Express.
Vous
devez
pour
cela
utiliser
le
module
E/S,
associé
à
une
interface
audio
dotée
de
plusieurs
entrées
et
sorties.
Pour
intégrer
et
utiliser
une
unité
d’effets
externes
dans
Logic
Express
:
1 Connectez
une
sortie
(ou
paire
de
sorties)
de
votre
interface
audio
à
l’entrée
(paire
d’entrées)
de
votre
unité
d’effets.
2 Connectez
la
sortie
(ou
paire
de
sorties)
de
votre
unité
d’effets
à
une
entrée
(paire
d’entrées)
de
votre
interface
audio.
Remarque
:
il
peut
s’agir
aussi
bien
de
connexions
analogiques
que
numériques
si
votre
interface
audio
et
l’unité
d’effets
sont
équipées
de
l’une
ou
de
l’autre,
ou
bien
des
deux.
3 Cliquez
sur
un
logement
d’insertion
du
canal
que
vous
souhaitez
traiter
avec
l’unité
d’effets
externes,
puis
choisissez
Utilitaire
>
E/S.
4 Dans
la
fenêtre
du
module
E/S,
sélectionnez
l’entrée
et
la
sortie
(affichées
sous
forme
de
numéros)
auxquelles
votre
unité
d’effets
est
connectée.
5 Ajustez
le
volume
d’entrée
ou
de
sortie
si
nécessaire.
Dès
que
la
lecture
commence,
le
signal
du
canal
audio
est
traité
par
l’unité
d’effets
externes.
Astuces
concernant
l’utilisation
des
effets
externes
Certaines
interfaces
audio
disposent
de
leur
propre
logiciel
d’acheminement,
que
vous
pouvez
être
amené
à
utiliser
pour
configurer
les
entrées
et
les
sorties
choisies
pour
ce
type
d’utilisation.
Consultez
la
documentation
fournie
par
le
fabricant
de
votre
interface
audio.
La
plupart
des
unités
d’effets
matérielles
sont
contrôlées
par
MIDI.
Si
c’est
le
cas
de
votre
unité
d’effets,
vous
pouvez
connecter
ses
câbles
d’entrée
et
de
sortie
MIDI
à
votre
interface
MIDI.
Vous
pouvez
ainsi
choisir
des
préréglages
d’effets
et
éventuellement
contrôler,
enregistrer
et
automatiser
à
distance
les
paramètres
de
l’unité
d’effets
depuis
Logic
Express.
278 Chapitre
10
Utilisation
des
instruments
et
des
effets
Utilisation de modules provenant d’autres fabricants
Logic
Express
peut
servir
d’hôte
pour
des
modules
d’instrument
et
d’effets
Audio
Unit
(compatibles,
autorisés
et
correctement
installés)
provenant
d’autres
fabricants.
Important
:
Logic
Express
ne
peut
pas
faire
office
d’hôte
pour
les
modules
au
format
VST
ou
RTAS.
Toutefois,
certains
utilitaires
tels
que
VST
to
Audio
Unit
Adapter
(http://www.fxpansion.com,
en
anglais)
permettent
d’ajuster
les
versions
Mac
OS
X
des
modules
VST
pour
créer
des
modules
Audio
Unit
virtuels.
Une
fois
ajustés,
la
plupart
de
ces
modules
ont
un
comportement
et
une
utilisation
identiques
à
celles
des
modules
Audio
Units.
Chargement
de
préréglages
De
nombreux
modules
de
fabricants
tiers
utilisent
un
format
de
stockage
propriétaire
pour
leurs
préréglages
(l’équivalent
des
réglages
de
module
Logic
Express).
Dans
la
majorité
des
cas,
il
existe
un
menu
Préréglage
(ou
d’appellation
similaire)
distinct
dans
l’interface
du
module.
Une
fois
ces
préréglages
chargés,
vous
pouvez
les
enregistrer
en
tant
que
réglages
Logic
Express.
Dans
tous
les
cas,
les
options
globales
Comparer,
Copier
et
Coller
de
l’en-tête
de
la
fenêtre
de
module
fonctionnent
de
la
même
manière
qu’avec
les
modules
natifs
de
Logic
Express.
Utilisation
d’Audio
Units
(AU)
Manager
Logic
ExpressLogic
utilise
l’outil
de
validation
AU
d’Apple
pour
s’assurer
que
seuls
des
modules
conformes
aux
spécifications
Audio
Unit
sont
utilisés
dans
Logic
Express.
Cela
permet
de
réduire
les
problèmes
qui
pourraient
être
causés
par
des
modules
Audio
Unit
tiers.
Le
processus
de
validation
se
lance
automatiquement
lorsque
:
 vous
ouvrez
Logic
Express
pour
la
première
fois
;
 une
version
mise
à
jour
de
Logic
Express
est
installée
;
 vous
installez
de
nouveaux
modules
Audio
Unit
ou
mettez
à
jour
les
modules
existants.
Les
résultats
de
l’analyse
de
validation
(de
tous
les
modules
Audio
Unit
et
VST
«
ajustés
»)
sont
présentés
dans
Audio
Units
Manager.
Chapitre
10
Utilisation
des
instruments
et
des
effets 279
Pour
ouvrir
Audio
Units
Manager
:
m Choisissez
Logic
Express
>
Préférences
>
Audio
Units
Manager
dans
la
barre
de
menus
principale
(ou
utilisez
le
raccourci
clavier
Lancer
Audio
Units
Manager).
Les
résultats
du
test
sont
affichés
dans
la
colonne
Compatibilité.
Important
:
la
première
chose
à
faire,
c’est
de
se
rendre
sur
le
site
Web
du
fabricant
pour
télécharger
les
versions
mises
à
jour
des
modules
Audio
Units
qui
n’ont
pas
été
validés.
Activation
manuelle
de
modules
Les
modules
Audio
Unit
qui
n’ont
pas
satisfait
aux
critères
du
test
de
validation
peuvent
être
activés
manuellement
en
cochant
les
cases
correspondantes
dans
la
colonne
Logic.
Toutefois,
sachez
que
ces
modules
peuvent
être
à
l’origine
de
problèmes.
Si
vous
rencontrez
des
difficultés
avec
des
modules
activés
manuellement,
cliquez
sur
le
bouton
«
Désactiver
les
modules
Audio
Units
disfonctionnant
».
Avertissement
:
l’utilisation
de
modules
n’ayant
pas
passé
l’étape
de
validation
peut
avoir
un
impact
négatif
sur
les
prochains
résultats
de
tests
effectués
sur
d’autres
modules.
Ces
modules
peuvent
également
empêcher
Logic
Express
de
démarrer,
fermer
ce
dernier
de
façon
inattendue
ou
même
provoquer
des
pertes
de
données
(d’où
une
destruction
des
fichiers
de
projet).
280 Chapitre
10
Utilisation
des
instruments
et
des
effets
Désactivation
de
modules
Le
gestionnaire
Audio
Units
Manager
vous
permet
de
désactiver
les
modules
Audio
Units
que
vous
ne
souhaitez
pas
utiliser
dans
Logic
Express,
même
si
leur
test
de
validation
a
été
concluant.
Pour
désactiver
n’importe
quel
module,
il
suffit
de
désélectionner
la
case
à
cocher
correspondante
dans
la
colonne
Logic.
Pour
enregistrer
votre
sélection
de
modules
Audio
Units,
cliquez
sur
Terminer.
Cliquez
sur
le
bouton
«
Réinitialiser
et
revérifier
la
sélection
»
pour
relancer
l’analyse
d’une
sélection
de
modules,
après
l’installation
de
nouveaux
modules
ou
programmes
de
mise
à
jour
ou
bien
suite
au
déplacement
de
composants
dans
le
Finder,
alors
que
Logic
Express
ou
Audio
Units
Manager
est
ouvert.
Si
ces
modules
sont
validés,
ils
seront
automatiquement
activés.
Remarque
:
si
vous
appuyez
sur
les
touches
Contrôle
+
Maj
lors
de
l’ouverture
de
Logic
Express,
le
mode
sans
échec
Audio
Units
est
utilisé
:
seuls
les
modules
validés
sont
disponibles
;
les
modules
activés
manuellement
et
non
validés
ne
le
sont
pas.
11
281
11 Ajout
de
données
préenregistrées
Les données préenregistrées jouent un rôle important dans la
production audio actuelle. La combinaison de boucles audio
existantes avec d’autres fichiers permet de créer rapidement
la structure de base d’un morceau.
L’application Logic Express est fournie avec un ensemble important de boucles audio,
offrant un point de départ idéal pour bon nombre de vos projets. Ce chapitre explique
comment ajouter des données préenregistrées dans Logic Express, notamment des
fichiers audio et MIDI, des boucles Apple Loops et d’autres formats de boucle courants.
Formats de fichiers pris en charge
Logic
Express
vous
permet
d’accéder
à
tout
enregistrement
audio
stocké
de
façon
numérique
(fichier
audio)
sur
vos
disques
durs,
aux
formats
de
fichiers
Macintosh
les
plus
fréquents
et
sous
plusieurs
autres
formats.
Les
fichiers
audio
importés
dans
un
projet
Logic
Express
peuvent
se
présenter
sous
n’importe
quelle
profondeur
de
bits
et
n’importe
quelle
fréquence
d’échantillonnage
prises
en
charge.
Logic
Express
prend
en
charge
les
profondeurs
de
bits
égales
à
16,
20
et
24
bits,
ainsi
que
les
fréquences
d’échantillonnage
de
44,1,
48,
88,2,
96,
176,4
et
192
kHz.
Logic
Express
peut
utiliser
la
fréquence
d’échantillonnage
des
fichiers
ou
effectuer
une
conversion
en
temps
réel
de
cette
fréquence
(reportez-vous
à
la
rubrique
«
Réglage
du
tempo
d’un
projet
»
à
la
page
157).
Outre
les
fichiers
audio,
Logic
Express
peut
également
importer
des
données
de
projet
et
des
données
MIDI.
Vous
pouvez
ajouter
les
types
de
fichier
multimédia
préenregistré
ci-dessous
à
un
projet
Logic
Express
:
 Fichiers
WAV
(y
compris
Broadcast
Wave),
AIFF
et
SDII
(Sound
Designer
II)
 CAF
 Fichiers
MP3
 Fichiers
Apple
Lossless
282 Chapitre
11
Ajout
de
données
préenregistrées
 Fichiers
AAC
(MPEG-4)
 Fichiers
Apple
Loops
(types
d’instruments
audio
et
logiciels)
 Données
audio
ReCycle
(REX,
RCY)
Logic
Express
peut
également
importer
des
fichiers
SMF
(Standard
MIDI
Files,
type
0
et
1),
GarageBand,
OMF
Interchange,
AAF,
OpenTL
et
XML.
Toutefois,
ces
types
de
fichiers
sont
généralement
utilisés
pour
échanger
des
projets
et
ne
sont
donc
pas
traités
dans
le
cadre
de
ce
chapitre.
Pour
obtenir
des
détails
complets
sur
l’importation
de
ces
types
de
fichiers,
reportez-vous
au
chapitre
29,
«
Échange
de
projets
et
de
fichiers
»
à
la
page
699.
À propos des types de données préenregistrées pris en
charge par Logic Express
La
rubrique
suivante
décrit
tous
les
types
de
fichiers
multimédia
pris
en
charge
par
Logic
Express.
Fichiers
WAVE
et
AIFF
Les
fichiers
audio
aux
formats
WAV
(Wave)
et
AIFF
(Audio
Interchange
File
Format)
sont
très
similaires.
Ils
peuvent
être
stockés
avec
des
profondeurs
de
bits
différentes
(Logic
Express
prend
en
charge
des
profondeurs
de
16
et
24
bits),
en
mono
ou
en
stéréo
et
avec
des
fréquences
d’échantillonnage
pouvant
atteindre
192
kHz.
Logic
Express
prend
également
en
charge
les
fichiers
Broadcast
Wave,
capables
de
contenir
des
informations
d’horodatage.
Les
fichiers
qui
fournissent
de
telles
données
sont
identifiables
grâce
au
symbole
représentant
une
horloge,
affiché
dans
la
fenêtre
du
chutier
audio,
en
regard
du
nom
de
la
région
audio.
L’extension
des
fichiers
Broadcast
Wave
est
.wav,
ce
qui
leur
permet
d’être
lus
par
toute
application
prenant
en
charge
le
format
de
fichier
Wave
standard.
Dans
ces
programmes,
les
informations
supplémentaires
du
fichier
Broadcast
Wave
sont
ignorées.
Fichiers
Core
Audio
Format
Les
fichiers
Core
Audio
Format
(CAF)
sont
des
conteneurs
prenant
en
charge
les
formats
PCM
entiers
et
à
virgule
flottante,
les
formats
A-law
et
u-law
ainsi
qu’un
certain
nombre
d’autres
formats
tels
que
AAC
et
ALAC
(Apple
Lossless
Audio
Codec).
Il
est
possible
de
bénéficier
de
tailles
de
fichier
illimitées,
à
des
fréquences
d’échantillonnage
et
des
profondeurs
de
bits
élevées.
Sound
Designer
Les
fichiers
audio
Sound
Designer
I
et
II
(SDII)
ont
une
structure
semblable
à
celle
des
fichiers
AIFF
et
peuvent
contenir
les
informations
d’horodatage
associées
aux
régions.
L’utilisation
de
fichiers
au
format
Sound
Designer
facilite
le
transfert
entre
logiciels
Logic
Express
et
Digidesign
Pro
Tools.
Chapitre
11
Ajout
de
données
préenregistrées 283
MP3,
Apple
Lossless
et
AAC
Les
fichiers
MP3
et
AAC
contiennent
des
informations
audio
compressées.
Ils
sont
généralement
beaucoup
plus
petits
que
leurs
équivalents
aux
formats
WAV,
AIFF
ou
SDII.
Cette
diminution
de
la
taille
des
fichiers
est
due
à
des
techniques
d’encodage
différentes
qui
«
se
débarrassent
»
de
certaines
données
audio.
Par
conséquent,
la
qualité
sonore
des
fichiers
MP3
et
AAC
n’est
pas
aussi
bonne
que
celle
de
leurs
homologues
WAV,
AIFF
ou
SDII,
en
fonction
du
matériel
audio
source.
Les
fichiers
Apple
Lossless
contiennent
également
des
informations
audio
compressées.
Comme
leur
nom
l’indique,
la
compression
utilisée
(ALAC)
ne
rejette
aucune
donnée
audio
(en
anglais,
«
lossless
»
signifie
«
sans
perte
»),
contrairement
aux
fichiers
MP3.
Le
son
du
fichier
audio
compressé
est
identique
à
celui
de
l’enregistrement
original.
Apple
Loops
Les
boucles
Apple
Loops
sont
des
fichiers
audio
contenant
des
informations
d’identification
supplémentaires,
telles
que
la
date
et
l’heure,
la
catégorie,
l’ambiance,
la
clé,
le
tempo,
etc.
Ils
peuvent
également
contenir
un
certain
nombre
de
marqueurs
provisoires
qui
les
divisent
en
courtes
tranches
temporelles.
L’avantage
indéniable
des
fichiers
audio
Apple
Loops
vient
de
leur
capacité
à
s’adapter
automatiquement
à
la
clé
et
au
tempo
d’un
projet
Logic
Express.
Un
second
type
de
fichier
Apple
Loops
est
également
pris
en
charge
par
Logic
Express.
Ces
fichiers
contiennent
des
informations
de
note
MIDI
qui
ont
pour
effet
de
déclencher
une
phrase
musicale
ou
riff.
Lorsque
ces
types
de
boucles
Apple
Loops
sont
ajoutés
à
un
fichier
audio,
le
motif
est
lu
tel
quel.
En
revanche,
lorsqu’ils
sont
ajoutés
à
une
piste
instrumentale
dans
Logic
Express,
les
informations
de
note
MIDI
peuvent
être
modifiées,
comme
avec
n’importe
quelle
région
MIDI.
ReCycle
Les
fichiers
ReCycle
(REX,
RCY)
sont
générés
par
le
logiciel
ReCycle
de
Propellerhead.
Ils
sont
semblables
aux
fichiers
audio
Apple
Loops
dans
la
mesure
où
ils
contiennent
un
certain
nombre
de
tranches
et
où
ils
s’adaptent
au
tempo
du
projet.
Une
fois
ces
fichiers
importés,
un
petit
dossier
contenant
plusieurs
régions
(une
correspondant
à
chaque
tranche)
est
créé.
Toutes
ces
régions
peuvent
être
traitées
comme
n’importe
quelle
région
audio.
Les
fichiers
ReCycle,
contrairement
aux
fichiers
Apple
Loop,
ne
suivent
pas
la
clé
du
projet.
Fichiers
SMF
Le
format
SMF
(Standard
MIDI
Files)
est,
comme
son
nom
l’indique,
un
format
de
fichier
standard
utilisé
par
les
séquenceurs
MIDI.
Les
fichiers
dotés
de
ce
format
peuvent
être
lus
et
enregistrés
dans
Logic
Expresset
peuvent
contenir
des
données
de
type
notes,
paroles,
contrôleur
et
SysEx.
Celles-ci
sont
ajoutés
aux
pistes
d’instruments
MIDI
ou
logiciels
dans
Logic
Express.
284 Chapitre
11
Ajout
de
données
préenregistrées
Accès aux fichiers multimédia depuis le navigateur
Pour
pouvoir
ajouter
vos
fichiers
(audio
ou
autres)
à
vos
projets,
vous
devez
d’abord
les
localiser.
Le
navigateur
constitue
l’interface
principale
pour
la
navigation,
l’aperçu
et
la
recherche
de
données
préenregistrées.
Remarque
:
bien
que
tous
les
types
de
données
pris
en
charge
soient
accessibles
de
puis
le
navigateur
général,
le
navigateur
de
boucles
est
plus
adapté
pour
traiter
les
boucles
Apple
Loops.
Pour
en
savoir
plus
sur
son
utilisation,
reportez-vous
à
la
rubrique
«
Recherche
de
boucles
Apple
Loops
dans
le
navigateur
de
boucles
»
à
la
page
290.
Pour
accéder
au
navigateur
depuis
la
fenêtre
Arrangement
:
m Cliquez
sur
le
bouton
Média
dans
la
barre
d’outils
Arrangement,
puis
sur
l’onglet
Navigateur
(ou
utilisez
le
raccourci
clavier
Afficher/Masquer
le
navigateur
de
fichiers).
Pour
ouvrir
le
navigateur
dans
une
nouvelle
fenêtre
:
m Cliquez
sur
Fenêtre
>
Navigateur
de
fichiers
(ou
utilisez
le
raccourci
clavier
Ouvrir
le
navigateur
de
fichiers).
Utilisation
du
navigateur
Le
navigateur
est
disponible
sous
deux
formes
:
la
présentation
Liste
et
la
présentation
Navigateur.
 La
présentation
Liste
affiche
les
dossiers
et
leur
contenu
sous
forme
de
liste.
Pour
accéder
au
contenu
d’un
dossier,
double-cliquez
sur
ce
dernier.
 La
présentation
Navigateur
expose
le
contenu
d’un
dossier
dans
des
cadres
supplémentaires,
à
droite
du
dossier
sélectionné.
Il
vous
suffit
de
cliquer
sur
un
dossier
pour
accéder
à
son
contenu.
Présentation
Présentation
Liste Navigateur
Chapitre
11
Ajout
de
données
préenregistrées 285
Pour
passer
de
la
présentation
Liste
à
la
présentation
Navigateur
:
m Cliquez
sur
le
bouton
Navigateur
pour
accéder
à
la
présentation
Navigateur
et
sur
le
bouton
Liste
pour
accéder
à
la
présentation
Liste.
L’utilisation
du
navigateur
est
semblable
à
celle
du
Finder
sous
Mac
OS
X.
La
méthode
de
navigation
est
la
même
pour
tous
les
types
de
fichiers
et
elle
est
facilitée
par
les
boutons
de
signet,
le
menu
Chemin
et
les
boutons
de
navigation
Précédent
et
Suivant.
Pour
parcourir
le
navigateur
à
l’aide
des
boutons
de
signet
:
m Cliquez
sur
l’un
des
boutons
de
signet
:
Ordinateur,
Départ
ou
Projet.
 Ordinateur
:
affiche
tous
les
volumes
(disques
durs,
CD
ou
DVD)
figurant
dans
l’ordinateur
ou
y
étant
associés.
 Départ
:
affiche
tous
les
dossiers
présents
dans
le
dossier
de
départ.
 Projet
:
affiche
le
contenu
du
dossier
de
votre
projet.
Pour
parcourir
le
navigateur
à
l’aide
du
menu
Chemin
:
1 Cliquez
sur
le
menu
Chemin
pour
afficher
le
chemin
d’accès
au
dossier
ou
fichier
actif.
2 Cliquez
sur
l’une
des
entrées
du
menu
Chemin
pour
revenir
au
dossier
sur
lequel
vous
avez
cliqué.
Bouton
Bouton
Liste Navigateur
286 Chapitre
11
Ajout
de
données
préenregistrées
Pour
passer
aux
éléments
précédents
ou
suivants
de
l’historique
de
navigation
:
m Cliquez
sur
le
bouton
Précédent
ou
Suivant.
Recherche
de
fichiers
dans
le
Navigateur
L’onglet
Navigateur
possède
un
outil
de
recherche
très
complet
et
rapide.
Il
vous
permet
de
trouver
tout
type
de
fichier
pris
en
charge
par
Logic
Express,
sur
le
disque
local
ou
sur
des
périphériques
de
stockage
connectés
au
réseau.
Pour
effectuer
une
recherche
de
base
dans
le
navigateur
:
1 Cliquez
sur
le
menu
Chemin
(seul
ou
associé
aux
boutons
de
signet)
pour
déterminer
l’étendue
de
la
recherche
:
un
dossier
spécifique,
l’intégralité
du
disque
dur,
le
volume
root
de
l’utilisateur,
l’ordinateur,
etc.
Si
vous
limitez
la
recherche
à
un
dossier
ou
un
volume
spécifique,
les
résultats
s’affichent
plus
rapidement.
2 Saisissez
le
terme
à
rechercher
dans
le
champ
Rechercher,
puis
appuyez
sur
la
touche
Retour.
Par
exemple,
si
vous
tapez
80s
après
avoir
choisi
Macintosh
HD
dans
le
menu
Chemin,
un
certain
nombre
de
fichiers
Apple
Loops
s’affichent
dans
la
zone
de
présentation.
Pour
trier
les
résultats
de
la
recherche
:
m Cliquez
sur
le
titre
d’une
des
colonnes
pour
trier
la
liste
de
fichiers
par
nom,
par
date
ou
par
taille.
Π Conseil
:
vous
pouvez
redimensionner
les
colonnes
en
faisant
glisser
la
ligne
verticale
située
entre
deux
titres
de
colonne.
Pour
effacer
un
terme
de
recherche
:
m Cliquez
sur
la
petite
croix
à
droite
du
champ
Rechercher.
Chapitre
11
Ajout
de
données
préenregistrées 287
Pour
afficher
les
termes
récemment
recherchés
:
1 Cliquez
sur
l’icône
représentant
une
loupe
à
gauche
du
champ
Rechercher.
2 Sélectionnez
l’un
des
termes
de
recherche
dans
le
menu
pour
afficher
les
résultats
associés.
Pour
effacer
tous
les
termes
récemment
recherchés
:
m Cliquez
sur
l’icône
représentant
une
loupe
à
gauche
du
champ
Rechercher,
puis
sélectionnez
«
Effacer
les
recherches
récentes
»
dans
le
menu.
Pour
effectuer
une
recherche
avancée
:
1 Cliquez
sur
le
menu
Chemin
(seul
ou
associé
aux
boutons
Ordinateur,
Départ
et
Projet)
pour
déterminer
l’objet
de
la
recherche.
2 Cliquez
sur
le
signe
Plus
(+)
à
droite
de
la
zone
de
saisie
Rechercher.
La
zone
de
recherche
se
développe
alors.
Les
menus
disponibles
dans
la
zone
de
recherche
élargie
permettent
d’affiner
(ou
de
limiter)
votre
recherche
en
fonction
de
types
ou
de
formats
de
fichiers
spécifiques,
d’une
date,
de
la
taille
et
d’autres
critères.
Par
défaut,
le
menu
Concordance
indique
que
tous
les
critères
spécifiés
pour
la
recherche
avancée
doivent
être
respectés
pour
afficher
les
fichiers
correspondants.
Vous
pouvez
définir
le
menu
Concordance
sur
la
valeur
Quelconque
pour
afficher
tous
les
fichiers
répondant
à
l’un
des
critères
spécifiés.
288 Chapitre
11
Ajout
de
données
préenregistrées
3 Cliquez
sur
le
menu
Type
de
fichier
et
sélectionnez
l’option
Format.
Vous
pouvez
constater
que
le
menu
de
droite
s’actualise
(la
mention
AIFF
y
est
affichée)
pour
refléter
la
sélection
du
menu
de
gauche.
4 Cliquez
sur
le
signe
Plus
(+)
à
droite
du
menu
AIFF.
Des
menus
de
critères
de
recherche
complémentaires
apparaissent
en
dessous.
5 Cliquez
sur
le
menu
Type
de
fichier
à
la
deuxième
ligne
de
ces
critères
de
recherche,
puis
sélectionnez
l’option
Durée.
Le
champ
de
droite
et
le
menu
actualisé
affichent
la
valeur
30,0
sec.
6 Mettez
en
surbrillance
la
valeur
30,0,
puis
saisissez
8.
7 Cliquez
maintenant
sur
le
champ
Rechercher,
entrez
le
terme
souhaité,
puis
appuyez
sur
Retour.
Une
liste
beaucoup
plus
courte
de
fichiers
AIFF,
chacun
d’une
durée
de
8
secondes,
ainsi
qu’un
nom
contenant
le
terme
recherché,
s’affiche.
Pour
supprimer
une
seule
ligne
de
critère
avancé
:
m Cliquez
sur
le
signe
Moins
(–)
en
regard
de
la
ligne.
Cette
fonction
est
pratique
lorsque
votre
recherche
est
trop
précise
et
que
vous
n’obtenez
aucun
résultat.
Remarque
:
la
ligne
est
masquée
et
désactivée
(plutôt
que
définitivement
supprimée).
Pour
la
rétablir,
cliquez
sur
le
signe
Plus
(+)
à
droite
de
la
ligne.
Pour
revenir
à
une
recherche
simple,
si
plusieurs
lignes
de
critères
avancés
sont
affichées
:
m Cliquez
sur
le
signe
Moins
(–)
à
droite
de
la
zone
de
saisie
Rechercher.
Toutes
les
lignes
de
critères
avancés
sont
masquées.
Pour
restaurer
toutes
les
lignes
de
critères
de
recherche
avancés
:
m Cliquez
sur
le
signe
Plus
(+)
à
droite
de
la
zone
de
saisie
Rechercher.
Chapitre
11
Ajout
de
données
préenregistrées 289
Informations
complémentaires
sur
les
recherches
conditionnelles
Comme
vous
vous
en
doutez
sûrement
;
rechercher
un
fichier
au
sein
du
navigateur
peut
s’avérer
beaucoup
plus
rapide
que
parcourir
ce
dernier
pour
accéder
au
fichier
en
question.
Vous
pouvez
définir
jusqu’à
dix
lignes
de
critères
avancés
pour
affiner
vos
recherches.
Les
lignes
de
recherche
proposent
les
critères
suivants.
Premier menu Deuxième menu Menus/champs supplémentaires
Commentaire contient,
ne
contient
pas,
est,
n’est
pas,
commence
par,
se
termine
par
Champ
de
saisie
Type
de
fichier est,
n’est
pas Menu
dans
lequel
vous
avez
le
choix
entre
Audio,
Séquence
et
Projet.
Format est,
n’est
pas Menu
proposant
les
options
suivantes
:
AIFF,
Apple
Loop,
WAV
(BWF),
Apple
Lossless,
AAC,
MP3,
CAF,
Sound
Designer
I,
Sound
Designer
II,
Projet
Logic,
Fichier
MIDI,
ReCycle,
Fichier
OMF,
Fichier
AAF,
Fichier
OpenTL,
Fichier
XML,
Song
Notator
SL
Notez
que
les
recherches
de
fichiers
au
format
AIFF
n’incluent
pas
les
boucles
Apple
Loops.
Durée est,
n’est
pas,
est
inférieur
à,
est
supérieur
à
 Champ
de
saisie
numérique
 Menu
supplémentaire
dans
lequel
vous
pouvez
choisir
entre
secondes,
minutes
et
heures.
Date
de
modification
est,
n’est
pas,
après,
avant Champ
de
saisie
Nom contient,
ne
contient
pas,
est,
n’est
pas,
commence
par,
se
termine
par
Champ
de
saisie
Fréquence
d’échantillonnage
est,
n’est
pas,
est
inférieur
à,
est
supérieur
à
Menu
proposant
les
options
suivantes
:
44,1
kHz,
48
kHz,
88,2
kHz,
96
kHz,
176,4
kHz,
192
kHz.
Taille est,
n’est
pas,
est
inférieur
à,
est
supérieur
à
 Champ
de
saisie
 Menu
supplémentaire,
proposant
les
unités
octets,
kilo-octets,
méga-octets,
giga-octets
et
téra-octets.
Profondeur
de
bits
est,
n’est
pas,
est
inférieur
à,
est
supérieur
à
Menu
proposant
les
valeurs
8
bits,
16
bits
et
24
bits.
290 Chapitre
11
Ajout
de
données
préenregistrées
Recherche de boucles Apple Loops dans le navigateur de
boucles
Le
navigateur
de
boucles
affiche
uniquement
les
fichiers
au
format
Apple
Loop.
Vous
pouvez
effectuer
une
recherche
de
boucles
Apple
Loops
à
l’aide
de
mots-clés
décrivant
certains
aspects
tels
que
leur
genre,
un
instrument,
leur
ambiance
ou
tout
autre
descripteur.
Vous
pouvez
également
parcourir
le
navigateur
de
boucles
pour
y
rechercher
les
fichiers
Apple
Loop.
Par
rapport
aux
boucles
audio
standard,
les
boucles
Apple
Loops
présentent
un
avantage
significatif
:
elles
peuvent
contenir
des
informations
complémentaires
utilisées
par
Logic
Express
à
différentes
fins,
notamment
pour
les
changements
automatiques
de
tonalité
et
de
durée,
l’indexation
et
la
recherche.
Les
boucles
Apple
Loops
peuvent
comprendre
deux
types
de
données
importantes
:
les
balises
de
métadonnées
et
les
marqueurs
transitoires.
Logic
Express
utilise
des
balises
de
métadonnées
pour
faciliter
la
localisation
de
fichiers
lorsque
vous
utilisez
les
fonctionnalités
de
recherche
du
navigateur
de
boucles.
Les
marqueurs
transitoires
indiquent
l’emplacement
des
battements
dans
le
fichier.
Logic
Express
combine
ces
informations
aux
balises
de
métadonnées
afin
d’adapter
le
tempo
et
la
clé
du
fichier
avec
ceux
du
projet,
dans
le
but
de
garantir
une
qualité
de
lecture
optimale.
Cette
fonctionnalité
vous
permet
de
lire
plusieurs
boucles
Apple
Loops
simultanément
et
de
faire
en
sorte
que
leur
qualité
sonore
soit
bonne,
même
s’ils
ont
une
clé
et
un
tempo
différents.
Pour
accéder
au
navigateur
de
boucles
depuis
la
fenêtre
Arrangement
:
m Cliquez
sur
le
bouton
Média
dans
la
barre
d’outils
Arrangement,
puis
sur
l’onglet
Boucle
(ou
utilisez
le
raccourci
clavier
Afficher/Masquer
le
navigateur
de
boucles).
Pour
ouvrir
le
navigateur
de
boucles
dans
une
nouvelle
fenêtre
:
m Cliquez
sur
Fenêtre
>
Navigateur
de
boucles
(ou
utilisez
le
raccourci
clavier
correspondant).
Chapitre
11
Ajout
de
données
préenregistrées 291
Boucles
Apple
Loops
vertes
et
bleues
Le
navigateur
de
boucles
contient
deux
types
de
boucles
Apple
Loops
:
celles
présentant
une
icône
d’onde
sonore
bleue
et
celles
caractérisées
par
une
icône
illustrant
une
note
verte.
Ces
deux
types
de
boucles
contiennent
des
données
audio
et
peuvent
inclure
des
informations
complémentaires
concernant
l’étirement
temporel,
la
transposition,
l’indexation
et
la
recherche.
Les
boucles
Apple
Loops
vertes
et
bleues
peuvent
être
ajoutées
à
des
pistes
audio
existantes
ou
bien
directement
à
une
piste
ou
une
zone
Arrangement
vide.
Dans
la
zone
Arrangement,
elles
apparaissent
comme
des
régions
audio
classiques
mais
sont
facilement
identifiables
grâce
au
symbole
Apple
Loops
situé
en
haut
à
droite.
Elles
diffèrent
des
régions
audio
standard
dans
le
sens
où
elles
suivent
la
clé
et
le
tempo
du
projet.
Vous
pouvez
faire
glisser
les
boucles
Apple
Loops
bleues
(audio)
directement
vers
une
fenêtre
Arrangement
vide
(ne
contenant
aucune
piste)
ou
vers
une
zone
vide
en
dessous
de
pistes
existantes.
Une
piste
audio
et
la
bande
de
canal
correspondante
sont
automatiquement
créées
et
la
région
Apple
Loops
(d’une
durée
égale
à
la
durée
complète
du
fichier)
est
placée
sur
la
piste.
En
outre,
le
fichier
Apple
Loops
est
ajouté
au
chutier
Audio
et
une
région
correspondante
est
automatiquement
créée.
Boucles
Apple
Loops
vertes
et
bleues
dans
le
navigateur
de
boucles
Symbole
de
boucle
Apple
Loops
stéréo
Symbole
de
boucle
Apple
Loops
mono
292 Chapitre
11
Ajout
de
données
préenregistrées
Les
boucles
Apple
Loops
vertes
sont
appelées
SIAL
(Software
Instrument
Apple
Loops).
Elles
diffèrent
des
boucles
Apple
Loops
bleues
(audio)
car
elles
contiennent
également
une
région
MIDI
et
des
réglages
d’effet
et
d’instrument
logiciel.
Lorsque
les
boucles
SIAL
sont
placées
sur
des
pistes
instrumentales,
la
région
affichée
dans
la
zone
Arrangement
peut
être
modifiée
comme
vous
le
feriez
pour
toute
autre
région
MIDI,
ce
qui
inclut
l’édition
de
notes
individuelles.
Si
vous
faites
glisser
une
boucle
SIAL
sur
une
piste
instrumentale
vierge
(dont
la
bande
de
canal
est
vide),
les
réglages
d’effet
et
d’instrument
correspondants
sont
automatiquement
insérés.
Vous
pouvez
également
faire
glisser
les
boucles
SIAL
directement
dans
une
fenêtre
Arrangement
vide
(sans
aucune
piste)
ou
dans
une
zone
vide
en
dessous
des
pistes
existantes.
Une
piste
instrumentale
et
sa
bande
de
canal
correspondante
sont
automatiquement
créées
et
la
boucle
Apple
Loops
est
chargée
(l’instrument
est
inséré
dans
le
canal
instrumental,
avec
les
effets
éventuels,
et
la
région
Apple
Loops
est
placée
sur
la
piste).
Lorsque
vous
placez
des
boucles
SIAL
sur
des
pistes
audio,
elles
sont
importées
sous
la
forme
de
régions
audio
(et
se
comportent
comme
des
boucles
Apple
Loops
bleues).
La
charge
de
traitement
est
réduite
si
vous
ajoutez
des
boucles
Apple
Loops
vertes
aux
pistes
audio.
Remarque
:
les
boucles
Apple
Loops
bleues
ne
sont
pas
reproduites
si
vous
les
placez
sur
des
pistes
instrumentales.
Réglages
préalables
à
la
recherche
ou à
la
navigation
dans
les
boucles
Apple
Loops
Si
des
milliers
de
boucles
sont
installées
sur
vos
disques
durs,
la
recherche
d’une
boucle
Apple
Loops
spécifique
peut
s’avérer
quelque
peu
fastidieuse.
Heureusement,
diverses
options
vous
permettent
de
restreindre
vos
résultats
de
recherche
ou
de
navigation
selon
un
certain
nombre
de
critères-clefs.
Ces
options
peuvent
être
combinées
les
unes
aux
autres
et
influer
directement
les
résultats
des
fonctions
de
navigation
et
de
recherche
proposées
dans
le
navigateur
de
boucles.
Boucle
Apple
Loops
verte
placée
sur
une
piste
d’instrument
logiciel
Chapitre
11
Ajout
de
données
préenregistrées 293
Pour
limiter
l’affichage
des
boucles
à
un
Jam
Pack
spécifique
ou
à
une
autre
catégorie
:
m Sélectionnez
le
réglage
souhaité
dans
le
menu
Présentation.
Vous
avez
le
choix
entre
les
options
suivantes
:
 Tout
afficher
:
cette
option
par
défaut
permet
d’afficher
toutes
les
boucles
Apple
Loops
présentes
sur
votre
système.
Elle
s’avère
pratique
si
vous
ne
parvenez
pas
à
localiser
une
boucle
qui
est
effectivement
installée
et
indexée
pour
votre
système
mais
dont
vous
ne
connaissez
pas
le
Jam
Pack.
 Mes
boucles
:
sélectionnez
cette
option
pour
afficher
toutes
les
boucles
Apple
Loops
figurant
dans
le
dossier
~/Bibliothèque/Audio/Apple
Loops/User
Loops/Single
Files
(~
correspond
au
nom
de
l’utilisateur).
 Boucles
partagées
sur
mon
Mac
:
choisissez
cette
option
pour
afficher
toutes
les
boucles
Apple
Loops
figurant
dans
les
dossiers
/Bibliothèque/Audio/Apple
Loops/
User
Loops/SingleFiles.
Ce
réglage
n’est
visible
que
si
des
boucles
Apple
Loops
sont
partagées
avec
l’application
GarageBand
sur
votre
système.
 GarageBand
:
sélectionnez
cette
option
pour
afficher
toutes
les
boucles
Apple
Loops
installées
avec
GarageBand.
 Jam
Pack
x
:
cette
option
permet
d’afficher
toutes
les
boucles
Apple
Loops
d’un
Jam
Pack
spécifique.
Les
Jam
Packs
sont
des
collections
Apple
Loops
spécifiques
à
un
genre
ou
un
instrument,
créées
par
des
professionnels
et
disponibles
auprès
d’Apple.
 Fournisseur
X
:
cette
valeur
entraîne
l’affichage
de
toutes
les
boucles
Apple
Loops
d’un
fournisseur
tiers
donné.
 Autres
:
cette
option
permet
d’afficher
toutes
les
boucles
que
vous
avez
ajoutées
manuellement
à
la
bibliothèque
de
boucles
en
les
faisant
glisser
dans
le
navigateur
de
boucles.
Pour
limiter
l’affichage
du
navigateur
de
boucles
à
une
gamme
spécifique
:
m Cliquez
sur
le
menu
local
Gamme
et
sélectionnez
l’une
des
options
suivantes
:
Quelconque,
Mineure,
Majeure,
Aucune,
Valable
pour
les
deux.
L’utilisation
de
ces
options
limite
la
recherche
de
boucles
Apple
Loops
au
type
de
gamme
sélectionné,
au
sein
de
la
catégorie
choisie.
Par
exemple,
si
les
catégories
Country,
Acoustique
et
Détendu
ont
été
sélectionnées,
vous
obtenez
une
vingtaine
de
fichiers
correspondant
à
vos
sélections.
Sélectionner
le
réglage
Gamme
mineure
réduirait
cette
liste
à
dix
boucles
Apple
Loops,
d’où
une
écoute
et
une
sélection
du
matériel
approprié
plus
rapides.
Pour
limiter
l’affichage
du
navigateur
de
boucles
à
une
articulation
de
temps
spécifique
:
m Sélectionnez
la
signature
temporelle
souhaitée
dans
le
menu
local
Signature.
294 Chapitre
11
Ajout
de
données
préenregistrées
Navigation
pour
rechercher
des
boucles
Apple
Loops
Il
existe
trois
présentations
de
navigation
disponibles
dans
le
navigateur
de
boucles.
Il
s’agit
des
présentationsColonne,
Musique
et
Effets
sonores.
Pour
passer
d’un
mode
de
navigation
à
l’autre
:
m Cliquez
sur
un
des
boutons
de
présentation
situés
en
haut
à
droite
du
navigateur
de
boucles.
Le
bouton
de
gauche
active
la
présentation
Colonne,
le
bouton
du
milieu
active
la
présentation
Musique
et
le
troisième
bouton
active
la
présentation
Effets
sonores.
La
présentation
Musique
affiche
une
matrice
de
54
boutons,
chacun
correspondant
à
une
catégorie
musicale.
La
présentation
Effets
sonores
inclut
des
boutons
de
catégorie
liés
aux
effets
(par
exemple,
Explosions,
Bruitage
ou
Personnes).
Présentation
Musique Présentation
Effets
sonores
Chapitre
11
Ajout
de
données
préenregistrées 295
La
présentation
Colonne
offre
un
menu
standard
de
fichiers
en
colonnes
Mac
OS
X,
classé
de
façon
hiérarchique
selon
les
critères
de
recherche
Tous,
Par
genre,
Par
instrument,
Par
ambiance
et
Signets.
Pour
rechercher
des
boucles
Apple
Loops
dans
la
présentation
Colonne
:
1 Cliquez
sur
l’un
des
dossiers
de
catégorie
affiché
dans
la
colonne
de
gauche
de
la
zone
de
présentation
des
dossiers.
Dans
cet
exemple,
l’option
Par
genre
est
sélectionnée.
2 Dans
la
deuxième
colonne,
cliquez
sur
Électronique.
3 Dans
la
troisième
colonne,
cliquez
sur
Battements.
La
valeur
entre
guillemets
indique
le
nombre
de
fichiers
correspondant
à
cette
souscatégorie
(à
savoir,
Battements).
Les
fichiers
sont
répertoriés
dans
la
liste
figurant
au
dessous.
Colonnes
Catégorie
296 Chapitre
11
Ajout
de
données
préenregistrées
Pour
rechercher
des
boucles
Apple
Loops
dans
les
présentations
Musique
et
Effets
sonores
:
1 Cliquez
sur
l’un
des
boutons
de
catégorie.
La
liste
de
fichiers
affiche
toutes
les
boucles
Apple
Loops
qui
appartiennent
à
la
catégorie
indiquée.
Le
nombre
de
fichiers
obtenus
est
indiqué
au
bas
du
navigateur
de
boucles.
2 Cliquez
sur
un
autre
bouton
de
catégorie.
La
liste
des
fichiers
se
met
à
jour
pour
afficher
toutes
les
boucles
Apple
Loops
correspondant
aux
deux
catégories.
3 Ainsi
de
suite
en
cliquant
sur
un
autre
bouton
de
catégorie,
vous
pouvez
ainsi
affiner
davantage
le
regroupement.
Le
nombre
de
fichiers
répondant
aux
trois
critères
(Guitares,
Acoustique
et
Country)
diminue
encore.
Remarque
:
si
vous
cliquez
à
nouveau
sur
le
bouton
d’une
catégorie,
cette
dernière
est
désélectionnée.
Comme
vous
pouvez
le
voir
dans
cet
exemple,
l’utilisation
de
plusieurs
boutons
de
catégories
permet
de
restreindre
facilement
le
nombre
de
boucles
Apple
Loops
répertoriées
dans
la
liste
de
fichiers.
Il
devient
alors
beaucoup
plus
facile
de
localiser
une
boucle
Apple
Loops
caractérisée
par
une
touche
particulière
ou
une
ambiance
donnée.
Pour
réinitialiser
toutes
les
sélections
de
catégorie
:
m Cliquez
sur
le
bouton
Réinitialiser
pour
désélectionner
tous
les
boutons
activés
des
catégories
précédemment
choisies.
Vous
pouvez
remplacer
une
catégorie
affichée
via
le
menu
contextuel
qui
s’affiche
lorsque
vous
cliquez
sur
le
bouton
d’une
catégorie
tout
en
maintenant
la
touche
Contrôle
enfoncée
(ou
que
vous
cliquez
dessus
avec
le
bouton
droit
de
la
souris).
Pour
personnaliser
la
présentation
Musique
ou
Effets
sonores
:
m Cliquez
sur
le
bouton
d’une
catégorie
tout
en
maintenant
la
touche
Contrôle
enfoncée
(ou
cliquez
dessus
avec
le
bouton
droit
de
la
souris),
puis
choisissez
l’une
des
options
suivantes
:
 Genre
:
ce
sous-menu
offre
des
catégories
musicales
telles
queRock/Blues
et
Électronique.
Chapitre
11
Ajout
de
données
préenregistrées 297
 Instruments
:
les
réglages
Basse,
Effets,
Chant,
Textures
et
Jingles
sont,
entre
autres,
proposés.
 Descripteurs
:
les
éléments
de
ce
sous-menu
ajustent
l’ambiance
des
boucles
Apple
Loops
et
incluent
notamment
les
options
Sombre,
Détendu,
Groove,
etc.
Écoute
de
boucles
Apple
Loops
dans
le
navigateur
de
boucles
Quelle
que
soit
la
méthode
de
navigation
(ou
de
recherche)
utilisée
pour
rechercher
des
boucles
Apple
Loops,
vous
pouvez
écouter
un
extrait
des
résultats
répertoriés
dans
le
navigateur
de
boucles.
Pour
écouter
des
boucles
Apple
Loops
:
1 Cliquez
sur
l’un
des
noms
de
fichier
dans
la
liste
des
résultats
de
recherche.
La
lecture
du
fichier
commence
automatiquement
en
boucle.
2 Cliquez
sur
un
autre
nom
de
fichier
pour
lancer
la
lecture
du
fichier
en
question.
La
boucle
Apple
Loops
en
cours
de
lecture
s’arrête.
Vous
ne
pouvez
écouter
qu’une
seule
boucle
Apple
Loops
à
la
fois.
Pour
régler
le
volume
de
lecture
:
m Faites
glisser
le
curseur
au
bas
de
la
zone
de
présentation
des
fichiers.
Pour
régler
la
clé
de
lecture
:
m Cliquez
sur
le
menu
«
Lecture
dans
»
à
droite
du
curseur
du
volume
et
au
bas
de
la
zone
de
présentation
des
fichiers,
puis
sélectionnez
la
clé
souhaitée.
La
clé
du
projet
est
sélectionnée
par
défaut,
mais
vous
pouvez
également
écouter
la
boucle
dans
sa
clé
d’origine
ou
dans
toute
autre
clé
comprise
entre
do
et
si.
Pour
arrêter
la
lecture
:
m Cliquez
sur
l’icône
représentant
un
haut-parleur
à
gauche
du
nom
de
la
boucle
Apple
Loops
sélectionnée.
Tri
de
boucles
Apple
Loops
dans
le
navigateur
de
boucles
Vous
pouvez
trier
les
résultats
de
votre
recherche
manuelle
ou
selon
des
critères,
dans
le
navigateur
de
boucles
:
 Cliquez
sur
le
titre
d’une
des
colonnes
pour
trier
la
liste
des
résultats
par
:
Nom,
Concordance,
Tempo,
Clé,
etc.
298 Chapitre
11
Ajout
de
données
préenregistrées
 Cliquez
sur
la
flèche
dans
l’un
des
titres
de
colonne
sélectionnés
pour
trier
la
liste
par
ordre
croissant
ou
décroissant
alphabétique,
en
fonction
du
pourcentage
de
correspondance,
du
tempo,
de
la
clé,
du
rythme
ou
selon
l’ordre
de
votre
choix.
Π Conseil
:
vous
pouvez
librement
permuter
les
colonnes
en
cliquant
sur
le
nom
d’une
colonne
tout
en
le
faisant
glisser
vers
la
gauche
ou
la
droite.
Les
colonnes
se
redimensionnent
en
cliquant
sur
la
ligne
verticale
qui
sépare
deux
colonnes
et
en
la
faisant
glisser.
Création
d’une
collection
de
boucles
Apple
Loops
favorites
La
colonne
Fav
(Favoris)
dispose
d’une
case
à
cocher
pour
chaque
boucle
affichée.
Il
vous
suffit
de
cocher
cette
case
pour
ajouter
la
boucle
à
la
catégorie
Favoris.
Cette
fonction
est
idéale
pour
compiler
une
collection
des
boucles
Apple
Loops
que
vous
utilisez
régulièrement.
Si
vous
produisez
de
la
musique
disco,
vous
serez
sûrement
amené
à
créer
des
projets
commençant
souvent
par
des
extraits
de
batterie
en
boucle.
En
toute
logique,
lors
de
la
création
de
votre
arrangement,
vous
allez
élaborer
un
rythme
simple
à
quatre
temps
(la
grosse
caisse
sur
chaque
temps,
le
charleston
en
triple
ou
quadruple
croches,
la
caisse
claire
ou
un
clap
tous
les
deux
ou
quatre
temps),
puis
utiliser
ces
boucles
comme
base
de
votre
groove.
De
telles
boucles
peuvent
facilement
être
remplacées
ou
ajoutées
à
mesure
que
votre
projet
évolue,
mais
l’utilisation
de
ces
boucles,
définies
comme
favoris,
peut
constituer
un
bon
point
de
départ
pour
bon
nombre
de
vos
morceaux.
Recherche
de
boucles
Apple
Loops
Le
champ
Rechercher
permet
de
trouver
des
boucles
Apple
Loops
à
partir
de
leur
nom
ou
d’une
partie
de
ce
nom.
Il
fonctionne
conjointement
avec
les
options
traitées
à
la
rubrique
«
Réglages
préalables
à
la
recherche
ou
à
la
navigation
dans
les
boucles
Apple
Loops
»
à
la
page
292.
Pour
rechercher
une
boucle
Apple
Loop
:
m Entrez
le
terme
souhaité
dans
la
zone
de
saisie
Rechercher,
puis
appuyez
sur
la
touche
Retour.
Menu
Rechercher
Bouton
Annuler
Chapitre
11
Ajout
de
données
préenregistrées 299
Le
terme
recherché
peut
être
alphabétique
ou
numérique.
Tous
les
fichiers
qui
contiennent
le
terme
recherché
s’affichent
dans
la
liste
de
fichiers.
Le
bouton
Annuler
situé
sur
la
droite
(qui
apparaît
dès
que
vous
tapez
du
texte)
permet
d’effacer
le
texte
saisi.
Il
permet
également
d’effacer
l’historique
de
recherche.
Le
menu
Rechercher
situé
à
gauche
(la
loupe)
conserve
un
historique
des
termes
récemment
recherchés.
Cliquez
sur
ce
menu
pour
sélectionner
un
terme
recherché
auparavant.
Ajout et suppression de fichiers audio
Vous
pouvez
ajouter
des
données
audio
directement
dans
la
zone
Arrangement
ou
dans
le
chutier
Audio
à
l’aide
de
l’une
des
méthodes
décrites
dans
cette
rubrique.
 Le
chutier
Audio
fait
office
de
point
de
référence
central
pour
tous
les
fichiers
audio
ajoutés
au
projet,
qu’ils
soient
utilisés
dans
la
zone
Arrangement
ou
non.
Cela
est
utile
pour
conserver
toutes
les
prises
associées
au
projet
dans
un
seul
emplacement,
même
si,
en
fin
de
compte,
elles
ne
sont
pas
toutes
utilisées
dans
la
production
finale.
 Lorsque
vous
ajoutez
des
fichiers
Audio
à
la
zone
Arrangement,
elles
sont
automatiquement
ajoutées
au
chutier
Audio
et
apparaissent
en
tant
que
régions
audio
dans
votre
arrangement.
La
durée
par
défaut
de
ces
régions
est
égale
à
celle
du
fichier
audio
entier.
Vous
pouvez
redimensionner,
couper
et
déplacer
ces
régions
à
votre
guise
dans
la
zone
Arrangement.
Toutes
les
méthodes
décrites
dans
cette
rubrique
peuvent
être
utilisées
pour
importer
les
types
de
fichiers
suivants
:
WAV,
AIFF,
CAF,
MP3,
SDII,
AAC,
Apple
Lossless
et
Apple
Loop.
Les
boucles
Apple
Loops
disposent
de
fonctions
spéciales
une
fois
ajoutées
à
votre
arrangement.
Pour
en
savoir
plus,
reportez-vous
à
la
rubrique
«
Boucles
Apple
Loops
vertes
et
bleues
»
à
la
page
291.
Les
fichiers
ReCycle
sont
traités
différemment.
Pour
en
savoir
plus,
reportez-vous
à
la
rubrique
«
Ajout
de
fichiers
ReCycle
à
votre
projet
»
à
la
page
307.
Ajout
de
fichiers
audio
à
votre
arrangement
Vous
pouvez
faire
appel
à
l’une
des
méthodes
ci-après
pour
ajouter
des
fichiers
audio
directement
dans
votre
arrangement
:
 Vous
pouvez
cliquer
n’importe
où
sur
une
piste
audio
Arrangement
à
l’aide
de
l’outil
Crayon,
tout
en
appuyant
sur
la
touche
Maj.
 Vous
pouvez
utiliser
la
commande
«
Importer
un
fichier
audio
».
300 Chapitre
11
Ajout
de
données
préenregistrées
 Vous
pouvez
simplement
localiser
les
fichiers
souhaités
(par
le
parcours
de
disque
ou
la
recherche
de
leur
nom)
dans
le
navigateur,
le
chutier
Audio
ou
le
navigateur
de
boucles
(ou
encore
dans
le
Finder
Mac
OS
X),
puis
les
faire
glisser
dans
la
zone
Arrangement.
Double-cliquez
sur
le
nom
d’un
fichier
dans
le
navigateur
pour
ajouter
le
fichier
au
niveau
de
la
tête
de
lecture,
sur
la
piste
d’arrangement
sélectionnée.
Pour
ajouter
des
fichiers
audio
à
votre
arrangement
à
l’aide
de
l’outil
Crayon
:
1 Sélectionnez
l’outil
Crayon
dans
la
zone
Arrangement.
2 Tout
en
appuyant
sur
la
touche
Maj,
cliquez
sur
une
piste
audio
à
l’endroit
souhaité
de
la
zone
Arrangement.
3 Accédez
au
fichier
que
vous
souhaitez
insérer
et
sélectionnez-le
dans
la
zone
de
dialogue
Ouvrir
un
fichier.
4 Cliquez
sur
le
bouton
Lecture
pour
écouter
un
aperçu
du
fichier
audio
sélectionné.
L’intitulé
du
bouton
Lecture
se
renomme
en
Arrêt.
Cliquez
dessus
pour
interrompre
la
lecture.
5 Cliquez
sur
le
bouton
Ouvrir
pour
ajouter
le
fichier
à
la
piste
sélectionnée,
à
l’endroit
où
vous
avez
cliqué
dans
la
zone
Arrangement.
Pour
ajouter
des
fichiers
audio
à
votre
arrangement
à
l’aide
de
la
commande
«
Importer
un
fichier
audio
»
:
1 Sélectionnez
une
piste
audio
dans
la
zone
Arrangement.
2 Cliquez
sur
Fichier
>
«
Importer
un
fichier
audio
»
(ou
utilisez
le
raccourci
clavier
pour
importer
un
fichier
audio).
3 Accédez
au
fichier
que
vous
souhaitez
insérer
et
sélectionnez-le
dans
la
zone
de
dialogue
Ouvrir
un
fichier.
4 Cliquez
sur
le
bouton
Lecture
pour
écouter
un
aperçu
du
fichier
audio
sélectionné.
L’intitulé
du
bouton
Lecture
se
renomme
en
Arrêt.
Cliquez
dessus
pour
interrompre
la
lecture.
5 Cliquez
sur
le
bouton
Ouvrir
pour
ajouter
le
fichier
à
la
piste
sélectionnée,
au
niveau
de
la
tête
de
lecture,
dans
la
zone
Arrangement.
Pour
ajouter
un
fichier
audio
à
votre
arrangement
en
le
faisant
glisser
:
m Faites
glisser
le
fichier
souhaité
directement
sur
une
piste
audio
de
la
zone
Arrangement,
depuis
le
navigateur,
le
navigateur
de
boucles
ou
le
Finder.
Vous
pouvez
faire
glisser
des
fichiers
audio
sur
tous
les
types
de
pistes
mais
la
lecture
n’est
possible
que
sur
les
pistes
audio.
Chapitre
11
Ajout
de
données
préenregistrées 301
Avec
création
automatique
de
piste
et
de
canal
Vous
pouvez
faire
glisser
des
fichiers
audio
directement
vers
une
fenêtre
Arrangement
vide
(ne
contenant
aucune
piste)
ou
vers
une
zone
vide
en
dessous
des
pistes
existantes.
Une
piste
audio
et
la
bande
de
canal
correspondante
sont
automatiquement
créées
et
une
région
audio
(d’une
durée
égale
à
la
durée
totale
du
fichier)
est
placée
sur
la
piste.
En
outre,
le
fichier
est
ajouté
au
chutier
Audio
et
la
région
correspondante
est
automatiquement
créée.
Pour
ajouter
plusieurs
fichiers
audio
à
votre
arrangement
en
les
faisant
glisser
:
1 Dans
le
chutier
Audio,
le
Finder
ou
le
navigateur,
cliquez
sur
des
fichiers
audio
adjacents
tout
en
maintenant
la
touche
Maj
enfoncée
ou
sur
des
fichiers
non
contigus
tout
en
maintenant
la
touche
Commande
enfoncée.
2 Faites-les
glisser
à
l’endroit
souhaité
dans
la
zone
Arrangement,
puis
relâchez
le
bouton
de
la
souris.
Remarque
:
si
vous
ajoutez
des
fichiers
depuis
le
chutier
Audio,
vous
pouvez
également
utiliser
l’option
de
menu
Fichier
audio
>
Ajouter
le
fichier
dans
la
zone
Arrangement.
La
position
de
la
tête
de
lecture
détermine
l’endroit
où
la
première
région
audio
est
créée.
3 Sélectionnez
l’une
des
options
ci-dessous,
disponibles
dans
la
zone
de
dialogue
«
Ajouter
les
fichiers
sélectionnés
dans
la
zone
Arrangement
».
 Créer
des
pistes
:
crée
de
nouvelles
pistes
(et
les
bandes
de
canaux
audio
correspondantes)
pour
chaque
fichier
que
vous
avez
fait
glisser.
 Utiliser
des
pistes
:
place
de
façon
séquentielle
les
fichiers
que
vous
avez
fait
glisser
(sous
la
forme
de
régions)
sur
les
pistes
existantes,
en
commençant
par
la
piste
sélectionnée.
Par
exemple,
si
vous
faites
glisser
trois
fichiers
audio
dans
la
zone
Arrangement
(où
la
piste
4
est
sélectionnée),
le
premier
fichier
est
placé
sur
la
piste
4
et
les
deux
fichiers
suivants
respectivement
sur
les
pistes
5
et
6.
 Placer
tous
les
fichiers
sur
une
piste
:
cette
option
permet
simplement
de
placer
de
façon
séquentielle
tous
les
fichiers
(l’un
après
l’autre)
sur
la
piste
à
mesure
que
vous
les
faites
glisser.
 Copier
les
noms
des
fichiers
audio
sur
le
nom
des
pistes
:
renomme
les
pistes
d’après
le
nom
des
fichiers.
Cette
option
est
disponible
uniquement
lorsqu’elle
est
associée
aux
fonctions
Créer
des
pistes
et
Utiliser
des
pistes.
302 Chapitre
11
Ajout
de
données
préenregistrées
 Créer
des
régions
audio
:
ajoute
les
fichiers
dans
la
zone
Arrangement
et
crée
une
région
audio
pour
chacun
d’eux.
Une
valeur
numérique
est
ajoutée
à
chaque
région
audio
de
la
zone
Arrangement
et
une
région
est
créée
pour
chaque
fichier
présent
dans
le
chutier
Audio.
Par
exemple,
une
région
appelée
folk-04
engendre
une
nouvelle
région
intitulée
folk-04.1.
La
région
d’origine
est
conservée
dans
le
chutier
Audio
(et,
si
vous
l’utilisez,
dans
la
zone
Arrangement).
Ajout
et
suppression
de
fichiers
audio
du
projet
Le
chutier
Audio
fait
office
de
point
de
référence
central
pour
tous
les
fichiers
audio
ajoutés
au
projet,
qu’ils
soient
utilisés
dans
la
zone
Arrangement
ou
non.
Cela
est
utile
pour
conserver
toutes
les
prises
associées
au
projet
dans
un
seul
emplacement,
même
si,
en
fin
de
compte,
elles
ne
sont
pas
toutes
utilisées
dans
la
production
finale.
Toutes
les
méthodes
d’ajout
de
fichiers
audio
décrites
ci-dessus
placent
automatiquement
les
fichiers
dans
le
chutier
Audio.
Dans
le
cas
de
méthodes
qui
ajoutent
des
fichiers
directement
dans
la
zone
Arrangement,
une
région
associée
à
chaque
fichier
est
automatiquement
créée
dans
le
chutier
Audio.
Le
chutier
Audio
propose
également
des
fonctions
vous
permettant
d’ajouter
des
fichiers
à
votre
projet
(dans
le
chutier
Audio)
et
depuis
le
chutier
Audio
dans
la
zone
Arrangement.
Pour
utiliser
le
navigateur
ou
le
Finder
afin
d’ajouter
des
fichiers
audio
à
votre
projet
:
1 Cliquez
sur
des
fichiers
adjacents
du
Finder
ou
du
navigateur
tout
en
appuyant
sur
la
touche
Maj
ou
cliquez
sur
des
fichiers
non
adjacents
tout
en
appuyant
sur
Commande.
2 Faites-les
glisser
dans
le
chutier
Audio
et
relâchez
le
bouton
de
la
souris.
Remarque
:
si
vous
ajoutez
des
fichiers
depuis
le
navigateur,
vous
pouvez
également
utiliser
l’option
de
menu
«
Ajouter
les
fichiers
audio
sélectionnés
dans
le
chutier
».
Chapitre
11
Ajout
de
données
préenregistrées 303
Pour
utiliser
le
chutier
Audio
afin
d’ajouter
des
fichiers
à
votre
projet
:
1 Cliquez
sur
Fichier
audio
>
Ajouter
un
fichier
audio
(ou
utilisez
le
raccourci
clavier
de
l’option).
La
zone
de
sélection
des
fichiers
du
chutier
Audio
s’ouvre.
2 Accédez
à
un
fichier
audio
et
sélectionnez-le.
Vous
pouvez
l’écouter
en
cliquant
sur
le
bouton
Lecture.
3 Cliquez
sur
le
bouton
Ajouter.
Le
fichier
s’affiche
en
dessous,
dans
la
zone
de
présentation
des
fichiers.
4 Accédez
à
un
autre
fichier
audio,
sélectionnez-le,
puis
cliquez
sur
le
bouton
Ajouter.
5 Répétez
la
procédure
jusqu’à
ce
que
tous
les
fichiers
souhaités
figurent
dans
la
zone
de
présentation
des
fichiers.
6 Si
vous
ajoutez
un
fichier
par
erreur,
sélectionnez-le
dans
la
zone
de
présentation
des
fichiers,
puis
cliquez
sur
le
bouton
Supprimer.
Remarque
:
vous
pouvez
également
ajouter
tous
les
fichiers
d’un
dossier
;
pour
cela,
sélectionnez
le
dossier
en
question
et
cliquez
sur
le
bouton
Tout
ajouter.
Si
vous
vous
trompez
de
dossier
et
en
ajoutez
les
fichiers,
appuyez
sur
le
bouton
Tout
supprimer
pour
retirer
les
fichiers
de
la
liste.
Cette
opération
ne
supprime
pas
les
fichiers
du
disque
dur.
7 Cliquez
sur
Terminé
pour
ajouter
les
fichiers
sélectionnés
au
chutier
Audio.
Remarque
:
les
fichiers
qui
ont
déjà
été
ajoutés
au
chutier
Audio
apparaissent
en
grisé
et
ne
peuvent
pas
être
sélectionnés.
Cela
permet
d’écarter
toute
risque
de
confusion
et
de
duplication.
304 Chapitre
11
Ajout
de
données
préenregistrées
Pour
supprimer
un
ou
plusieurs
fichiers
du
projet
:
1 Sélectionnez
le
nom
des
fichiers
dans
le
chutier
Audio.
2 Appuyez
sur
la
touche
Retour
arrière.
Les
fichiers
sont
ainsi
supprimés
du
projet,
mais
pas
du
disque
dur.
La
seule
façon
de
supprimer
définitivement
un
fichier
audio
d’un
projet
réside
dans
le
chutier
Audio.
La
suppression
d’une
région
audio
dans
la
zone
Arrangement
(grâce
à
l’outil
Gomme
ou
en
appuyant
sur
la
touche
Arrière)
ne
supprime
pas
cette
région
du
projet,
elle
supprime
simplement
la
référence
au
fichier
audio.
Avertissement
:
soyez
très
prudent
lorsque
vous
utilisez
la
commande
Fichier
audio
>
Supprimer
le/des
fichier(s)
(ou
le
raccourci
clavier
de
la
commande,
par
défaut
Contrôle
+
Retour
arrière).
Cette
option
supprime
non
seulement
le
ou
les
fichiers
sélectionnés
du
projet,
mais
aussi
du
disque
dur.
Les
fichiers
audio
supprimés
sont
déplacés
dans
la
Corbeille,
où
ils
sont
conservés
jusqu’à
ce
que
vous
la
vidiez.
Chapitre
11
Ajout
de
données
préenregistrées 305
Remarque
relative
à
l’importation
des
fichiers
audio
compressés
Logic
Express
vous
permet
de
lire
directement
les
formats
de
fichiers
audio
suivants
:
 AAC
 Format
de
compression
:
MPEG4
AAC
 Fréquences
d’échantillonnage
:
8
kHz
;
11,025
kHz
;
12
kHz
;
16
kHz
;
22,05
kHz
;
24
kHz
;
32
kHz
;
44,1
kHz
;
48
kHz
;
64
kHz
;
88,2
kHz
ou
96
kHz
 MP3
 Fichiers
à
44,1
kHz
 Fichiers
stéréo
encodés
à
48
kbps
ou
plus,
fichiers
mono
encodés
à
32
kbps
ou
plus
 Fichiers
encodés
d’iTunes/Logic
 Fichiers
Apple
Lossless
Ces
fichiers
ne
sont
pas
convertis
automatiquement
lorsqu’ils
sont
importés
dans
Logic
Express.
Le
fichier
audio
compressé
est
ajouté
à
la
zone
Arrangement
et
une
région
incluant
le
fichier
audio
complet
est
créée.
Vous
pouvez
modifier
cette
région
de
la
même
façon
qu’une
région
audio
classique
de
la
zone
Arrangement
:
vous
pouvez
ainsi
la
couper,
la
lire
en
boucle,
la
renommer,
etc.
Remarque
:
il
n’est
pas
possible
d’assigner
des
fondus
à
des
fichiers
audio
compressés,
ni
de
les
modifier
définitivement.
Les
régions
audio
qui
pointent
vers
des
fichiers
audio
compressés
sont
signalées
par
le
symbole
suivant
:
Vous
pouvez
convertir
des
fichiers
audio
au
format
AAC,
MP3
et
Apple
Lossless
en
effectuant
l’une
des
opérations
suivantes
:
m Sélectionnez
les
régions
audio
pointant
vers
le
fichier
audio
souhaité
de
la
zone
Arrangement,
puis
cliquez
sur
Audio
>
Convertir
les
régions
en
nouveaux
fichiers
audio,
dans
le
menu
local
de
la
zone
Arrangement
(ou
utilisez
le
raccourci
clavier
correspondant,
par
défaut
Option
+
Commande
+
F).
La
partie
du
fichier
audio
couverte
par
la
région
audio
est
convertie
en
un
nouveau
fichier
audio.
m Sélectionnez
les
fichiers
audio
dans
le
chutier
Audio,
puis
cliquez
sur
Fichier
audio
>
«
Copier/Convertir
un
ou
des
fichiers
»
dans
le
menu
local
du
chutier
Audio
(ou
utilisez
le
raccourci
clavier
correspondant).
Symbole
Fichier
audio
compressé
306 Chapitre
11
Ajout
de
données
préenregistrées
Important
:
les
fichiers
audio
compressés
protégés
par
le
système
DRM
(Digital
Rights
Management)
ne
s’ouvrent
pas
dans
Logic
Express.
La
musique
achetée
sur
l’iTunes
Store
est
généralement
protégée
par
le
système
DRM.
Création
de
vues
d’ensemble
Lorsque
vous
ajoutez
un
fichier
audio
à
votre
projet,
Logic
Express
crée
automatiquement
une
vue
d’ensemble
de
celui-ci.
Il
s’agit
d’un
fichier
graphique
utilisé
pour
afficher
la
forme
d’onde.
Le
calcul
des
données
de
la
vue
d’ensemble
associée
au
fichier
audio
est
affiché
dans
une
fenêtre.
Ce
calcul
est
effectué
en
arrière-plan,
ce
qui
vous
permet
de
continuer
à
utiliser
Logic
Express.
L’activation
de
l’option
«
Calcul
plus
rapide
lors
de
la
vue
d’ensemble
»
permet
d’accélérer
considérablement
le
processus
de
calcul
mais
ralentit
les
autres
processus
(sans
toutefois
bloquer
totalement
les
opérations
qu’effectue
l’utilisateur).
Logic
Express
mémorise
l’état
de
l’option
«
Calcul
de
vue
d’ensemble
plus
rapide
»
d’un
projet
à
l’autre.
Vous
pouvez
actualiser
manuellement
la
vue
d’ensemble
des
fichiers
sélectionnés
en
cliquant
sur
Options
>
Audio
>
Actualiser
la
ou
les
vues
d’ensemble
si
jamais
vous
avez
remplacé
des
enregistrements
(et
utilisé
des
régions)
ou
si
vous
avez
apporté
des
modifications
à
l’aide
d’un
éditeur
d’échantillons
externe.
Vue
d’ensemble
de
la
forme
d’onde
Chapitre
11
Ajout
de
données
préenregistrées 307
Ajout
de
fichiers
ReCycle
à
votre
projet
ReCycle
est
le
nom
d’une
application
éditée
par
Propellerhead,
qui
sert
principalement
d’outil
de
production
et
d’édition
des
boucles
(fichiers
audio
dont
la
lecture
se
fait
en
boucle).
Les
formats
de
fichiers
spécifiques
utilisés
par
ReCycle
peuvent
être
importés
et
utilisés
directement
dans
Logic
Express
ou
bien
être
convertis
en
boucles
Apple
Loops.
Remarque
:
vous
devez
installer
REX
Shared
Library
(©
Propellerhead
Software)
pour
pouvoir
utiliser
les
fichiers
ReCycle
avec
Logic
Express.
Pour
en
savoir
plus
sur
les
fichiers
ReCycle,
consultez
le
site
web
de
Propellerhead.
Logic
Express
peut
importer
les
formats
de
fichiers
ReCycle
suivants
:
 Ancien
fichier
ReCycle
:
ce
type
de
fichier
possède
l’extension
.rcy
et
l’abréviation
qui
lui
est
associée
est
RCSO.
 Ancien
fichier
d’exportation
ReCycle
:
ce
type
de
fichier
possède
l’extension
.rex
et
l’abréviation
qui
lui
est
associée
est
REX.
 Fichier
ReCycle
2.0
:
ce
type
de
fichier
possède
l’extension
.rx2
et
l’abréviation
qui
lui
est
associée
est
REX2.
Pour
importer
un
fichier
ReCycle
dans
la
zone
Arrangement
:
1 Sélectionnez
le
fichier
ReCycle
à
importer
en
effectuant
l’une
des
opérations
suivantes
:
 Cliquez
sur
Fichier
>
Importer
un
fichier
audio,
puis
sélectionnez
un
fichier
ReCycle
au
lieu
d’un
fichier
AIFF,
SDII,
MP3
ou
WAV.
 Tout
en
appuyant
sur
la
touche
Maj,
cliquez
sur
une
piste
audio
à
l’aide
de
l’outil
Crayon
et
sélectionnez
un
fichier
ReCycle.
 Faites
glisser
un
fichier
ReCycle
depuis
le
Finder
vers
une
piste
audio.
2 Sélectionnez
les
réglages
souhaités
dans
la
zone
de
dialogue
«
Importer
un
fichier
ReCycle
»,
puis
cliquez
sur
OK.
 Ne
pas
corriger
:
importe
le
fichier
tel
quel.
Toutes
les
tranches
du
fichier
se
chevauchent
pour
s’adapter
au
tempo
de
Logic
Express.
 Ajouter
des
pistes
:
répartit
les
tranches
sur
plusieurs
pistes
audio,
ce
qui
vous
permet
d’ajuster
la
position
de
ces
tranches
ou
de
les
supprimer
librement.
Le
champ
«
Nombre
de
pistes
audio
supplémentaires
»
détermine
le
nombre
de
pistes
utilisées
pour
la
répartition
des
tranches.
Ces
pistes
viennent
s’ajouter
à
la
piste
d’origine
à
laquelle
le
fichier
ReCycle
a
été
ajouté.
308 Chapitre
11
Ajout
de
données
préenregistrées
 Fondu
enchaîné
:
toutes
les
tranches
du
fichier
sont
importées
dans
la
même
piste
et
un
fondu
enchaîné
leur
est
automatiquement
appliqué.
La
durée
du
fondu
enchaîné
est
déterminée
par
la
valeur
(en
millisecondes)
affichée
dans
le
champ
Durée
du
fondu.
 Rendu
sous
forme
de
fichier
unique
:
cette
fonction
écrit
toutes
les
tranches
ReCycle
dans
un
fichier
audio
unique.
Le
tempo
du
projet
Logic
Express
est
utilisé
dans
le
processus
de
rendu.
 Rendu
sous
forme
d’Apple
Loop
:
importe
le
fichier
ReCycle
en
tant
que
boucle
Apple
Loop.
Si
vous
n’importez
pas
le
fichier
ReCycle
en
tant
que
boucle
Apple
Loops
ou
fichier
audio,
Logic
Express
crée
un
dossier
de
fichiers
ReCycle
sur
une
piste
audio.
Ce
dossier
contient
des
tranches
du
fichier
ReCycle
aux
emplacements
appropriés
(tranches
que
vous
pouvez
afficher
sous
forme
de
régions
miniatures
dans
le
dossier).
Chacune
de
ces
tranches
fait
référence
au
même
fichier
audio,
disponible
dans
le
Chutier.
Remarque
:
si
vous
déplacez
le
dossier
de
fichiers
ReCycle
vers
une
autre
piste
audio,
la
destination
de
la
bande
de
canal
audio
(de
la
piste
présente
dans
le
dossier)
reste
la
même.
Vous
devez
ouvrir
le
dossier
et
modifier
manuellement
la
destination
de
la
bande
de
canal
audio
pour
écouter
les
données
audio
ReCycle.
Pour
convertir
un
fichier
ReCycle
en
boucle
Apple
Loop,
effectuez
une
des
opérations
suivantes
:
m Utilisez
l’option
«
Rendu
sous
forme
d’Apple
Loop
»
dans
la
zone
de
dialogue
«
Importer
un
fichier
ReCycle
».
m Choisissez
«
Conversion
des
fichiers/dossiers
ReCycle
sélectionnés
en
boucles
Apple
Loops
»
dans
le
menu
Outil
du
Navigateur.
Cette
option
vous
permet
de
choisir
un
ou
plusieurs
dossiers
dans
le
navigateur
et
d’effectuer
une
conversion
par
lot
de
tous
les
fichiers
ReCycle
qu’ils
contiennent.
Tranches
ReCycle
Dossier
ReCycle
Chapitre
11
Ajout
de
données
préenregistrées 309
Transfert
de
données
Audio
entre
Logic
Express
et
ReCycle
Vous
pouvez
transférer
les
données
de
Logic
Express
à
ReCycle,
et
inversement,
sans
avoir
recours
à
aucune
zone
de
sélection
de
fichiers.
Pour
copier
des
régions
audio
dans
le
Presse-papiers
en
vue
de
les
utiliser
dans
ReCycle
:
1 Sélectionnez
une
région
audio
dans
la
zone
Arrangement.
2 Cliquez
sur
Audio
>
«
Copier
en
tant
que
boucle
ReCycle
»
dans
le
menu
Arrangement.
Les
données
de
la
région
audio
sélectionnée
sont
copiées
dans
le
Presse-papiers.
3 Utilisez
la
commande
«
Coller
en
tant
que
nouveau
document
»
de
ReCycle
pour
créer
un
document
ReCycle
(contenant
les
données
audio
sélectionnées
dans
la
zone
Arrangement).
Remarque
:
la
taille
de
la
région
audio
transférée
est
limitée
à
10
Mo,
ce
qui
devrait
être
suffisant
pour
la
plupart
des
boucles
ReCycle
(à
titre
d’exemple,
une
boucle
stéréo
de
huit
mesures
en
4/4
à
70
bpm
occupe
environ
5
Mo).
Pour
coller
les
boucles
ReCycle
depuis
ReCycle
dans
la
zone
Arrangement
:
1 Utilisez
la
commande
Copier
la
boucle
ReCycle.
Cette
fonction
permet
de
copier
dans
le
Presse-papiers
la
boucle
en
cours
d’édition
dans
ReCycle.
2 Cliquez
sur
Audio
>
«
Coller
la
boucle
ReCycle
»
dans
le
menu
Arrangement
pour
coller
cette
boucle
dans
la
zone
Arrangement.
Le
même
résultat
s’obtient
avec
les
options
d’importation
de
fichier
ReCycle.
Ajout de fichiers d’un projet et de fichiers MIDI
Vous
pouvez
également
ajouter
des
fichiers
d’un
projet
et
des
fichiers
MIDI
(tels
que
des
fichiers
OMF
Interchange,
AAF,
OpenTL
et
XML)
à
votre
arrangement.
Toutefois,
ces
types
de
fichiers
sont
généralement
utilisés
pour
échanger
des
projets
et
ne
sont
donc
pas
traités
dans
le
cadre
de
ce
chapitre.
Pour
obtenir
des
détails
complets
sur
l’importation
de
ces
types
de
fichiers,
reportez-vous
au
chapitre
29,
«
Échange
de
projets
et
de
fichiers
»
à
la
page
699.
12
311
12 Présentation
des
régions
Lorsque des fichiers audio ou MIDI sont ajoutés à,
ou enregistrés dans, la zone Arrangement, ils sont
affichés sous forme de régions.
Ce
chapitre
décrit
les
similarités
et
les
différences
entre
les
régions
audio
et
MIDI
et
fournit
des
informations
détaillées
sur
la
gestion
de
ces
régions.
Pour
plus
de
détails
sur
l’utilisation
des
régions
pour
la
création
de
morceaux,
consultez
le
chapitre
13,
«
Création
de
votre
arrangement
»
à
la
page
327.
Qu’est-ce qu’une région ?
La
gestion
des
données
audio
et
MIDI
est
fort
similaire
dans
la
zone
Arrangement,
et
se
fait
au
moyen
de
blocs
rectangulaires
appelés
«
régions
».
Ces
blocs
sont
des
représentations
graphiques
des
données.
Les
régions
audio
représentent
les
données
audio
;
les
régions
MIDI
représentent
les
données
MIDI.
312 Chapitre
12
Présentation
des
régions
Régions
audio
et
fichiers
audio
Les
régions
audio
se
réfèrent
simplement
(par
pointage)
à
un
fichier
audio
sous-jacent.
Elles
servent
de
marqueurs
de
lecture
(points
de
début
et
de
fin)
qui
peuvent
être
de
la
longueur
du
fichier
audio
tout
entier
ou
ne
durer
que
quelques
secondes
et
donc
ne
lire
qu’une
petite
partie
du
fichier
audio,
partie
délimitée
par
les
marqueurs
de
début
et
de
fin
de
la
région.
Tout
fichier
audio
utilisé
dans
Logic
Express
(ajouté
au
projet
et
donc
au
chutier
Audio)
est
automatiquement
lié
à
au
moins
une
région
audio
réglée
par
défaut
sur
la
longueur
du
fichier
audio
tout
entier.
Les
régions
audio
contiennent
un
point
de
référence
temporel
appelé
point
d’ancrage.
Lorsque
vous
déplacez
une
région
audio,
ce
n’est
pas
le
point
de
départ
qui
s’affiche
dans
la
bulle
d’aide
(comme
pour
les
régions
MIDI),
mais
le
point
d’ancrage.
Vous
êtes
libre
de
créer
autant
de
régions
audio
que
nécessaire.
Pour
vous
convaincre
de
l’utilité
des
régions,
imaginez
une
piste
de
batterie
stéréo
couvrant
toute
la
durée
de
votre
projet.
Le
batteur
a
parfaitement
joué
le
deuxième
refrain,
mais
s’est
montré
un
peu
brouillon
le
reste
du
temps.
Logic
Express
vous
permet
de
créer
une
région
audio
pointant
sur
le
deuxième
refrain
du
fichier
audio
(le
morceau
de
batterie),
puis
d’utiliser
cette
prise
parfaite
à
différents
endroits
du
projet.
Pour
ce
faire,
la
région
audio
(pointée
sur
le
2e
refrain
dans
le
fichier
audio
de
la
piste
de
batterie)
doit
être
créée
et
copiée
dans
chacun
des
emplacements
du
refrain
dans
la
zone
Arrangement.
L’un
des
gros
avantages
des
régions
audio
sur
les
fichiers
audio
réside
dans
le
fait
qu’elles
n’utilisent
que
très
peu
de
mémoire,
alors
que
plusieurs
copies
d’une
même
rubrique
du
fichier
audio
prendraient
beaucoup
de
place
sur
le
disque
dur.
Région audio 1
Fichier audio
Région audio 2
Région
audio 3
Chapitre
12
Présentation
des
régions 313
Il
est
bien
sûr
possible
de
modifier,
copier,
déplacer
et
gérer
directement
les
fichiers
audio
via
l’Éditeur
des
échantillons
et
le
chutier
Audio.
Pour
en
savoir
plus,
reportezvous
au
chapitre
24,
«
Gestion
de
fichiers
audio
»
à
la
page
601.
Régions
et
événements
MIDI
Les
régions
MIDI
contiennent
des
événements
de
données
MIDI.
Elles
ne
sont
pas
liées
à
des
informations
stockées
dans
des
fichiers
internes.
Les
régions
MIDI
peuvent
être
enregistrées
sous
forme
de
fichiers
individuels,
mais
aussi
(et
c’est
généralement
le
cas)
stockées
avec
le
projet
Logic.
Les
événements
de
données
MIDI
stockés
dans
des
régions
MIDI
peuvent
comprendre
des
informations
sur
les
notes,
les
contrôleurs,
le
système,
etc.
Ils
correspondent
aux
prestations
MIDI
que
vous
avez
enregistrées
ou
importées
dans
Logic
Express.
Ces
prestations
sont
généralement
créées
à
l’aide
d’un
clavier
MIDI,
mais
elles
peuvent
également
l’être
au
moyen
de
contrôleurs
MIDI,
de
guitares
MIDI,
du
clavier
ou
de
la
souris
de
votre
ordinateur.
Les
événements
de
données
peuvent
être
affectés
sous
forme
de
groupe
en
traitant
la
région
MIDI
dans
laquelle
ils
se
trouvent.
Ce
type
traitement,
qui
se
fait
via
la
zone
Paramètre
de
région
de
l’Inspecteur,
couvre
la
transposition,
la
quantification,
les
retards
de
synchronisation,
etc.
Vous
pouvez
aussi
modifier
les
événements
d’une
région
MIDI
un
à
un.
Pour
cela,
ouvrez
la
région
dans
l’un
des
Éditeurs
MIDI
disponibles
dans
Logic
Express.
Ces
Éditeurs
vous
permettent
de
modifier
avec
précision
la
position,
la
durée
et
la
tonalité
des
événements
de
notes
MIDI.
Les
autres
types
d’événement
MIDI
sont
modifiables
de
différentes
façons.
Pour
saisir
des
données
MIDI
dans
ces
Éditeurs,
vous
pouvez
aussi
vous
servir
de
votre
clavier
MIDI,
de
la
souris
ou
du
clavier
de
l’ordinateur.
314 Chapitre
12
Présentation
des
régions
Régions
«
dossier
»
Un
dossier
est
une
région
pouvant
contenir
d’autres
régions,
tout
comme
un
dossier
du
Finder
peut
contenir
d’autres
dossiers
ou
fichiers.
Il
est
possible
de
visualiser
un
dossier
comme
un
projet
au
sein
d’un
projet.
Un
dossier
peut
contenir
autant
de
pistes
avec
régions
que
nécessaire.
Le
dossier
est
placé
sur
une
piste
affectée
à
un
dossier
dans
la
liste
des
pistes
plutôt
que
sur
une
piste
d’instrument
ou
une
piste
audio.
Les
régions
«
dossiers
»
ressemblent
aux
régions
MIDI,
mais
présentent
une
icône
de
dossier
devant
le
nom
du
dossier.
Une
fois
ouvert,
un
dossier
est
similaire
à
la
zone
Arrangement
et
à
la
liste
des
pistes
d’un
projet.
Régions
clonées
et
alias
Il
est
possible
de
créer
des
alias
pour
les
régions
MIDI
et
les
régions
de
type
dossier.
L’alias
d’une
région
MIDI
ou
«
dossier
»
ressemble
à
un
alias
du
Finder.
Il
a
l’aspect
d’une
région,
mais
ne
contient
en
fait
aucune
donnée.
Il
s’agit
simplement
d’une
référence
aux
données
de
la
région
originale
(un
reflet
virtuel
de
cette
dernière).
L’alias
est
facilement
reconnaissable
car
son
nom
est
écrit
en
italique.
Si
les
données
de
la
région
originale
(source)
sont
modifiées,
cela
a
une
incidence
immédiate
sur
tous
les
alias
de
cette
région.
Chaque
alias
dispose
cependant
de
paramètres
de
région
qui
lui
sont
propres.
Chapitre
12
Présentation
des
régions 315
Il
est
possible
de
créer
des
clones
de
région
audio
(en
faisant
glisser
les
régions
tout
en
maintenant
les
touches
Option
+
Maj
enfoncées).
Même
s’ils
sont
comparables
aux
alias
de
régions
MIDI,
les
clones
présentent
une
différence
majeure.
En
effet,
si
vous
modifiez
le
point
de
départ
ou
de
fin
de
n’importe
quelle
région
clonée,
toutes
les
autres
régions
clonées
sont
affectées
à
l’identique.
Les
modifications
apportées
à
la
région
source
n’ont
cependant
pas
d’incidence
sur
les
clones.
Vous
pouvez,
naturellement,
créer
des
copies
de
région
audio
indépendantes
(en
faisant
glisser
les
régions
tout
en
maintenant
la
touche
Option
enfoncée)
qui
pourront
être
modifiées
sans
que
cela
n’altère
les
autres
copies
de
la
région
source.
Pour
en
savoir
plus,
veuillez
vous
reporter
au
chapitre
13,
«
Création
de
votre
arrangement
»
à
la
page
327.
Comparatif des régions MIDI et audio
L’aperçu
suivant
résume
les
principales
différences
existant
entre
les
régions
audio
et
les
régions
MIDI.
Quelques
remarques,
en
bas
du
tableau,
apportent
un
éclairage
sur
les
points
les
plus
importants.
Fonctionnalité Régions MIDI Régions audio
Composées
de
données
discrètes Oui Non.
Les
régions
audio
font
simplement
référence
aux
parties
des
fichiers
audio.
Possibilité
de
les
nommer Oui Oui
Option
Boucle
disponible Oui Oui
Paramètre
Quantifier
disponible Oui Non,
mais
la
position
des
régions
peut
être
quantifiée
à
l’aide
de
la
liste
des
événements
(lorsque
vous
êtes
en
affichage
Arrangement).
Vous
pouvez
aussi
quantifier
les
fichiers
audio
de
manière
destructive
dans
l’Éditeur
des
échantillons.
Paramètre
Transposition
disponible
Oui Non,
mais
vous
pouvez
utiliser
les
fonctions
Time
Machine
et
Changement
de
tonalité
(dans
l’Éditeur
des
échantillons
et
dans
Arrangement).
Les
boucles
Apple
Loops
audio
sont
transposables.
Paramètre
Vélocité
disponible Oui Non
Paramètre
Dynamiques
disponible
Oui Non
Paramètre
Temps
de
maintien
disponible
Oui Non
Paramètre
Retard
disponible Oui Oui
Positionnement
libre
possible Oui Oui
316 Chapitre
12
Présentation
des
régions
Naturellement,
certains
paramètres
de
lecture
de
l’Inspecteur
(tels
que
Transposition)
pouvant
s’appliquer
aux
événements
MIDI
n’ont
aucun
effet
sur
les
signaux
audio.
Pour
la
plupart
d’entre
eux,
des
opérations
équivalentes
sont
disponibles
par
modification
destructive
dans
l’Éditeur
des
échantillons.
Les
fonctions
fondamentales
(comme
la
position
et
la
durée
librement
définissables,
la
possibilité
de
créer
des
arrangements
complexes
à
l’aide
de
dossiers
et
la
possibilité
de
nommer,
désactiver
le
son
ou
mettre
en
solo)
sont
généralement
disponibles
pour
tous
les
types
de
régions
(MIDI,
audio,
dossiers
ou
copies
de
ces
derniers,
ainsi
que
les
régions
alias
ou
clonées).
Modification
de
l’angle
gauche
ou
droit
Oui Oui.
Cela
influe
sur
la
région
audio,
mais
pas
sur
la
position
des
formes
d’onde
audio
par
rapport
à
l’axe
temporel
du
séquenceur.
Coupe
possible
avec
l’outil
Ciseaux
Oui Oui,
une
nouvelle
région
audio
est
alors
créée.
Composantes
possibles
des
alias Oui Oui,
bien
qu’elles
soient
appelées
régions
(audio)
clonées
pour
les
différencier
des
régions
(MIDI)
alias.
Possibilité
de
faire
glisser
l’angle
gauche
pour
masquer
des
données
au
début
Non Oui
Présence
d’un
point
de
référence
musical
variable
Non Oui,
il
s’agit
d’un
point
d’ancrage
variable.
Il
affecte
toutes
les
régions
issues
d’un
fichier
audio
donné,
et
peut
modifier
la
position
de
l’audio
par
rapport
à
l’axe
temporel
du
séquenceur.
Désactivation
possible
via
la
fonction
Silence
Oui Oui
Placement
possible
dans
des
dossiers
Oui Oui
Mise
en
solo
possible Oui Oui
Fonctionnalité Régions MIDI Régions audio
Chapitre
12
Présentation
des
régions 317
Gestion des régions dans le chutier Audio et l’Éditeur des
échantillons
Le
chutier
Audio
vous
permet
de
gérer
vos
régions
et
d’apporter
des
modifications
brutes
à
la
(ou
aux)
région(s)
associée(s)
à
un
fichier
audio.
L’affichage
graphique
du
chutier
Audio
est
optimisé
en
vue
d’une
organisation
simple
et
rapide
des
fichiers
audio
et
des
régions.
La
meilleure
résolution
pour
le
positionnement
des
marqueurs
de
début
et
de
fin
des
régions,
ou
du
point
d’ancrage,
est
limitée
à
256
opérations
dans
le
chutier
Audio.
Cela
est
généralement
suffisant,
notamment
si
la
fonction
«
Chercher
les
passages
à
zéro
»
est
activée.
Il
peut
arriver,
cependant,
que
vous
deviez
effectuer
des
réglages
très
précis,
jusqu’au
niveau
du
simple
mot.
Les
boucles
de
batterie
en
offrent
un
bon
exemple.
L’Éditeur
des
échantillons
convient
parfaitement
à
ce
travail
de
précision.
Pour
ouvrir
l’Éditeur
des
échantillons
pour
une
région
donnée
:
m Double-cliquez
sur
la
région
dans
le
chutier
Audio
ou
dans
la
zone
Arrangement.
L’Éditeur
des
échantillons
s’ouvre
et
la
région
est
entièrement
sélectionnée.
Gestion
des
régions
dans
le
chutier
Audio
Le
chutier
Audio
répertorie
tous
les
fichiers
audio
et
les
régions
qui
ont
été
ajoutés
à
votre
projet
ou
enregistrés
dans
ce
dernier.
Cette
rubrique
décrit
les
différentes
options
de
gestion
des
régions
disponibles
dans
l’onglet
et
la
fenêtre
Chutier
Audio.
Les
options
et
les
opérations
relatives
aux
fichiers
audio
disponibles
dans
le
chutier
Audio
sont
seulement
abordées
dans
cette
rubrique.
Pour
en
savoir
plus,
reportez-vous
au
chapitre
24,
«
Gestion
de
fichiers
audio
»
à
la
page
601.
318 Chapitre
12
Présentation
des
régions
Quel chutier Audio utiliser ?
L’onglet
Chutier
Audio
est
idéal
pour
ajouter
rapidement
des
fichiers
à
la
zone
Arrangement,
car
il
ne
recouvre
pas
votre
espace
de
travail.
Une
barre
représentant
la
durée
totale
du
fichier
apparaît
pour
chaque
fichier
audio.
La
zone
colorée
située
à
l’intérieur
de
cette
barre
illustre
la
durée
de
la
région.
Vous
ne
pouvez
pas
redimensionner
ou
déplacer
des
régions
d’un
fichier
audio
dans
l’onglet
Chutier.
Pour
effectuer
ce
type
de
tâches,
accédez
à
la
fenêtre
Chutier.
Dans
la
fenêtre
Chutier,
que
vous
pouvez
redimensionner
à
votre
guise,
les
fichiers
audio
sont
représentés
par
des
formes
d’ondes.
Les
régions
situées
dans
les
fichiers
audio
sont
mises
en
surbrillance.
Les
autres
informations
relatives
aux
fichiers,
telles
que
l’intégralité
du
chemin,
s’affichent
dans
la
fenêtre
Chutier.
On
y
trouve
également
le
menu
Options,
où
figure
la
commande
Éliminateur
de
silence.
En
bref,
l’onglet
Chutier
est
le
mieux
adapté
aux
tâches
telles
que
l’ajout
de
fichiers
audio
et
de
régions
lors
de
la
création
de
votre
arrangement.
La
fenêtre
Chutier,
quant
à
elle,
est
votre
outil
numéro
un
pour
gérer
fichiers
audio
et
régions.
Onglet
Chutier Fenêtre
Chutier
Chapitre
12
Présentation
des
régions 319
Pour
ouvrir
l’onglet
Chutier
:
m Cliquez
sur
l’onglet
Chutier
dans
la
zone
Média
de
la
fenêtre
Arrangement.
Pour
ouvrir
le
Chutier
:
m Choisissez
Fenêtre
>
Chutier
(ou
utilisez
le
raccourci
clavier
correspondant,
par
défaut
:
Commande
+
9).
Pour
afficher
une
région
associée
à
un
fichier
audio
:
m Cliquez
sur
le
triangle
d’affichage
qui
se
trouve
à
côté
du
nom
du
fichier
audio.
Toutes
les
régions
sont
répertoriées
sous
le
nom
du
fichier
audio
dont
elles
sont
issues.
 Les
régions
utilisées
dans
la
zone
Arrangement
sont
signalées
par
une
barre
colorée,
à
droite
de
leur
nom.
La
couleur
utilisée
est
celle
de
la
région
Arrangement.
La
durée
de
la
région
(rubrique
colorée)
est
proportionnelle
à
la
barre
du
fichier
audio.
 Les
régions
inutilisées
dans
la
zone
Arrangement
sont
grises.
Pour
voir
toutes
les
régions
du
Chutier,
choisissez
l’une
des
possibilités
suivantes
:
m Choisissez
Présentation
>
Afficher
toutes
les
régions
(ou
utilisez
le
raccourci
clavier
correspondant).
m Appuyez
sur
la
touche
Option
tout
en
cliquant
sur
le
triangle
d’affichage
situé
à
côté
du
fichier
audio.
Cela
affiche
instantanément
toutes
les
régions
de
l’ensemble
des
fichiers
audio
présents
dans
le
Chutier.
Si
vous
choisissez
Présentation
>
«
Masquer
toutes
les
régions
»
(à
l’aide
du
raccourci
clavier
correspondant)
ou
que
vous
cliquez
une
deuxième
fois
sur
le
triangle
d’affichage
d’un
fichier
audio
tout
en
maintenant
la
touche
Option
enfoncée,
toutes
les
régions
seront
masquées.
Pour
trier
les
régions
d’un
fichier
audio
:
m Sélectionnez
le
fichier
audio
souhaité,
puis
Présentation
>
Régions
classées
par.
 Point
de
début
:
les
régions
sont
classées
selon
leur
position
dans
le
temps
au
sein
du
fichier
audio.
 Durée
:
les
régions
sont
classées
selon
leurs
durées
respectives.
 Nom
:
les
régions
sont
classées
par
ordre
alphabétique.
Il
s’agit
du
réglage
par
défaut.
Pour
modifier
l’affichage
de
la
durée
des
régions
dans
la
fenêtre
Chutier
:
m Choisissez
l’un
des
réglages
suivants
dans
le
menu
Présentation
>
Afficher
la
durée
:
 Aucun
:
la
durée
n’est
pas
affichée.
 Min
:
Sec:
Ms:
affiche
la
durée
absolue
de
la
région
en
heures,
minutes,
secondes
et
millisecondes.
 Échantillons
:
affiche
le
nombre
de
mots
échantillonnés
de
la
région.
320 Chapitre
12
Présentation
des
régions
 Temps
SMPTE
:
affiche
la
durée
SMPTE
qui,
à
la
différence
de
la
durée
absolue,
utilise
des
images
et
des
bits
à
la
place
des
millisecondes.
 Mesures/battements
:
la
région
est
affichée
en
unités
musicales
:
mesures
:
battements
:
divisions
:
ticks.
Si
les
réglages
de
tempo,
de
signature
temporelle
ou
de
division
sont
modifiés,
l’affichage
est
automatiquement
recalculé.
Pour
savoir
combien
de
fois
une
région
est
utilisée
dans
votre
arrangement
:
m Activez
le
réglage
Présentation
>
Afficher
le
compteur
d’utilisation
des
régions.
Création
et
suppression
de
régions
Lorsque
vous
ajoutez
un
fichier
audio
à
votre
projet,
Logic
Express
crée
automatiquement
une
région
englobant
toute
la
durée
du
fichier.
Vous
pouvez
créer
autant
de
régions
que
vous
le
souhaitez
à
partir
du
même
fichier
audio.
Il
n’existe
aucune
limitation
de
durée
pour
les
régions,
pourvu
qu’elles
ne
dépassent
pas
la
durée
du
fichier
audio
source.
La
création
de
plusieurs
régions
à
partir
du
même
fichier
audio
est
un
atout
pour
nombre
de
tâches,
par
exemple
l’utilisation
de
différentes
portions
d’une
prise
vocale
couvrant
toute
la
durée
du
projet.
Vous
pouvez
créer
des
régions
dans
le
chutier
Audio,
l’Éditeur
des
échantillons
et
la
zone
Arrangement.
Cette
rubrique
concerne
les
options
du
chutier
Audio
et
de
l’Éditeur
des
échantillons.
Remarque
:
pour
tout
savoir
sur
les
options
de
modification
des
régions
dans
la
fenêtre
Arrangement,
reportez-vous
au
chapitre
13,
«
Création
de
votre
arrangement
»
à
la
page
327.
Pour
créer
une
région
à
partir
d’un
fichier
audio
dans
le
chutier
Audio,
vous
pouvez
:
m Sélectionner
le
fichier
audio
voulu,
puis
Fichier
audio
>
Ajouter
une
région
(ou
utiliser
le
raccourci
clavier
Ajouter
une
région,
à
savoir,
par
défaut
:
Contrôle
+
R).
m Choisir
Édition
>
Copier
(Commande
+
C)
dans
la
barre
de
menus
principale,
puis
Édition
>
Coller
(Commande
+
V).
La
nouvelle
région
apparaît
sous
les
régions
existantes
dans
la
liste.
Chaque
région
reçoit
une
extension
numérique
unique.
Par
exemple,
si
organ.wav
est
le
fichier
audio
d’origine,
la
région
créée
automatiquement
s’appelle
simplement
«
orgue
»
et
les
nouvelles
régions
«
orgue.1
»,
«
orgue.2
»,
etc.
Pour
créer
une
région
à
partir
d’un
fichier
audio
dans
l’Éditeur
des
échantillons
:
m Choisissez
Édition
>
Créer
une
région
(Commande
+
R).
La
nouvelle
région
apparaît
dans
la
liste
du
chutier
Audio.
Chapitre
12
Présentation
des
régions 321
Pour
supprimer
une
région
du
chutier
Audio,
effectuez
l’une
des
opérations
suivantes
:
m Sélectionnez
une
ou
plusieurs
régions
et
appuyez
sur
la
touche
de
retour
arrière.
La
suppression
d’une
région
ne
provoque
pas
la
suppression
du
fichier
audio
dont
elle
est
issue.
Pour
supprimer
un
fichier
audio
du
projet
en
cours
:
1 Sélectionnez
le
nom
du
fichier
audio
(et
non
d’une
région)
dans
le
chutier
Audio.
2 Choisissez
Fichier
audio
>
Supprimer
les
fichiers
(ou
utilisez
le
raccourci
clavier
correspondant).
Les
fichiers
sont
ainsi
supprimés
du
projet,
mais
pas
du
disque
dur.
Écoute
des
régions
dans
le
chutier
Audio
Les
modes
de
lecture
abordés
ci-dessous
ne
s’appliquent
qu’aux
régions
du
chutier
Audio
(lorsque
la
fenêtre
est
au
premier
plan)
et
n’ont
aucune
incidence
sur
la
lecture
du
projet.
Pour
lire
une
région
en
entier
:
1 Dans
la
liste,
mettez
le
nom
de
la
région
en
surbrillance.
2 Cliquez
sur
le
bouton
des
haut-parleurs
en
bas
du
chutier
Audio
(ou
appuyez
sur
la
barre
d’espace)
pour
lancer
la
lecture.
Cliquez
à
nouveau
sur
ce
bouton
(ou
appuyez
à
nouveau
sur
la
barre
d’espace)
pour
arrêter
la
lecture.
Remarque
:
le
canal
Pré-écoute
de
l’environnement
est
utilisé
pour
le
contrôle
dans
l’Éditeur
des
échantillons.
Vous
pouvez
accéder
au
canal
Pré-écoute
dans
la
table
de
mixage
de
l’environnement,
figurant
à
droite
du
numéro
de
bande
de
canaux
audio
le
plus
élevé.
Avertissement
:
les
régions
supprimées
figurant
dans
la
zone
Arrangement
sont
également
effacées.
Soyez
donc
prudent
lorsque
vous
supprimez
une
région
(ou
le
fichier
audio
d’origine).
La
fonction
Annuler
est
toujours
disponible
au
cas
où
vous
supprimeriez
la
mauvaise
région
par
mégarde.
322 Chapitre
12
Présentation
des
régions
Pour
lire
la
région
en
boucle
:
m Cliquez
sur
le
bouton
de
lecture
en
boucle
(signalé
par
une
flèche
circulaire)
en
bas
du
chutier
Audio.
Pour
interrompre
la
lecture,
cliquez
à
nouveau
sur
ce
bouton.
Pour
lire
une
région
depuis
une
position
particulière
dans
la
fenêtre
Chutier
Audio
:
m Cliquez
sur
la
région
souhaitée
dans
l’écran
des
régions
en
maintenant
le
bouton
enfoncé
ou
servez-vous
de
la
souris.
Une
icône
«
haut-parleur
»
remplace
le
pointeur
de
la
souris.
La
lecture
commence
au
point
sur
lequel
vous
cliquez.
Cela
vous
permet
de
ne
lire
que
certaines
rubriques.
La
lecture
s’arrête
dès
que
vous
relâchez
le
bouton
de
la
souris.
Remarque
:
seule
la
fenêtre
Chutier
Audio
permet
cette
opération.
Redimensionnement
d’une
région
Vous
pouvez
redimensionner
des
régions
dans
la
fenêtre
Chutier
Audio,
l’Éditeur
des
échantillons
et
la
fenêtre
Arrangement.
Cette
rubrique
concerne
les
options
du
chutier
Audio
et
de
l’Éditeur
des
échantillons.
Remarque
:
pour
tout
savoir
sur
les
options
de
modification
des
régions
dans
la
fenêtre
Arrangement,
reportez-vous
au
chapitre
13,
«
Création
de
votre
arrangement
»
à
la
page
327.
Pour redimensionner une région dans la fenêtre Chutier Audio, choisissez l’une
des possibilités suivantes :
m Cliquez
sur
le
tiers
inférieur
de
la
limite
gauche
ou
droite
de
la
région
en
maintenant
le
bouton
enfoncé
et
faites
glisser
le
pointeur
dans
la
direction
souhaitée.
Chapitre
12
Présentation
des
régions 323
Pour
redimensionner
une
région
avec
précision
:
m Faites
glisser
les
points
de
début
et
de
fin
de
la
région
dans
l’Éditeur
des
échantillons,
et
non
dans
le
chutier
Audio,
lorsque
la
précision
est
de
mise.
Assurez-vous
que
Édition
>
«
Chercher
les
passages
à
zéro
»
est
désactivé
pour
l’Éditeur
des
échantillons
(voir
ci-dessous).
Les
petits
marqueurs
situés
tout
en
bas
des
formes
d’ondes
de
l’Éditeur
des
échantillons
offrent
un
accès
direct
aux
limites
de
la
région.
Rétablissement
des
modifications
sur
les
passages
à
zéro
Si
Édition
>
«
Chercher
les
passages
à
zéro
»
est
activé,
les
ajustements
des
positions
de
début
et
de
fin
d’une
région
se
calent
sur
le
point
le
plus
proche
de
l’endroit
où
la
forme
d’onde
passe
par
l’axe
zéro.
En
d’autres
termes,
il
existe
sur
un
échantillon
(une
boucle
de
batterie,
par
exemple)
des
points
de
passage
dont
le
niveau
est
très
proche
de
celui
d’autres
points
de
l’échantillon.
Si
deux
points
très
proches
sont
utilisés
comme
point
de
début
et
de
fin
de
l’échantillon,
la
boucle
sera
lue
sans
qu’aucun
glitch
(saut)
ne
soit
audible
dans
l’audio.
Lorsque
vous
réglez
le
point
de
début,
la
zone
qui
le
précède
est
analysée
en
vue
d’identifier
un
point
de
passage
sans
heurt.
Lorsque
vous
choisissez
le
point
de
fin,
la
zone
qui
suit
la
région
est
analysée
aux
mêmes
fins.
Pour
caler
les
modifications
audio
sur
les
passages
à
zéro
:
1 Cliquez
sur
la
barre
de
titre
du
chutier
Audio
ou
de
l’Éditeur
des
échantillons
pour
mettre
la
fenêtre
au
premier
plan.
2 Activez
Édition
>
«
Chercher
les
passages
à
zéro
»
(ou
utilisez
le
raccourci
clavier
correspondant).
Remarque
:
l’option
«
Chercher
les
passages
à
zéro
»
peut
être
définie
indépendamment
pour
l’Éditeur
des
échantillons
et
pour
le
chutier
Audio.
Marqueurs
de
région
324 Chapitre
12
Présentation
des
régions
Déplacement
d’une
région
au
sein
d’un
fichier
audio
La
fenêtre
Chutier
vous
permet
également
de
déplacer
l’intégralité
d’une
région
au
sein
d’un
fichier
audio.
Pour
déplacer
la
zone
de
la
région
au
sein
du
fichier
audio
:
1 Placez
le
curseur
au-dessus
du
centre
de
la
région.
2 Lorsque
le
curseur
se
transforme
en
flèche
à
deux
pointes,
faites
glisser
la
région
vers
la
gauche
ou
vers
la
droite.
Remarque
:
pour
modifier
les
limites
de
la
région
sans
déplacer
le
point
d’ancrage
(voir
rubrique
suivante),
maintenez
la
touche
Option
enfoncée
pendant
l’opération.
Cela
vaut
aussi
bien
lorsque
vous
déplacez
le
point
de
début
ou
de
fin,
que
la
région
tout
entière.
Modification
du
point
d’ancrage
de
la
région
audio
Le
point
d’ancrage
est
le
point
de
référence
temporelle
d’une
région
audio.
Lorsque
vous
déplacez
une
région
audio,
ce
n’est
pas
le
point
de
départ
qui
s’affiche
dans
la
bulle
d’aide
(comme
pour
les
régions
MIDI),
mais
le
point
d’ancrage.
Dans
bon
nombre
de
cas,
le
point
d’ancrage
doit
être
placé
sur
les
crêtes
d’amplitude
plutôt
qu’au
début
de
la
phase
d’attaque
sonore.
L’enregistrement
des
cuivres,
qui
peuvent
mettre
un
certain
temps
avant
d’atteindre
une
crête,
en
est
un
bon
exemple.
Le
positionnement
du
point
d’ancrage
sur
ces
crêtes
oblige
la
région
à
se
caler
sur
la
grille
de
votre
arrangement
en
utilisant
le
point
d’ancrage
comme
pivot.
Les
réglages
de
zoom
flexibles
vous
permettent
d’obtenir
toute
la
précision
voulue,
au
bit
près,
avec
le
facteur
d’agrandissement
le
plus
élevé.
Autre
exemple
:
pour
garantir
une
synchronisation
parfaite
entre
une
boucle
de
batterie
d’une
seule
mesure
et
des
régions
MIDI,
le
point
d’ancrage
doit
être
assigné
à
un
point
musicalement
caractéristique.
Si
la
boucle
s’ouvre
sur
une
crête
de
niveau
important
(un
coup
de
grosse
caisse,
par
exemple),
placez
le
point
d’ancrage
à
l’endroit
où
le
volume
de
ce
battement
est
représenté
par
une
crête
précise.
Lorsque
vous
enregistrez
de
l’audio
ou
ajoutez
un
fichier
audio,
le
point
d’ancrage
et
le
point
de
début
des
régions
se
trouvent
toujours
au
début
du
fichier
audio.
Si
vous
déplacez
le
point
de
début,
le
point
d’ancrage
bouge
également,
car
il
ne
peut
pas
précéder
la
position
de
départ
de
la
région.
Curseur
en
flèche
à
deux
pointes
Chapitre
12
Présentation
des
régions 325
Il
est
possible
de
modifier
le
point
d’ancrage
d’une
région
dans
la
fenêtre
Chutier
et
dans
l’Éditeur
des
échantillons.
Le
point
d’ancrage
est
représenté
par
un
indicateur
noir
(orange
dans
l’Éditeur
des
échantillons)
situé
sous
la
forme
d’onde
de
la
région.
Pour
déplacer
le
point
d’ancrage
dans
l’Éditeur
des
échantillons
ou
dans
la
fenêtre
Chutier
:
m Sélectionnez
le
petit
indicateur
situé
sous
la
région,
puis
placez
le
point
d’ancrage
à
l’endroit
souhaité.
Les
changements
apportés
au
point
d’ancrage
modifient
la
position
relative
de
la
région
audio
dans
le
projet.
Étant
donné
que
le
point
de
début
de
la
région
est
la
position
par
défaut
du
point
d’ancrage,
vous
devez
aussi
faire
attention
lorsque
vous
déplacez
ce
point
de
début.
Protection
du
point
d’ancrage
lors
du
déplacement
du
point
de
fin
Si
vous
déplacez
le
point
de
début
ou
de
fin
d’une
région
au-delà
du
point
d’ancrage,
ce
dernier
est
également
déplacé.
Cette
situation
n’est
généralement
pas
souhaitable
!
Pour
que
le
point
d’ancrage
reste
en
place,
maintenez
la
touche
Option
enfoncée
alors
que
vous
déplacez
le
marqueur
de
fin.
Remarque
:
le
point
d’ancrage
ne
pouvant
jamais
se
trouver
à
gauche
(avant)
du
point
de
début
de
la
région,
il
se
déplace
si
vous
faites
glisser
ce
point
de
début
au-delà
(vers
la
droite),
même
si
vous
appuyez
sur
la
touche
Option.
Mise
à
jour
des
positions
dans
la
zone
Arrangement
Lorsque
vous
modifiez
le
point
d’ancrage
dans
l’Éditeur
des
échantillons,
vous
pouvez
utiliser
la
fonction
«
Compenser
la
position
de
la
région
»
pour
être
sûr
qu’une
région
audio
donnée
demeure
au
même
endroit
dans
l’arrangement.
Pour
activer
ou
désactiver
la
fonction
«
Compenser
la
position
de
la
région
»
:
1 Cliquez
sur
la
barre
de
titre
de
l’Éditeur
des
échantillons,
afin
de
vous
assurer
que
ce
dernier
est
au
premier
plan.
2 Choisissez
Édition
>
Compenser
la
position
de
la
région.
Point
Point
d’ancrage d’ancrage
326 Chapitre
12
Présentation
des
régions
 Si
l’option
«
Compenser
la
position
de
la
région
»
est
activée,
le
déplacement
du
point
d’ancrage
n’a
aucun
impact
sur
ce
que
vous
entendez.
Le
déplacement
du
point
d’ancrage
dans
l’Éditeur
des
échantillons
conduit
au
même
résultat
que
si
vous
faites
glisser
le
point
de
début
de
la
région
dans
la
zone
Arrangement.
 Si
l’option
«
Compenser
la
position
de
la
région
»
n’est
pas
activée,
le
déplacement
du
point
d’ancrage
change
la
position
des
régions
audio
dans
la
zone
Arrangement.
La
région
se
décale
par
rapport
à
l’axe
temporel,
tandis
que
le
point
d’ancrage
demeure
lié
à
la
même
valeur
de
mesure
et
est
signalé
par
une
ligne
en
pointillés.
Protection
des
régions
Pour
éviter
toute
modification
accidentelle
des
points
de
début
et
de
fin
ou
du
point
d’ancrage
d’une
région,
vous
pouvez
verrouiller
la
région
dans
la
fenêtre
Chutier.
Pour
protéger
la
position
des
points
de
début,
de
fin
et
d’ancrage
d’une
région :
m Dans
la
fenêtre
Chutier,
cliquez
sur
l’icône
représentant
un
cadenas
située
à
côté
de
la
région
pour
la
verrouiller.
Cliquez
à
nouveau
sur
cette
icône
pour
la
déverrouiller.
Si
une
région
est
verrouillée,
vous
pouvez
la
lire,
mais
pas
la
modifier.
L’onglet
Chutier
affiche
l’état
des
régions
audio
verrouillées
(dans
la
colonne
située
entre
les
colonnes
Nom
du
fichier/de
la
région
et
Infos),
mais
ne
vous
permet
pas
de
verrouiller
ou
de
déverrouiller
des
régions.
Région
protégée
Région
non
protégée
Avertissement
:
attention
à
ne
pas
confondre
cette
fonction
avec
la
protection
contre
la
suppression
:
une
région
protégée
(verrouillée)
peut
toujours
être
supprimée
!
13
327
13 Création
de
votre
arrangement
Après avoir ajouté vos régions audio et MIDI dans la zone
Arrangement, vous pouvez les modifier et les réorganiser
afin de créer un arrangement global, ou morceau.
La
zone
Arrangement
offre
une
vue
d’ensemble
de
la
structure
de
votre
morceau
:
elle
indique
à
quel
moment
la
lecture
des
séquences
audio
et
MIDI
débute,
ainsi
que
la
durée
de
ces
dernières.
Vous
définissez
quand
et
comment
les
régions
sont
lues
en
les
déplaçant,
les
coupant,
les
copiant,
les
redimensionnant
et
les
regroupant
dans
la
zone
Arrangement.
Les
régions
sont
placées
horizontalement
sur
les
rangées
de
pistes
allant
d’une
extrémité
à
l’autre
de
la
zone
Arrangement.
Leurs
positions
sur
ces
rangées
déterminent
à
quel
moment
elles
sont
lues
et
celles-ci
sont
alignées
avec
la
règle
Mesure
(et
Temps)
située
sur
la
partie
supérieure
de
la
fenêtre.
Les
rangées
de
pistes
sont
empilées
verticalement,
créant
ainsi
une
grille
de
rangées
ainsi
que
des
positions
de
mesure
ou
de
temps
particulières.
Pour
afficher
la
grille
de
la
zone
Arrangement
:
m Activez
le
réglage
Grille
dans
le
menu
Présentation
de
la
zone
Arrangement.
Il
se
peut
que
vous
souhaitiez
augmenter
le
contraste
de
la
grille
en
modifiant
la
couleur
d’arrière-plan
de
la
zone
Arrangement.
Zone
Arrangement
avec
grille Zone
Arrangement
sans
grille
328 Chapitre
13
Création
de
votre
arrangement
Pour
modifier
la
couleur
d’arrière-plan
de
la
zone
Arrangement
:
1 Ouvrez
les
préférences
d’affichage
en
effectuant
l’une
des
opérations
suivantes
:
 Choisissez
Logic
Express
>
Préférences
>
Affichage
(ou
utilisez
le
raccourci
clavier
Ouvrir
les
préférences
d’affichage).
 Cliquez
sur
le
bouton
Préférences
dans
la
barre
d’outils
Arrangement
et
choisissez
Affichage
dans
le
menu.
2 Cliquez
sur
l’onglet
Arrangement
dans
la
fenêtre
Préférences.
3 Choisissez
Lumineux
dans
le
menu
Couleur
d’arrière-plan.
4 Vous
pouvez
également
choisir
Personnalisé
dans
le
menu
et
cliquer
sur
le
champ
Couleur
situé
à
droite.
5 Dans
la
fenêtre
Couleurs
qui
s’affiche
:
utilisez
la
souris
pour
déplacer
la
roulette
de
la
palette
de
couleur,
ainsi
que
les
curseurs
de
contraste
et
d’opacité
afin
de
créer
une
couleur
personnalisée.
Chapitre
13
Création
de
votre
arrangement 329
6 Cliquez
sur
le
bouton
de
fermeture
en
haut
à
gauche
pour
quitter
la
fenêtre
Couleurs
et
assigner
la
couleur
d’arrière-plan
personnalisée
de
votre
zone
Arrangement.
La
plupart
des
techniques
d’arrangement
et
d’édition
fonctionnent
de
la
même
façon
pour
les
séquences
audio
et
MIDI.
Les
boucles
Apple
Loops
procèdent
également
d’une
manière
similaire.
Lorsque
le
traitement
diffère,
les
variations
sont
signalées
dans
les
rubriques
appropriées
de
ce
chapitre.
Toutes
les
opérations
mentionnées
au
pluriel
(par
exemple,
régions)
s’appliquent
à
une
ou
plusieurs
région(s)
sélectionnée(s).
Accélération et simplification de la modification des régions
Cette
rubrique
fournit
des
informations
sur
des
options
qui
accélèrent
et
simplifient
la
modification
des
régions,
vous
permettant
ainsi
de
vous
concentrer
sur
les
aspects
musicaux
de
votre
arrangement.
Alignement
des
régions
modifiées
sur
des
positions
temporelles
Vous
êtes
amené
à
déplacer
et
à
redimensionner
les
régions
dans
la
zone
Arrangement
car
vous
souhaitez
que
celles-ci
commencent
et
se
terminent
au
niveau
d’un
point
spécifique
dans
le
temps.
Par
exemple
:
dans
un
projet
de
musique,
il
se
peut
que
vous
souhaitiez
aligner
les
points
de
départ
des
régions
aux
mesures
et
aux
battements.
Logic
Express
offre
une
fonction
Alignement
permettant
d’aligner
automatiquement
les
points
de
départ
et
de
fin
des
régions
sur
une
valeur
de
grille
sélectionnée
lorsque
vous
les
déplacez
ou
les
redimensionnez.
Π Conseil
:
activez
l’élément
de
menu
Présentation
>
Grille
de
façon
à
voir
comment
les
éléments
de
menu
Alignement
alignent
automatiquement
les
régions
sur
des
positions
spécifiques
de
la
grille.
Pour
aligner
des
régions
sur
une
grille
:
m Choisissez
l’une
des
valeurs
suivantes
dans
le
menu
Alignement
situé
en
haut
de
la
zone
Arrangement
:
330 Chapitre
13
Création
de
votre
arrangement
 Intelligent
:
les
opérations
d’édition
s’aligneront
sur
la
mesure,
le
battement,
le
battement
secondaire,
etc.
le
plus
proche,
en
fonction
de
la
valeur
de
division
et
du
niveau
de
zoom
en
cours
de
la
règle
Mesure.
 Mesure
:
les
opérations
d’édition
alignent
les
éléments
sur
la
mesure
la
plus
proche.
 Battement
:
les
opérations
d’édition
s’alignent
sur
le
battement
le
plus
proche
d’une
mesure.
 Division
:
les
opérations
d’édition
s’aligneront
sur
la
valeur
de
division
la
plus
proche
(il
s’agit
de
la
signature
affichée
dans
la
règle
Transport
et
Mesure).
 Ticks
:
les
opérations
d’édition
s’alignent
sur
le
tick
d’horloge
le
plus
proche
(1/3
840e
d’un
battement).
 Images
:
les
opérations
d’édition
s’alignent
sur
l’image
SMPTE
la
plus
proche.
 QI
(Quarts
d’image)
:
les
opérations
d’édition
s’aligneront
sur
le
quart
d’image
SMPTE
le
plus
proche.
 Échantillons
:
les
opérations
d’édition
s’aligneront
sur
l’échantillon
le
plus
proche.
Remarque
:
la
modification
précise
de
l’échantillon
est
directement
liée
au
niveau
de
zoom.
Si
le
niveau
de
zoom
est
insuffisant,
il
est
impossible
de
modifier
précisément
l’échantillon.
Utilisez
le
curseur
Zoom
situé
en
bas
de
la
fenêtre
Arrangement
et
tirez
parti
des
raccourcis
clavier
Enregistrer
et
Récupérer
le
réglage
de
zoom
pour
accélérer
votre
processus.
La
fonctionnalité
Alignement
est
relative,
ce
qui
signifie
que
l’opération
d’édition
sera
alignée
sur
les
mesures,
battements
les
plus
proches,
etc.—tout
en
conservant
la
même
distance
entre
la
région
et
sa
position
d’origine.
Par
exemple,
si
une
région
est
placée
sur
la
position
1.2.1.16
et
que
vous
la
déplacez
vers
la
mesure
2
(avec
le
menu
Alignement
défini
sur
Mesure),
elle
va
automatiquement
s’aligner
sur
la
position
2.2.1.16,
plutôt
que
sur
la
position
2.1.1.1
(le
point
de
départ
de
la
mesure
2).
Vous
pouvez
remplacer
les
alignements
relatifs
avec
l’option
«
Aligner
sur
la
valeur
absolue
».
Pour
aligner
sur
une
position
absolue
(pas
relative)
:
m Choisissez
l’option
Aligner
sur
la
valeur
absolue
du
menu
Alignement.
Une
coche
apparaît
à
gauche
de
ce
nom
de
fonction
lorsque
cette
dernière
est
activée.
Cette
fonction
fait
également
appel
à
la
division
de
grille
d’alignement
sélectionnée.
En
d’autres
termes,
si
l’option
Mesure
est
sélectionnée
dans
le
menu
Alignement
et
que
l’option
Aligner
sur
la
valeur
absolue
est
activée,
une
région
déplacée
(depuis
la
position
1.2.1.16)
vers
la
mesure
2
sera
alignée
sur
la
position
2.1.1.1
(le
point
de
départ
de
la
mesure
2),
plutôt
que
sur
sa
position
relative
(2.2.1.16).
Le
réglage
du
menu
Magnétisme
s’applique
aux
opérations
d’édition
suivantes
:
 Déplacement
et
copie
des
régions
 Redimensionnement
des
régions
 Coupe
des
régions
Chapitre
13
Création
de
votre
arrangement 331
 Déplacement,
ajout
et
redimensionnement
de
marqueurs
 Définition
de
limites
de
cycle
Annulation
de
la
grille
d’alignement
Vous
pouvez
remplacer
temporairement
la
grille
d’alignement,
permettant
des
éditions
et
des
ajustements
plus
fins.
Pour
annuler
la
grille
d’alignement
:
m Appuyez
sur
Contrôle
tout
en
effectuant
l’opération
d’édition.
 La
valeur
de
division
choisie
dans
la
catégorie
Transport
(par
exemple,
1/16)
définit
l’échelle
de
la
grille
d’édition
à
des
niveaux
de
zoom
inférieurs
(affichage
macroscopique
ou
étendu).
 Si
le
niveau
de
zoom
est
supérieur
(affichage
microscopique
ou
gros
plan),
une
mise
à
l’échelle
selon
un
certain
facteur
est
effectuée
lorsque
vous
procédez
à
une
modification
en
maintenant
la
touche
Contrôle
enfoncée.
m Maintenez
les
touches
Contrôle
et
Maj
enfoncées
lors
de
l’opération
d’édition
:
 Des
ticks
s’affichent
dans
la
grille
d’édition
si
la
modification
est
effectuée
à
des
niveaux
de
zoom
inférieurs
(affichage
macroscopique
ou
étendu).
 La
grille
d’édition
affiche
des
échantillons
si
la
modification
s’effectue
à
des
niveaux
de
zoom
supérieurs
(affichage
microscopique
ou
gros
plan).
Remarques relatives à la relation entre le niveau de zoom et le réglage
de menu Alignement
Lorsque
le
niveau
de
zoom
est
très
élevé
(microscopique),
au
point
que
la
valeur
d’alignement
choisie
entraîne
des
modifications
ou
des
déplacements
importants,
cette
valeur
est
temporairement
réduite
et
le
mode
d’alignement
intelligent
est
utilisé
à
la
place.
Lorsque
le
niveau
de
zoom
est
extrêmement
bas
(macroscopique)
et
qu’une
valeur
d’alignement
correcte
(telle
que
Division
ou
Images)
est
choisie,
des
mouvements
de
souris
normaux
engendrent
des
unités
de
grille
plus
importantes.
Dans
ce
cas,
modifiez
le
niveau
de
zoom
ou
maintenez
la
touche
Contrôle
enfoncée
afin
de
sélectionner
la
valeur
d’alignement
choisie.
L’utilisation
des
touches
Contrôle
+
Maj
permet
d’interrompre
la
relation
1:1
existant
entre
les
mouvements
du
curseur
de
la
souris
et
de
la
région
(ou
l’outil
d’édition).
Cela
signifie
que
vous
devrez
peut-être
déplacer
le
curseur
de
la
souris
sur
une
assez
longue
distance
(horizontalement)
afin
que
la
région
(ou
l’outil
d’édition)
se
déplace
d’un
pixel.
Consultez
la
bulle
d’aide
pour
obtenir
des
affichages
numériques
exacts.
Supposons
que
vous
souhaitiez
réduire
une
région
dans
une
mesure
4/4
afin
que
le
4
soit
joué,
mais
pas
le
«
4
et
»
de
la
dernière
mesure.
332 Chapitre
13
Création
de
votre
arrangement
Pour
réduire
une
région
d’une
valeur
de
division
lorsque
l’alignement
est
défini
sur
Battement
:
1 Agrandissez
l’affichage
de
façon
à
voir
les
notes
noires
dans
la
règle
Mesure.
2 Saisissez
la
partie
inférieure
droite
d’une
région
et
déplacez
le
curseur
de
la
souris
vers
la
gauche,
jusqu’à
ce
que
la
région
soit
réduite
d’une
note
noire.
3 Appuyez
sur
la
touche
Contrôle
et
déplacez
lentement
le
curseur
de
la
souris
vers
la
droite,
jusqu’à
ce
que
la
région
possède
une
division
supplémentaire.
Lors
de
cette
opération,
la
bulle
d’aide
indique
la
position
de
départ
de
la
séquence,
le
numéro
de
la
piste
et
la
longueur
actuelle
de
la
région
en
mesures,
battements
et
ticks.
Les
trois
numéros
de
droite
doivent
être
les
suivants
:
3
1
0.
Utilisation
des
modes
Déplacer
Logic
Express
propose
plusieurs
modes
Déplacer,
qui
permettent
de
définir
le
comportement
des
régions
lorsque
vous
les
modifiez.
Vous
pouvez
définir
le
mode
Déplacer
dans
le
menu
Déplacer,
situé
dans
la
zone
Arrangement
ainsi
que
dans
plusieurs
autres
fenêtres
d’éditeurs.
Remarque
:
les
options
du
menu
Déplacer
présentées
dans
cette
rubrique
font
référence
à
des
régions.
Les
comportements
décrits
ci-après
(pour
les
régions)
sont
identiques
pour
les
événements
glissés
dans
les
fenêtres
des
éditeurs.
Le
menu
Déplacer
de
la
fenêtre
Arrangement
et
celui
de
chaque
fenêtre
d’éditeur
sont
réglés
indépendamment.
Pour
modifier
le
mode
Déplacer
:
m Choisissez
un
des
réglages
suivants
dans
le
menu
Déplacer
:
 Superposer
:
il
s’agit
du
mode
par
défaut,
qui
vous
permet
de
faire
glisser
une
région
sur
une
autre.
Les
limites
de
la
région
d’origine
sont
conservées.
 Ne
pas
superposer
:
vous
pouvez
l’utiliser
lorsque
vous
ne
souhaitez
pas
que
les
régions
soient
superposées.
Dans
ce
mode,
la
longueur
de
la
première
région
(celle
qui
est
placée
précédemment
sur
la
piste)
sera
réduite
afin
d’éviter
toute
superposition.
 Fondu
X
:
dans
ce
mode,
Logic
Express
crée
automatiquement
un
fondu
enchaîné
des
deux
régions
lorsqu’elles
se
trouvent
dans
une
position
de
superposition.
Remarque
:
cette
option
ne
s’applique
pas
aux
régions
MIDI
ou
Apple
Loop.
Chapitre
13
Création
de
votre
arrangement 333
 Organiser
G
et
Organiser
D
:
choisissez
cette
option
pour
aligner
automatiquement
des
régions
(respectivement
sur
la
gauche
ou
la
droite)
lorsque
vous
les
déplacez,
les
redimensionnez
ou
les
supprimez.
 Lorsque
vous
utilisez
l’option
Organiser
D
(ou
Organiser
G),
le
déplacement
d’une
région
vers
la
droite
(ou
la
gauche)
permet
d’aligner
le
point
de
fin
de
la
région
au
point
de
départ
de
la
région
suivante,
tout
en
veillant
à
ce
qu’aucun
blanc
ne
soit
présent
entre
les
deux
régions.
 Les
positions
des
régions
glissées
les
unes
sur
les
autres
sont
interverties.
 Lors
de
la
suppression
des
régions,
les
régions
restantes
(situées
à
gauche
ou
à
droite
de
la
région
supprimée)
sont
déplacées
vers
la
gauche
ou
la
droite,
en
fonction
de
la
longueur
de
la
région
supprimée.
 Si
une
région
est
agrandie
ou
réduite
lorsqu’une
des
options
Aléatoire
est
activée,
les
autres
régions
de
la
piste
seront
déplacées
pour
s’adapter
à
la
nouvelle
longueur.
 Dans
le
mode
Organiser
G,
la
partie
droite
de
la
région
est
agrandie
ou
raccourcie,
et
les
régions
situées
à
droite
de
la
région
modifiée
sont
déplacées.
 Dans
le
mode
Organiser
D,
la
partie
gauche
de
la
région
est
agrandie
ou
raccourcie,
et
les
régions
situées
à
gauche
de
la
région
modifiée
sont
déplacées.
Les
régions
précédant
celle
modifiée
peuvent
uniquement
être
déplacées
au
niveau
du
point
de
départ
du
projet.
Si
suite
à
l’étirement
d’une
région,
les
régions
précédentes
sont
positionnées
sur
le
point
de
départ
du
projet
et
que
l’espace
disponible
est
insuffisant,
la
région
modifiée
va
se
superposer
au
contenu
existant.
Remarque
:
une
seule
région
audio
peut
être
lue
à
la
fois
par
l’intermédiaire
de
la
bande
de
canal
d’une
piste.
Lorsque
deux
régions
audio
se
chevauchent
sur
une
piste,
la
dernière
région
est
prioritaire.
Scrub
de
votre
arrangement
Le
scrub
vous
permet
d’entendre
les
signaux
audio
et
MIDI
des
régions
situées
au
niveau
de
la
tête
de
lecture,
ce
qui
vous
aide
à
localiser
un
événement
sonore
particulier.
Vous
pouvez
ainsi
facilement
vous
concentrer
sur
une
percussion
de
grosse
claire
ou
de
caisse
claire
particulière,
par
exemple,
avant
de
couper
une
région
audio.
Remarque
:
avant
de
pouvoir
effectuer
un
scrub
MIDI,
vous
devez
activer
l’option
Fichier
>
Réglages
projet
>
MIDI
>
Général
>
Scrub
avec
audio
dans
l’arrangement.
Pour
effectuer
un
scrub
de
votre
projet
:
1 Définissez
un
niveau
de
zoom
fournissant
un
affichage
optimal
de
la
rubrique
sur
laquelle
vous
souhaitez
effectuer
le
scrub
(il
peut
s’avérer
utile
d’activer
l’option
Présentation
>
Contenu
de
la
région).
2 Activez
le
bouton
Pause
dans
le
Transport.
334 Chapitre
13
Création
de
votre
arrangement
3 Faites
glisser
la
tête
de
lecture
sur
la
règle
Arrangement
ou
Mesure
et
déplacez-la
vers
les
éléments
du
projet
que
vous
souhaitez
écouter,
à
la
vitesse
à
laquelle
vous
souhaitez
effectuer
le
scrub
de
la
rubrique
(ou
utilisez
les
raccourcis
clavier
Scrub
arrière
et
Scrub
avant).
La
lecture
des
données
audio
et
MIDI
est
parfaitement
synchronisée
lors
du
scrub.
Remarque
:
le
scrub
est
automatiquement
activé
lorsque
vous
divisez
des
régions
(avec
l’outil
Ciseaux)
dans
la
zone
Arrangement,
ce
qui
permet
d’identifier
plus
facilement
la
position
de
coupe.
Scrub de régions particulières
La
liste
suivante
définit
la
relation
qui
existe
entre
le
scrub
et
la
sélection
de
la
région
:
 Si
vous
n’avez
sélectionné
aucune
région,
le
scrub
est
effectué
sur
toutes
les
régions.
 Si
vous
sélectionnez
une
région
audio
spécifique,
le
scrub
est
effectué
uniquement
sur
cette
dernière.
 Si
vous
étirez
ou
sélectionnez
à
l’aide
de
la
touche
Maj
des
régions
audio
sur
différentes
pistes,
le
scrub
sera
effectué
uniquement
sur
les
régions
audio
sélectionnées.
 Le
scrub
est
toujours
effectué
sur
les
régions
MIDI
(logicielles
ou
externes)
qu’elles
soient
sélectionnées
ou
non
(dans
la
mesure
où
le
réglage
de
projet
Scrub
avec
audio
dans
l’Arrangement
est
activé).
 Les
états
Silence
ou
Solo
(reportez-vous
à
la
rubrique
suivante)
de
l’ensemble
des
pistes
et
des
régions
ont
une
incidence
sur
ce
que
vous
entendez
lors
du
scrub
;
par
conséquent,
vous
pouvez
les
utiliser
pour
effectuer
un
scrub
des
parties
audio
isolées
(ou
avec
des
pistes
d’instrument
MIDI
externes
ou
logicielles
spécifiques).
Scrub contrôlé MIDI
La
fonction
Scrub
par
valeur
MIDI
(-2-)
(disponible
dans
l’éditeur
des
assignations
du
contrôleur
;
reportez-vous
au
manuel
Logic
Express
8
:
Prise
en
charge
des
surfaces
de
contrôle)
permet
d’activer
le
scrub
via
la
commande
MIDI
externe.
Vous
pouvez
assigner
n’importe
quel
numéro
de
contrôleur
MIDI
à
cette
fonction.
Un
scrub
avant
est
appliqué
aux
données
supérieures
à
64
octets
tandis
qu’un
scrub
arrière
est
appliqué
à
celles
inférieures
à
64
octets.
Chapitre
13
Création
de
votre
arrangement 335
Désactivation
du
son
des
régions
Généralement,
lors
de
l’arrangement,
vous
souhaitez
tester
des
idées
musicales
en
rendant
certaines
régions
silencieuses.
Pour
rendre
silencieuse
ou
pour
activer
le
son
d’une
ou
de
plusieurs
séquences
sélectionnées,
procédez
selon
l’une
des
méthodes
suivantes
:
m Sélectionnez
l’outil
Silence,
puis
cliquez
sur
les
régions
de
votre
choix
à
l’aide
de
cet
outil.
m Sélectionnez
les
régions
de
votre
choix
à
l’aide
de
l’outil
Pointeur,
puis
utilisez
le
raccourci
clavier
«
Rendre
silencieux/activer
le
son
des
notes/régions/dossiers
sélectionnés
»
(par
défaut
:
M).
Les
régions
silencieuses
sont
représentées
par
un
point
précédant
le
nom
de
la
région.
Lorsque
vous
cliquez
avec
l’outil
Silence
sur
des
régions
silencieuses
ou
sélectionnez
ces
régions,
puis
utilisez
le
raccourci
clavier
«
Rendre
silencieux/activer
le
son
des
notes/régions/dossiers
sélectionnés
»,
cet
état
est
inversé
(activation
du
son).
Activation
de
la
lecture
solo
des
régions
Le
mode
Solo
vous
permet
d’écouter
séparément
une
ou
plusieurs
régions
sélectionnées.
Il
est
ainsi
plus
facile
d’identifier
des
éléments
particuliers
devant
être
modifiés.
Pour
activer
la
lecture
solo
d’une
région
avec
l’outil
Solo
:
1 Sélectionnez
l’outil
Solo.
2 Cliquez
sur
la
région
de
votre
choix
et
maintenez-la
enfoncée
à
l’aide
de
l’outil
Solo.
La
région
(affichée
en
jaune)
est
écoutée
séparément
du
point
de
données,
jusqu’à
ce
que
relâchiez
le
bouton
de
la
souris,
ce
qui
mettra
fin
à
la
lecture
en
mode
Solo.
Silence,
outil
Outil
Solo
336 Chapitre
13
Création
de
votre
arrangement
Pour
activer
la
lecture
solo
de
plusieurs
régions
à
l’aide
de
l’outil
Solo
:
1 Étirez
ou
sélectionnez
à
l’aide
de
la
touche
Maj
les
régions
de
votre
choix.
2 Cliquez
sur
l’une
des
régions
sélectionnées
avec
l’outil
Solo
et
maintenez
le
bouton
de
la
souris
enfoncé.
Pour
procéder
au
scrub
avec
l’outil
Solo
:
1 Sélectionnez
l’outil
Solo,
puis
faites
glisser
le
curseur
de
la
souris
horizontalement.
2 Relâchez
le
bouton
de
la
souris
pour
mettre
fin
au
scrub
en
mode
Solo.
Pour
activer
la
lecture
solo
d’une
ou
de
plusieurs
régions
à
l’aide
du
mode
Solo
:
1 Cliquez
sur
le
bouton
Solo
dans
le
Transport
(ou
utilisez
le
raccourci
clavier
Mode
Solo,
par
défaut
:
S).
Lorsque
la
fonction
Solo
est
activée,
la
règle
Mesure
s’affiche
en
jaune,
ce
qui
indique
que
le
mode
Solo
est
activé.
2 Étirez
ou
sélectionnez
à
l’aide
de
la
touche
Maj
les
régions
pour
lesquelles
vous
souhaitez
activer
la
lecture
solo
à
l’aide
de
l’outil
Pointeur.
Les
régions
sélectionnées
sont
entourées
de
jaune.
Cliquez
à
nouveau
sur
le
bouton
Définir
le
Transport
en
mode
Solo
(ou
utilisez
le
raccourci
clavier
Mode
Solo)
afin
de
désactiver
le
mode
Solo,
puis
écoutez
à
nouveau
l’ensemble
des
régions.
Bouton
Solo
Chapitre
13
Création
de
votre
arrangement 337
Verrouillage du mode Solo
Il
se
peut
que
vous
souhaitiez
verrouiller
le
statut
Solo
de
plusieurs
régions.
Par
exemple,
cela
s’avère
particulièrement
utile
lorsque
vous
souhaitez
modifier
les
paramètres
de
lecture
d’une
région,
tout
en
écoutant
un
groupe
spécifique
de
pistes
en
mode
Solo.
Pour
conserver
le
statut
Solo
de
plusieurs
régions
sélectionnées
(ce
qui
est
possible
en
mode
Lecture)
:
1 Sélectionnez
plusieurs
régions
à
l’aide
de
l’outil
Pointeur.
2 Cliquez
sur
le
bouton
Solo
sur
le
transport
tout
en
maintenant
la
touche
Option
enfoncée
(ou
utilisez
le
raccourci
clavier
Régler
le
verrouillage
du
mode
Solo,
par
défaut
:
Option
+
S)
pour
verrouiller
l’état
Solo
des
régions
sélectionnées.
Le
bouton
Solo
sur
le
transport
affiche
une
icône
en
forme
de
cadenas
indiquant
le
mode
Verrouillage
Solo.
Le
raccourci
clavier
Resélectionner
les
régions
où
le
mode
Solo
est
verrouillé
(par
défaut
:
Maj
+
Option
+
S)
sélectionne
toutes
les
régions
verrouillées
en
mode
solo.
Cette
commande
s’avère
très
utile
si
vous
souhaitez
retirer
plusieurs
régions
de
votre
sélection
verrouillée
en
mode
Solo.
Bouton
Solo
sur
le
transport
338 Chapitre
13
Création
de
votre
arrangement
Attribution
d’un
nom
à
une
région
L’identification
des
régions
par
un
nom
peut
faciliter
l’arrangement.
Cela
peut
être
effectué
région
par
région
et
vous
pouvez
également
nommer
plusieurs
régions
simultanément.
Pour
nommer
une
région
à
l’aide
de
l’outil
Texte
:
1 Sélectionnez
l’outil
Texte.
2 Cliquez
sur
une
région
à
l’aide
de
l’outil
Texte.
Une
zone
de
saisie
de
texte
s’affiche.
3 Entrez
le
nom
de
votre
choix
et
appuyez
sur
Retour,
ou
cliquez
sur
une
autre
région
ou
sur
l’arrière-plan
de
la
zone
Arrangement
pour
quitter
la
zone
de
saisie
de
texte.
Pour
nommer
une
région
à
l’aide
de
la
zone
Paramètres
de
région
:
1 Cliquez
sur
la
ligne
supérieure
de
la
zone
Paramètres
de
région
dans
l’Inspecteur.
Cette
ligne
affiche
le
nom
de
la
région
sélectionnée.
Un
champ
de
saisie
de
texte
s’affiche,
vous
permettant
de
modifier
le
nom
de
la
région.
2 Entrez
le
nom
de
votre
choix.
3 Appuyez
sur
Retour,
ou
cliquez
n’importe
où
en-dehors
de
la
zone
de
saisie
de
texte
pour
quitter
le
mode
de
saisie
de
texte.
Outil
Texte
Chapitre
13
Création
de
votre
arrangement 339
Pour
attribuer
le
même
nom
à
plusieurs
régions
:
1 Sélectionnez
un
groupe
de
régions
(en
l’étirant
ou
cliquant
dessus
tout
en
maintenant
la
touche
Maj
enfoncée)
à
l’aide
de
l’outil
Pointeur.
2 Effectuez
l’une
des
opérations
suivantes
:
 Sélectionnez
l’outil
Texte,
puis
cliquez
sur
une
des
régions
sélectionnées
à
l’aide
de
l’outil
Texte.
 Cliquez
sur
la
ligne
supérieure
de
la
zone
Paramètres
de
région
(affichant
«
x
sélectionnés
»
:
«
x
»
représente
le
nombre
de
régions
sélectionnées).
Une
zone
de
saisie
de
texte
s’affiche.
3 Entrez
le
nom
de
votre
choix
et
appuyez
sur
Retour,
ou
cliquez
sur
une
autre
région
ou
sur
l’arrière-plan
de
la
zone
Arrangement
pour
quitter
la
zone
de
saisie
de
texte.
Le
même
nom
est
assigné
à
l’ensemble
des
régions.
Pour
assigner
un
nom
à
plusieurs
régions
en
incrémentant
les
numéros
:
m Procédez
comme
indiqué
ci-dessus,
mais
le
nom
doit
se
terminer
par
un
nombre.
Exemple
:
ligne
de
basse
1.
Le
même
nom
est
attribué
à
l’ensemble
des
régions
sélectionnées,
avec
une
incrémentation
des
numéros
(ligne
de
basse
1,
ligne
de
basse
2,
ligne
de
basse
3,
etc.).
Puisque
la
numérotation
des
régions
suit
les
positions
temporelles
des
régions
du
projet,
lorsque
la
région
de
la
mesure
8
est
renommée
en
«
ligne
de
basse
1
»
(lorsque
sept
régions
sont
sélectionnées
dans
les
mesures
précédentes),
chaque
région
est
numérotée
séquentiellement
de
la
mesure
1
à
la
mesure
8
en
«
ligne
de
basse
1
»,
«
ligne
de
basse
2
»,
etc.
Si
vous
souhaitez
que
toutes
les
régions
se
terminent
par
le
même
numéro
:
m Effectuez
la
même
procédure,
mais
appuyez
sur
Espace
après
le
numéro.
Cela
s’avère
utile
pour
identifier
les
prises
ayant
été
effectuées
à
une
date
spécifique
(par
exemple,
ligne
de
basse
030806).
Vous
pouvez
attribuer
aux
régions
le
nom
de
la
piste
sur
laquelle
elles
figurent.
Pour
affecter
aux
régions
le
nom
de
leur
piste
parent
:
1 Sélectionnez
le
nom
de
la
piste
dans
la
liste
de
pistes.
Toutes
les
régions
de
la
piste
sont
automatiquement
sélectionnées.
2 Choisissez
Région
>
Noms
de
piste
des
régions
(ou
utilisez
le
raccourci
clavier
Noms
de
piste
des
régions,
par
défaut
:
Maj
+
Option
+
N)
dans
la
zone
Arrangement.
Le
nom
de
la
piste
est
assigné
à
l’ensemble
des
régions
sélectionnées.
340 Chapitre
13
Création
de
votre
arrangement
Assignation
de
couleurs
aux
régions
Les
couleurs
permettent
d’identifier
les
rubriques
de
votre
arrangement
ainsi
que
des
types
de
piste
particuliers.
Les
régions
récemment
enregistrées
ou
ajoutées
adoptent
initialement
la
couleur
des
bandes
de
canaux
de
la
piste.
Par
défaut
:
 Les
bandes
de
canaux
de
la
piste
audio
sont
bleues.
 Les
bandes
de
canaux
de
l’instrument
logiciel
sont
vertes.
 Les
bandes
de
canaux
ReWire
et
MIDI
externes
sont
rouges.
 Les
bandes
de
canaux
Auxiliaire,
Entrée
et
Sortie
sont
jaunes.
Pour
modifier
la
couleur
d’une
ou
de
plusieurs
régions
:
1 Sélectionnez
les
régions
de
votre
choix
(en
les
étirant
ou
leur
cliquant
dessus
tout
en
maintenant
la
touche
Maj
enfoncée,
par
exemple).
2 Effectuez
l’une
des
opérations
suivantes
:
 Cliquez
sur
le
bouton
Couleurs
dans
la
barre
d’outils
Arrangement.
 Choisissez
Présentation
>
Couleurs
dans
la
zone
Arrangement
(ou
utilisez
le
raccourci
clavier
correspondant,
par
défaut
:
Option
+
C).
3 Dans
la
palette
de
couleurs
ouverte,
cliquez
sur
la
couleur
de
votre
choix.
 Si
vous
souhaitez
créer
une
couleur
personnalisée
:
double-cliquez
sur
une
couleur
de
la
palette
pour
ouvrir
la
fenêtre
Couleurs
:
utilisez
la
souris
pour
déplacer
les
curseurs
de
la
roue
de
couleur,
du
contraste
et
de
l’opacité
afin
de
créer
une
couleur
personnalisée.
Cliquez
sur
le
bouton
OK
pour
remplacer
le
carré
de
couleur
dans
la
palette
Couleur,
puis
quittez
la
fenêtre
Couleurs.
Remarque
:
les
couleurs
personnalisées
sont
mémorisées
et
disponibles
pour
l’ensemble
des
projets.
Pour
assigner
des
couleurs
de
bandes
de
canaux
à
des
régions
:
1 Sélectionnez
les
régions
de
votre
choix.
Π Conseil
:
si
toutes
les
régions
se
trouvent
sur
une
seule
piste,
cliquez
sur
le
nom
de
la
piste
dans
la
liste
des
pistes
afin
de
sélectionner
l’ensemble
des
régions.
2 Choisissez
Région
>
Couleurs
de
la
bande
de
canal/instrument
dans
les
régions
(ou
utilisez
le
raccourci
clavier
Couleurs
de
la
bande
de
canal/instrument
dans
les
régions,
par
défaut
Maj
+
Option
+
C).
Cette
opération
remplace
les
couleurs
de
l’ensemble
des
régions
sélectionnées
par
les
couleurs
des
bandes
de
canaux
correspondantes.
Chapitre
13
Création
de
votre
arrangement 341
Π Conseil
:
cette
fonction
s’avère
pratique
si,
après
avoir
copié
ou
déplacé
des
régions
d’une
piste
vers
une
autre,
vous
trouvez
que
la
zone
Arrangement
ressemble
à
une
mosaïque.
Utilisation
du
menu
contextuel
Vous
pouvez
accéder
à
de
nombreuses
commandes
de
sélection,
d’édition
et
autres
en
cliquant
à
n’importe
quel
endroit
de
la
zone
Arrangement
tout
en
maintenant
la
touche
Contrôle
enfoncée
ou
avec
le
bouton
droit
de
la
souris.
Ces
commandes
vous
permettent
d’accélérer
votre
travail.
Remarque
:
la
fonctionnalité
de
clic
droit
n’est
activée
que
si
l’option
«
Bouton
droit
de
la
souris
:
ouvre
le
menu
contextuel
»
est
sélectionnée
dans
l’onglet
Logic
Express
>
Préférences
>
Global
>
Édition.
Sélection de régions
Vous
devez
sélectionner
une
région
avant
de
pouvoir
y
appliquer
toute
modification,
fonction
ou
opération.
Vous
pouvez
sélectionner
une
ou
plusieurs
régions,
y
compris
des
régions
présentes
sur
différentes
pistes
et
de
types
différents.
Lorsqu’une
région
est
sélectionnée,
une
barre
noire
s’affiche
dans
la
partie
supérieure
de
la
région
pour
indiquer
le
statut
sélectionné.
Logic
Express
offre
diverses
méthodes
de
sélection
sophistiquées.
Pour
plus
d’informations,
veuillez
vous
reporter
à
la
rubrique
«
Techniques
de
sélection
»
à
la
page
189.
342 Chapitre
13
Création
de
votre
arrangement
Sélection de parties d’une région
Vous
pouvez
vous
servir
de
l’outil
Sélecteur
ou
de
la
bande
de
sélection
pour
effectuer
une
sélection
à
l’intérieur
d’une
région
ou
de
plusieurs
parties
de
régions
existantes.
Vous
pouvez
alors
exécuter
quasiment
toutes
les
options
d’édition
disponibles
dans
la
zone
Arrangement
au
sein
de
la
zone
sélectionnée,
y
compris
des
suppressions,
des
déplacements,
des
coupes
et
des
copies.
Une
fois
qu’une
opération
lui
est
appliquée,
la
zone
sélectionnée
devient
une
nouvelle
région.
Utilisation
de
l’outil
Sélecteur
L’outil
Sélecteur,
semblable
à
un
pointeur
à
croix,
vous
permet
de
sélectionner
et
de
modifier
des
parties
d’une
ou
de
plusieurs
régions.
Pour
utiliser
l’outil
Sélecteur
:
1 Sélectionnez
l’outil
Sélecteur.
2 Cliquez
sur
l’arrière-plan
de
la
zone
Arrangement
ou
les
régions
tout
en
les
maintenant
enfoncés
pour
commencer
votre
sélection,
représentée
par
un
rectangle
de
sélection
ombré.
3 Faites
glisser
le
rectangle
de
sélection
afin
d’effectuer
des
sélections—et
ce,
quelles
que
soient
les
limites
des
régions
existantes.
4 Relâchez
le
bouton
de
la
souris.
Seule
la
zone
se
trouvant
dans
le
sélecteur
est
sélectionnée.
Pour
régler
la
sélection
d’un
sélecteur
existante
:
m Maintenez
la
touche
Maj
enfoncée
pour
modifier
le
rectangle
de
sélection
actuel
vers
la
droite
ou
vers
la
gauche,
vers
le
haut
ou
vers
le
bas.
Outil
Sélecteur
Chapitre
13
Création
de
votre
arrangement 343
Utilisation
de
la
bande
de
sélection
La bande de sélection est une fine ligne jaune qui peut être affichée en haut de la
règle Mesure. Vous pouvez faire glisser le pointeur directement à l’intérieur de cette
zone pour créer un rectangle de sélection.
Pour
activer
la
bande
de
sélection :
m Cliquez
sur
l’icône
représentant
une
note
à
l’extrémité
droite
de
la
règle
Mesure,
puis
sélectionnez
les
réglages
Outil
Sélecteur
dans
le
menu.
Pour
effectuer
une
sélection
à
l’aide
de
l’outil
Sélecteur
:
m Cliquez
et
faites
glisser
le
pointeur
à
l’intérieur
de
la
bande
de
sélection
pour
effectuer
une
sélection
sur
toutes
les
pistes
de
la
zone
Arrangement.
Pour
supprimer
la
sélection
effectuée
à
l’aide
de
la
bande
de
sélection
:
m Cliquez
n’importe
où
en
dehors
de
la
bande.
Fonctions
de
sélection
communes
Vous
pouvez
utiliser
les
commandes
suivantes
lorsque
vous
vous
servez
de
l’outil
Sélecteur
ou
de
la
bande
de
sélection.
Pour
définir
des
locators
avec
une
sélection
du
sélecteur
:
m Choisissez
la
fonction
Région
>
Définir
des
locators
par
régions
(ou
utilisez
le
raccourci
clavier
correspondant).
Cette
opération
permet
de
définir
les
locators
sur
les
limites
de
la
sélection
du
sélecteur,
au
lieu
de
définir
la
région
entière.
Pour
supprimer
l’ensemble
des
parties
des
régions
situées
hors
de
la
sélection
du
sélecteur
:
m Utilisez
le
raccourci
clavier
Rogner
les
régions
hors
de
la
sélection
du
sélecteur.
Cette
commande
permet
de
supprimer
toutes
les
zones
non
sélectionnées
des
régions
partiellement
sélectionnées
par
le
sélecteur.
Si
la
zone
que
vous
avez
sélectionnée
se
trouve
entre
des
valeurs
pertinentes
du
point
de
vue
musical,
le
rectangle
de
sélection
s’alignera
automatiquement
sur
la
position
la
plus
proche
s’avérant
pertinente
pour
la
musique.
Le
réglage
du
menu
Alignement
détermine
la
résolution
immédiate.
Bande
de
sélection
344 Chapitre
13
Création
de
votre
arrangement
Pour
définir
la
meilleure
résolution
possible
dans
le
mode
d’alignement
choisi
:
m Maintenez
les
touches
Contrôle
+
Maj
enfoncées
tout
en
sélectionnant
le
sélecteur.
L’alignement
sera
effectué
sur
les
ticks
ou
les
échantillons
lors
de
la
modification
des
régions
MIDI
ou
audio,
en
fonction
du
niveau
de
zoom
actuel
(voir
«
Annulation
de
la
grille
d’alignement
»
à
la
page
331).
Pour
aligner
la
valeur
de
division
affichée
dans
le
Transport
:
m Maintenez
la
touche
Contrôle
enfoncée
tout
en
sélectionnant
le
sélecteur.
Comme
mentionné
ci-dessus,
le
niveau
de
zoom
peut
avoir
une
incidence
sur
cette
opération.
Ajout et enregistrement des régions
Cela
va
sans
dire
que
l’ajout
et
l’enregistrement
des
régions
sont
essentiels
pour
créer
un
morceau.
En
fonction
des
options
approfondies
relatives
à
l’importation
de
régions
ou
de
fichiers
disponibles
et
des
techniques
d’enregistrement
avancées
offertes
par
Logic
Express,
veuillez
vous
reportez
aux
chapitres
suivants
:
 «
Ajout
de
données
préenregistrées
»
à
la
page
281.
 «
Enregistrement
dans
Logic
Express
»
à
la
page
395.
Suppression et restauration des régions
Lorsque
vous
travaillez
sur
un
projet,
il
se
peut
que
vous
souhaitiez
retirer
une
région
de
votre
arrangement.
Vous
pouvez
retirer
des
régions
en
les
supprimant
de
la
zone
Arrangement.
Remarque
:
la
suppression
des
régions
audio
et
MIDI
de
la
zone
Arrangement
entraîne
plusieurs
conséquences
(voir
«
Restauration
de
régions
supprimées
»
à
la
page
345).
Pour
supprimer
une
région
de
votre
arrangement,
effectuez
une
des
opérations
suivantes
:
m Cliquez
sur
la
région
avec
l’outil
Gomme.
m Sélectionnez
la
région
de
votre
choix
à
l’aide
de
l’outil
Pointeur,
puis
choisissez
Édition
>
Supprimer
(ou
appuyez
sur
la
touche
Retour
arrière).
Outil
Gomme
Chapitre
13
Création
de
votre
arrangement 345
Pour
supprimer
plusieurs
régions
de
votre
arrangement
:
1 Sélectionnez
les
régions
de
votre
choix
à
l’aide
de
l’outil
Pointeur.
2 Effectuez
l’une
des
opérations
suivantes
:
 Cliquez
sur
l’une
des
régions
sélectionnées
à
l’aide
de
l’outil
Gomme.
 Choisissez
Édition
>
Supprimer
(ou
appuyez
sur
la
touche
Retour
arrière).
Pour
supprimer
de
votre
arrangement
toutes
les
régions
pour
lesquelles
vous
avez
désactivé
le
son
:
1 Sélectionnez
toutes
les
régions
en
mode
Solo
en
choisissant
Édition
>
Sélectionner
les
régions/événements
en
mode
Solo
(ou
à
l’aide
du
raccourci
clavier
Sélectionner
les
régions/événements
en
mode
Solo,
par
défaut
:
Maj
+
M).
2 Effectuez
l’une
des
opérations
suivantes
:
 Cliquez
sur
l’une
des
régions
à
l’aide
de
l’outil
Gomme.
 Choisissez
Édition
>
Supprimer
(ou
appuyez
sur
la
touche
Retour
arrière).
Pour
supprimer
l’ensemble
des
régions
sélectionnées,
et
sélectionner
automatiquement
la
région
suivante
:
1 Sélectionnez
la
région
(ou
les
régions)
que
vous
souhaitez
supprimer.
2 Utilisez
les
raccourcis
clavier
Supprimer
et
Sélectionner
la
région/événement
suivant.
Toutes
les
régions
sélectionnées
sont
supprimées
et
la
région
suivante
(non
supprimée)
est
automatiquement
sélectionnée.
Restauration
de
régions
supprimées
Bien
que
similairement
utilisées
lors
de
la
plupart
des
opérations
d’édition,
les
régions
audio
et
MIDI
sont
traitées
différemment
après
avoir
été
supprimées
de
la
fenêtre
Arrangement.
 Les
régions
audio
sont
uniquement
supprimées
de
l’arrangement,
et
non
du
projet.
Elles
restent
dans
le
chutier
audio
et
peuvent
être
restaurées
depuis
cet
emplacement,
ou
à
l’aide
des
fonctions
Annuler.
 Les
régions
MIDI
sont
supprimées.
Elles
peuvent
être
restaurées
par
le
biais
de
la
fonction
Édition
>
Annuler
l’historique.
346 Chapitre
13
Création
de
votre
arrangement
Restauration de régions audio supprimées
Lorsque
vous
supprimez
une
région
audio
enregistrée
depuis
l’ouverture
du
projet,
Logic
Express
vous
demandera
si
vous
souhaitez
également
supprimer
le
fichier
audio
correspondant.
Cela
évite
de
perdre
inutilement
de
l’espace
disque,
pouvant
survenir
si
de
mauvaises
prises
de
son
ou
des
enregistrements
non
souhaités
sont
conservés.
Si
l’enregistrement
a
été
effectué
à
l’avance
(fichier
préenregistré)
et
importé
dans
le
projet
en
cours,
cette
zone
de
dialogue
ne
s’affiche
pas.
Cela
vous
permet
d’éviter
de
supprimer
accidentellement
des
enregistrements
utiles
(pouvant
être
utilisés
dans
d’autres
projets).
Remarque
:
si
vous
supprimez
un
fichier
audio
préenregistré
de
votre
projet
(en
appuyant
sur
la
touche
Retour
arrière
dans
le
chutier
Audio),
toutes
les
régions
faisant
référence
à
ce
fichier
sont
également
supprimées.
La
seule
façon
de
restaurer
le
fichier
dans
le
projet
consiste
à
l’ajouter
manuellement
au
chutier
audio.
Pour
restaurer
une
région
audio
supprimée,
procédez
selon
l’une
des
façons
suivantes
:
m Choisissez
les
options
Édition
>
Annuler
l’historique,
puis
cliquez
sur
l’opération
qui
convient.
m Ajoutez-la
à
nouveau
manuellement
dans
la
zone
Arrangement
depuis
le
chutier
audio.
Déplacement de régions
Vous
pouvez
déplacer
des
régions
horizontalement
sur
des
pistes,
et
verticalement
entre
celles-ci.
Vous
pouvez
également
déplacer
des
régions
entre
deux
fenêtres
Arrangement,
ainsi
qu’entre
différents
projets.
Pour
déplacer
une
ou
plusieurs
régions
:
m Sélectionnez
les
régions
de
votre
choix
et
faites-les
glisser
vers
une
nouvelle
position.
Les
régions
déplacées
s’alignent
automatiquement
sur
des
incréments
définis
par
le
réglage
du
menu
Alignement
(voir
«
Alignement
des
régions
modifiées
sur
des
positions
temporelles
»
à
la
page
329).
Si
elle
sont
déplacées
sur
d’autres
régions,
le
réglage
du
menu
Déplacer
a
une
incidence
sur
leur
comportement.
Chapitre
13
Création
de
votre
arrangement 347
Pour
déplacer
précisément
des
régions
(annulant
le
réglage
de
menu
Alignement)
:
m Maintenez
la
touche
Contrôle
enfoncée
tout
en
faisant
glisser
les
régions,
pour
les
déplacer
division
par
division
(en
16e
par
exemple).
m Maintenez
les
touches
Contrôle
et
Maj
enfoncées
tout
en
faisant
glisser
les
régions
pour
les
déplacer
d’un
tick
ou
d’un
échantillon
(notez
que
la
résolution
maximale
dépend
du
zoom).
Déplacement de régions d’un projet dans un autre
Si
vous
déplacez
une
région
d’un
projet
pour
la
placer
dans
la
zone
Arrangement
d’un
autre
projet,
la
région
est
automatiquement
copiée,
tout
comme
Mac
OS
X
copie
automatiquement
des
fichiers
lorsqu’ils
sont
déplacés
entre
des
disques
durs.
Limitation des mouvements des régions
Vous
pouvez
limiter
le
déplacement
initial
des
régions
de
façon
à
ce
qu’il
s’effectue
uniquement
selon
l’axe
horizontal
ou
vertical.
Pour
ce
faire,
activez
la
case
à
cocher
Logic
Express
>
Préférences
>
Global
>
Édition
>
Limiter
le
déplacement
à
une
direction
dans
l’arrangement.
Si
le
premier
mouvement
effectué
après
la
capture
d’une
région
est
vers
la
gauche
ou
vers
la
droite,
vous
ne
pouvez
la
déplacer
que
dans
le
plan
horizontal.
Si
vous
souhaitez
en
fait
la
déplacer
d’une
piste
vers
une
autre,
relâchez
le
bouton
de
la
souris,
resélectionnez
la
région
et
faites-la
glisser
vers
le
haut
ou
vers
le
bas.
Remarque
:
vous
pouvez
annuler
cette
préférence
de
limitation
de
direction
en
appuyant
sur
la
touche
Maj
lors
du
déplacement
de
régions.
348 Chapitre
13
Création
de
votre
arrangement
Modification
numérique
de
la
position
de
lecture
des
régions
Vous
pouvez
modifier
numériquement
la
position
de
lecture
(et
la
durée)
d’une
région.
Cette
opération
peut
être
effectuée
dans
la
liste
des
événements,
configurée
de
manière
à
afficher
des
régions
au
niveau
de
l’arrangement
(voir
«
Modification
du
niveau
d’affichage
de
la
Liste
des
événements
»
à
la
page
494).
Pour
déplacer
des
régions
en
ajustant
les
positions
dans
la
liste
des
événements
:
1 Ouvrez
la
liste
des
événements
en
procédant
selon
l’une
des
façons
suivantes
:
 Choisissez
Fenêtre
>
Liste
des
événements.
 Cliquez
sur
le
bouton
Listes
dans
la
barre
d’outils
Arrangement,
puis
cliquez
sur
l’onglet
Liste
des
événements.
 Choisissez
Options
>
Ouvrir
les
événements
flottants
(ou
utilisez
le
raccourci
clavier
Ouvrir
les
événements
flottants).
Une
nouvelle
fenêtre
Liste
des
événements
d’une
seule
ligne
apparaît
alors,
présentée
selon
le
niveau
Arrangement
défini.
2 Cliquez
sur
le
bouton
Hiérarchie
situé
dans
le
coin
supérieur
gauche
de
la
liste
des
événements
(non
applicable
à
la
fenêtre
Événement
en
premier
plan,
qui
correspond
à
une
liste
des
événements
miniature)
pour
monter
d’un
niveau
dans
la
hiérarchie.
3 Modifiez
la
valeur
Position
de
la
région
de
votre
choix.
Lorsque
vous
sélectionnez
des
régions
dans
la
zone
Arrangement,
la
fenêtre
Liste
des
événements
(ou
Événement
en
premier
plan)
est
mise
à
jour
afin
de
refléter
cette
sélection.
Π Conseil
:
vous
pouvez
déplacer
instantanément
le
point
de
départ
d’une
région
vers
le
début
d’une
mesure
en
saisissant
une
valeur,
puis
en
appuyant
sur
la
touche
Retour.
Par
exemple,
lorsque
vous
saisissez
la
valeur
9,
la
région
sélectionnée
est
déplacée
au
début
de
la
mesure
9.
Lorsque
vous
saisissez
112,
la
région
est
déplacée
vers
la
mesure
112.
Lorsque
vous
saisissez
1
espace
1
espace
2,
le
région
est
déplacée
vers
la
mesure
1,
le
battement
1
et
le
sous-battement
2.
Vous
pouvez
afficher
la
position
de
départ
des
régions
sous
forme
de
valeurs
SMPTE
dans
les
fenêtres
Liste
des
événements
et
Événement
en
premier
plan.
Cette
opération
s’avère
particulièrement
utile
si
vous
travaillez
sur
un
support
vidéo
ou
un
film.
Chapitre
13
Création
de
votre
arrangement 349
Pour
afficher
la
position
des
régions
sous
forme
de
valeurs
SMPTE,
effectuez
une
des
opérations
suivantes
:
m Cliquez
sur
l’icône
de
note
située
à
gauche
du
premier
événement
de
région
(ou
du
seul
événement
existant
dans
le
cas
de
la
fenêtre
Événement
en
premier
plan).
L’icône
s’affiche
à
présent
sous
forme
d’horloge,
et
la
durée
et
la
position
en
unités
SMPTE
de
l’événement
sont
affichées.
m Activez
le
réglage
Présentation
>
Position
et
durée
de
l’événement
en
unités
SMPTE
dans
la
liste
des
événements
(ou
utilisez
le
raccourci
clavier
correspondant).
Cela
vous
permet
de
définir
les
positions
SMPTE
requises
lors
de
la
synchronisation
de
musique
en
image.
Vous
pouvez
également
afficher
et
régler
les
points
de
fin
des
régions
sous
forme
de
valeurs
temporelles
SMPTE.
Pour
ce
faire,
choisissez
Présentation
>
Durée
en
tant
que
position
absolue
dans
la
liste
des
événements.
Déplacements
de
régions
vers
la
position
de
lecture
en
cours
Vous
pouvez
utiliser
le
raccourci
clavier
Capter
l’horloge
(Déplacer
l’événement
vers
la
position
de
lecture)
pour
déplacer
la
région
sélectionnée
(ou
la
première
des
régions
sélectionnées)
vers
la
position
de
lecture
en
cours.
Si
plusieurs
régions
sont
sélectionnées,
toutes
les
régions
suivantes
sont
déplacées.
Remarque
:
si
vous
utilisez
cette
commande
pour
des
régions
audio,
le
point
d’ancrage
de
la
région
est
placé
au
niveau
de
la
position
de
lecture
en
cours
(voir
«
Modification
du
point
d’ancrage
de
la
région
audio
»
à
la
page
324).
350 Chapitre
13
Création
de
votre
arrangement
Déplacement
de
régions
audio
vers
leurs
positions
d’enregistrement
initiales
Vous
pouvez
déplacer
une
région
audio
sélectionnée
vers
sa
position
d’enregistrement
initiale
à
l’aide
des
options
Audio
>
Déplacer
une
région
vers
sa
position
d’enregistrement
d’origine
(ou
à
l’aide
du
raccourci
clavier
Définir
des
régions
sur
leur
position
d’enregistrement).
Remarque
:
cette
commande
fonctionne
uniquement
si
le
fichier
audio
comporte
un
horodatage.
Les
exemples
de
fichiers
horodatés
comprennent
les
fichiers
enregistrés
dans
le
projet
en
cours
ainsi
que
les
fichiers
Broadcast
Wave
ou
SDII
importés.
Pour
signaler
les
fichiers
horodatés,
leur
nom
est
suivi
d’un
symbole
en
forme
d’horloge
dans
la
fenêtre
Chutier
Audio
(mais
pas
dans
l’onglet
Chutier
Audio).
Décalage
de
régions
Vous
pouvez
utiliser
les
raccourcis
clavier
suivants
pour
décaler
(vers
la
droite
ou
la
gauche)
les
régions
sélectionnées
vers
le
niveau
de
grille
correspondant
:
 Décaler
vers
la
droite
la
position
de
la
région/événement
vers
l’image
SMPTE
 Pousser
d’une
image
SMPTE
à
gauche
la
région/l’événement
 Pousser
d’une
1/2
image
SMPTE
à
droite
la
région/l’événement
 Pousser
d’une
1/2
image
SMPTE
à
gauche
la
région/l’événement
 Pousser
la
région/l’événement
de
5
images
SMPTE
à
droite
 Pousser
la
région/l’événement
de
5
images
SMPTE
à
gauche
 Pousser
la
région/l’événement
d’un
bit
SMPTE
à
droite
 Pousser
la
région/l’événement
d’un
bit
SMPTE
à
gauche
 Pousser
d’un
tick
à
droite
la
région/l’événement
 Pousser
d’un
tick
à
gauche
la
région/l’événement
 Pousser
d’une
mesure
à
droite
la
division
de
la
région/l’événement
 Pousser
d’une
division
à
gauche
la
région/l’événement
 Pousser
d’un
battement
à
droite
la
région/l’événement
 Pousser
d’un
battement
à
gauche
la
région/l’événement
Fichier
audio
horodaté
Chapitre
13
Création
de
votre
arrangement 351
 Pousser
d’une
mesure
à
droite
la
région/l’événement
 Pousser
d’une
mesure
à
gauche
la
région/l’événement
 Pousser
la
région/l’événement
à
droite,
d’après
la
valeur
de
déplacement
 Pousser
la
région/l’événement
à
gauche,
d’après
la
valeur
de
déplacement
Les
régions
sélectionnées
sont
décalées
d’un
incrément
vers
la
droite
(+1)
ou
vers
la
gauche
(–1),
l’unité
utilisée
étant
celle
mentionnée
dans
le
nom
de
la
commande
concernée.
Décalage
de
la
position
de
lecture
des
régions
Le
paramètre
Retard
de
la
zone
Paramètres
de
région
de
l’Inspecteur
vous
permet
de
décaler
la
position
de
lecture
des
régions
sur
une
piste.
Les
valeurs
positives
correspondent
à
un
retard
(style
de
lecture
ralenti
ou
déplacement),
et
les
valeurs
engendrent
un
pré-retard
(lançant
ou
accélérant
la
musique).
La
valeur
Retard
s’affiche
en
millisecondes
ou
sous
forme
de
valeurs
de
note,
en
fonction
du
paramètre
Présentation
>
Retard.
Vous
pouvez
également
utiliser
le
raccourci
clavier
«
Retard
en
ms
»
pour
modifier
l’affichage.
Pour
retarder
ou
avancer
toutes
les
régions
sélectionnées
sur
une
piste
:
m Définissez
le
paramètre
Retard
de
la
zone
Paramètres
de
région
sur
la
valeur
de
votre
choix.
Le
paramètre
Retard
de
l’Inspecteur
est
principalement
utilisé
à
des
fins
de
créations
musicales,
tels
que
le
décalage
rythmique
de
parties
musicales
(régions).
Il
peut
également
être
utilisé
pour
corriger
des
problèmes
temporels
pouvant
survenir
pour
de
nombreuses
raisons.
En
voici
quelques
exemples
:
 La
phase
d’attaque
du
son
est
trop
lente.
Un
bon
musicien
compensera
immédiatement
ce
problème
en
jouant
les
notes
assez
tôt.
Avec
des
sons
très
lents,
vous
pouvez
avoir
besoin
d’un
pré-retard
de
plus
de
100
ms
pour
les
effacer.
 Le
générateur
de
sons
réagit
trop
lentement
aux
messages
de
notes
entrantes.
Les
générateurs
de
sons
multitimbraux
plus
anciens
utilisent
généralement
des
dizaines
de
millisecondes
avant
d’émettre
une
voix.
 Le
retard
d’émission
n’est
pas
constant
car
il
dépend
de
l’ordre
des
notes
reçues
par
le
générateur
de
sons
MIDI
externe.
Vous
devez
par
ailleurs
essayer
de
pré-retarder
dynamiquement
des
pistes
importantes
de
la
taille
d’un
tick
:
cela
peut
être
très
utile
pour
la
synchronisation
!
352 Chapitre
13
Création
de
votre
arrangement
Déplacement
de
régions
vers
une
piste
La
commande
Région
>
Déplacer
les
régions
sélectionnées
vers
la
piste
en
cours
(également
disponible
sous
forme
de
raccourci
clavier,
par
défaut
:
Maj
+
Commande
+
T)
déplace
toutes
les
régions
sélectionnées
(des
différentes
pistes)
vers
la
piste
sélectionnée.
Les
positions
temporelles
de
l’ensemble
des
régions
sont
conservées.
Redimensionnement des régions
Vous
pouvez
réduire
ou
allonger
la
durée
d’une
région
en
la
faisant
glisser
vers
son
point
de
départ
ou
de
fin,
ce
qui
permet
de
déterminer
quelle
partie
de
la
source
(fichier
audio
ou
événements
MIDI)
est
diffusée
dans
votre
projet.
Les
données
des
régions
ne
sont
jamais
supprimées
lorsque
la
durée
de
ces
dernières
est
réduite
;
la
lecture
s’arrête
simplement
à
la
fin
de
la
région.
Pour
redimensionner
une
région
:
1 Sélectionnez
l’outil
Pointeur
ou
Crayon,
puis
placez
le
curseur
sur
le
coin
inférieur
gauche
ou
droit.
Le
curseur
se
transforme
en
pointeur
Redimensionner.
2 Cliquez
sur
le
coin
et
faites-le
glisser
vers
la
gauche
ou
la
droite.
Remarque
:
si
la
fonction
Dessin
hyper
ou
l’automatisation
est
activée,
vous
devrez
capturer
les
parties
gauche
ou
droite
de
la
zone
de
titre
de
la
région.
Pour
redimensionner
simultanément
deux
régions
adjacentes
(à
l’aide
du
pointeur
Jonction)
:
1 Sélectionnez
l’outil
Pointeur
ou
Crayon,
puis
placez
le
curseur
sur
la
partie
supérieure
gauche
ou
droite
des
deux
régions
adjacentes.
Le
curseur
se
transforme
en
pointeur
Jonction.
Remarque
:
si
les
deux
régions
sont
séparées
par
un
blanc,
l’outil
Boucle
s’affiche
lorsque
le
pointeur
de
la
souris
se
déplace
sur
la
partie
supérieure
droite
de
la
première
région.
Chapitre
13
Création
de
votre
arrangement 353
2 Cliquez,
puis
faites
glisser
le
pointeur
vers
la
gauche
ou
vers
la
droite.
Les
deux
régions
sont
redimensionnées
en
conséquence,
sans
blanc
intermédiaire.
Remarque
:
vous
ne
pouvez
pas
étendre
une
région
audio
de
sorte
qu’elle
soit
plus
longue
que
le
fichier
audio
sous-jacent
lorsque
vous
exécutez
l’une
des
opérations
de
redimensionnement
présentées
ci-dessus.
Réglage
du
point
de
départ
des
régions
audio
Le
réglage
du
point
de
départ
d’une
région
audio
peut
également
entraîner
le
déplacement
du
point
d’ancrage
de
la
région,
ce
qui
affecte
son
point
de
référence
temporel.
La
lecture
peut
alors
s’effectuer
de
manière
non
synchronisée
par
rapport
à
d’autres
pistes.
Il
est
préférable
et
plus
simple
de
déplacer
la
région
entière
vers
la
droite,
si
vous
souhaitez
que
la
lecture
démarre
ultérieurement.
Si
vous
souhaitez
en
fait
couper
la
première
portion
de
la
région,
plusieurs
options,
telles
que
les
suivantes,
sont
disponibles
:
 Sélection
du
sélecteur
et
mise
en
mode
Silence.
 Coupe,
désactivation
du
son
ou
suppression.
 Création
d’une
région
et
redimensionnement
dans
la
fenêtre
Chutier
audio.
 Utilisation
de
l’Éditeur
des
échantillons
pour
redimensionner
et
remplacer
la
région
Arrangement.
Pour
redimensionner
une
région
audio
de
la
zone
Arrangement
depuis
l’Éditeur
des
échantillons :
m Modifiez
directement
les
marqueurs
de
début
et
de
fin
(dans
la
ligne
Région
située
en
bas
de
la
fenêtre
Éditeur
des
échantillons)
;
cela
affecte
immédiatement
la
taille
de
la
région
Arrangement
correspondante.
Pour
redimensionner
et
remplacer
une
région
audio
Arrangement
depuis
l’Éditeur
des
échantillons
:
1 Sélectionnez
la
portion
du
fichier
audio
de
votre
choix
dans
l’Éditeur
des
échantillons
en
la
faisant
directement
glisser
dans
l’affichage
de
la
forme
d’onde.
2 Choisissez
Édition
>
Sélection
→
Région
(ou
utilisez
le
raccourci
clavier
correspondant).
354 Chapitre
13
Création
de
votre
arrangement
Cela
vous
permet
de
définir
un
passage
audio
en
tant
que
sélection,
puis
de
le
convertir
en
région,
à
la
place
de
la
région
sélectionnée
à
l’origine.
Vous
pouvez
également
effectuer
cette
opération
dans
l’ordre
contraire…
Pour
redimensionner
la
sélection
de
l’Éditeur
des
échantillons
depuis
l’arrangement
:
1 Sélectionnez
la
région
de
votre
choix
dans
l’arrangement
(probablement
d’une
durée
différente
de
la
sélection
de
l’Éditeur
des
échantillons
en
cours).
2 Cliquez
sur
le
titre
Éditeur
des
échantillons
pour
vous
assurer
que
les
touches
de
l’Éditeur
des
échantillons
sont
activées.
3 Choisissez
Édition
>
Région
→
Sélection
(ou
utilisez
le
raccourci
clavier
correspondant).
Réglage
de
la
grille
sur
des
passages
par
zéro
Si
la
fonction
Audio
>
Chercher
les
passages
à
zéro
est
activée,
les
ajustements
de
durée
apportés
aux
points
de
départ
et
de
fin
des
régions
audio
entraîneront
un
alignement
sur
le
point
de
passage
à
zéro
le
plus
proche
de
la
forme
d’onde.
Par
contre,
principal
inconvénient,
les
points
de
départ
ou
de
fin
modifiés
n’atterrissent
jamais
exactement
sur
la
grille
musicale
sélectionnée.
Si
cela
engendre
un
problème,
vous
pouvez
simplement
désactiver
le
paramètre
Audio
>
Rechercher
des
passages
par
zéro.
L’activation
du
paramètre
Rechercher
des
passages
par
zéro
permet
principalement
d’éviter
tout
bruit
au
niveau
des
points
de
départ
et
de
fin
de
la
région.
Ajustement
du
point
de
départ
ou
de
fin
des
régions
MIDI
Vous
pouvez
déplacer
l’extrémité
gauche
d’une
région
MIDI
au-delà
du
premier
événement
de
celle-ci
de
façon
à
masquer
les
événements
figurant
au
début
de
cette
région
;
toutefois,
la
lecture
de
ces
événements
masqués
est
poursuivie.
Pour
réellement
supprimer
les
informations
présentes
depuis
le
début
d’une
région
MIDI,
vous
devez
couper
cette
région
et
désactiver
le
son,
ou
supprimer
le
nouveau
segment
du
début
(nouvelle
région
MIDI).
La
fonction
de
masquage
s’avère
utile
lorsque
vous
souhaitez
déclencher
des
événements
du
contrôleur
MIDI
(tels
que
la
phase
de
maintien
ou
sustain)
avant
le
début
du
morceau
musical,
mais
que
vous
ne
voulez
pas
utiliser
une
région
MIDI
ne
correspondant
pas
à
la
grille
Arrangement
en
cours
(basée
sur
des
mesures),
étant
donné
que
cela
pourrait
compliquer
considérablement
l’arrangement.
Options d’utilisation des notes lors de la modification des longueurs
des régions MIDI
Le
paramètre
Durée
du
clip
présent
dans
les
paramètres
de
région
étendus
(uniquement
visibles
si
le
paramètre
Présentation
>
Paramètres
de
région
étendus
est
activé
dans
la
zone
Arrangement)
détermine
si
:
Chapitre
13
Création
de
votre
arrangement 355
 La
sonorité
des
notes
s’arrête
brusquement
lorsque
la
région
se
termine
(actif ).
 Les
notes
doivent
être
lues
au
niveau
de
leur
point
de
fin
normal
(inactif
:
par
défaut),
quel
que
soit
le
point
où
la
région
se
termine.
Cette
fonction
doit
vous
permettre
de
modifier
la
longueur
des
dernières
notes
d’une
région
directement
dans
la
zone
Arrangement,
en
ajustant
la
durée
de
la
région
MIDI.
La
durée
du
clip
n’a
aucune
incidence
sur
les
régions
du
dossier.
Ajustement
de
régions
pour
qu’elles
aient
la
même
longueur
Vous
pouvez
redéfinir
la
longueur
de
plusieurs
régions
sur
la
même
valeur
absolue,
de
façon
à
ce
qu’elles
aient
la
même
longueur,
même
si
elles
étaient
initialement
de
taille
différente.
Pour
attribuer
à
la
même
longueur
absolue
à
l’ensemble
des
régions
sélectionnées
:
m Maintenez
les
touches
Option
+
Maj
enfoncées
lors
de
la
modification
de
la
longueur
à
l’aide
de
l’outil
Pointeur.
Réglage
des
points
de
départ
et
de
fin
sur
la
position
de
la
tête
de
lecture
Vous
pouvez
déplacer
le
point
de
départ
ou
de
fin
d’une
région
sélectionnée
vers
la
position
de
tête
de
lecture
en
cours
à
l’aide
des
raccourcis
clavier
suivants
:
 Définir
le
début
de
la
région/événement
sur
la
position
de
tête
de
lecture
 Définir
la
fin
de
la
région/événement
sur
la
position
de
tête
de
lecture
Remarque
:
le
point
d’ancrage
est
également
déplacé
lors
de
l’utilisation
de
l’option
Définir
une
région/événement
sur
la
position
de
tête
de
lecture
sur
une
région
audio.
Réglage
des
longueur
des
régions
pour
les
ajuster
à
la
taille
d’autres
régions
Il
se
peut
que
vous
souhaitiez
réduire
ou
agrandir
la
longueur
de
l’ensemble
des
régions
d’une
piste,
ou
entre
des
locators,
en
vous
assurant
qu’elles
sont
jointes
les
unes
aux
autres
sans
présence
de
blancs.
Pour
réduire
la
longueur
des
régions
se
superposant
sur
une
piste
:
1 Sélectionnez
les
régions
se
superposant
sur
une
piste,
ou
sélectionnez
l’ensemble
des
régions
en
cliquant
sur
le
nom
de
la
piste
dans
la
liste
des
pistes.
2 Choisissez
Région
>
Supprimer
les
superpositions
(ou
utilisez
le
raccourci
clavier
Supprimer
les
superpositions).
Cette
fonction
recherche
toutes
les
superpositions
des
régions
sélectionnées
dans
une
piste.
Lorsqu’une
superposition
est
détectée,
la
longueur
de
la
région
la
plus
récente
(dans
le
temps)
est
réduite,
supprimant
ainsi
la
superposition.
Vous
pouvez
«
lier
»
la
ou
les
régions
sélectionnées,
afin
qu’elles
se
terminent
avec
exactitude
au
niveau
du
point
de
départ
de
la
région
suivante
sur
la
piste.
356 Chapitre
13
Création
de
votre
arrangement
Pour
lier
des
régions
(supprimer
les
blancs
entre
les
régions)
:
1 Sélectionnez
les
régions
à
lier.
2 Choisissez
Région
>
Lier
les
régions
par
modification
de
la
longueur
(ou
utilisez
le
raccourci
clavier
correspondant).
La
longueur
des
régions
sélectionnées
augmente,
ce
qui
leur
permet
de
se
terminer
exactement
au
niveau
du
point
de
départ
de
la
région
suivante
sur
la
piste.
Vous
pouvez
restreindre
la
modification
de
la
longueur
à
l’ensemble
des
régions
sélectionnées
dans
les
limites
du
locator.
Pour
lier
les
régions
sélectionnées
entre
des
locators
:
1 Définissez
les
positions
des
locators
droits
et
gauches
en
procédant
selon
l’une
des
façons
suivantes
:
 Faites
glisser
la
position
du
locator
de
la
gauche
vers
la
droite
d’un
côté
à
l’autre
de
la
portion
souhaitée
de
la
règle
Mesure.
 Définissez
la
valeur
de
votre
choix
dans
les
champs
Locator
du
transport.
2 Sélectionnez
les
régions
de
votre
choix
dans
les
limites
du
locator.
Π Conseil
:
vous
pouvez
rapidement
sélectionner
l’ensemble
des
régions
dans
les
locators
en
choisissant
Édition
>
Sélectionner
entre
les
locators
(ou
à
l’aide
du
raccourci
clavier
correspondant,
par
défaut
:
Maj
+
I).
Chapitre
13
Création
de
votre
arrangement 357
3 Choisissez
Région
>
Lier
les
régions
dans
les
locators
(ou
utilisez
le
raccourci
clavier
correspondant).
Cette
fonction
rallonge
l’ensemble
des
régions
sélectionnées
(dans
les
limites
des
locators),
permettant
ainsi
d’effacer
les
blancs
entre
eux.
La
dernière
région
de
chaque
piste
(dans
les
limites
des
locators)
n’est
pas
concernée.
Étirement
temporel
du
contenu
d’une
région
lors
de
la
modification
de
la
longueur
Lors
d’une
utilisation
normale,
la
position
des
événements
dans
les
régions
MIDI
n’est
pas
concernée
par
les
modifications
apportées
à
la
longueur
de
la
région.
De
la
même
façon,
les
modifications
apportées
aux
longueurs
des
régions
audio
ont
pour
seule
incidence
le
démarrage
et
l’arrêt
de
la
lecture
au
niveau
de
positions
de
morceau
particulières.
Cependant,
vous
pouvez
étendre
ou
compresser
le
contenu
des
régions
lors
de
la
modification
de
leur
longueur.
Pour
étendre
ou
compresser
la
position
des
événements
dans
une
région
MIDI
:
m Tout
en
maintenant
la
touche
Option
enfoncée,
faites
glisser
la
fin
d’une
région
MIDI.
Les
événements
de
la
région
sont
proportionnellement
étendus
ou
compressés,
selon
le
niveau
avec
lequel
la
longueur
de
la
région
MIDI
est
modifiée.
Vous
pouvez
lire
une
région
MIDI
rythmique
en
demi-temps
en
doublant
sa
longueur
initiale
ou
en
double-temps
en
réduisant
de
moitié
sa
longueur
initiale.
Pour
étendre
ou
compresser
des
régions
audio
:
m Tout
en
maintenant
la
touche
Option
enfoncée,
faites
glisser
la
fin
d’une
région
audio.
Cela
étend
ou
compresse
les
données
audio
proportionnellement
au
facteur
de
modification
de
la
longueur
de
la
région
et
remplace
la
région
d’origine
par
un
nouveau
fichier
audio
PCM
(au
format
du
fichier
d’origine,
ou
AIFF,
si
le
format
d’origine
n’était
pas
PCM).
Remarque
:
le
réglage
en
cours
du
menu
Alignement
a
une
incidence
sur
les
modifications
de
longueur.
Vous
pouvez
ralentir
de
moitié
la
lecture
d’une
région
audio
en
étendant
deux
fois
sa
longueur
d’origine,
ou
la
rendre
deux
fois
plus
rapide
en
compressant
de
moitié
sa
longueur
d’origine.
Impressions
Great
for
Darth
Vader
ou
Munchkin.
Vous
pouvez
sélectionner
l’algorithme
d’étirement
temporel/de
compression
utilisé
pour
cette
fonction
dans
le
menu
Audio
de
la
zone
Arrangement
>
Algorithme
de
la
machine
de
temps.
Vous
trouverez
des
informations
détaillées
sur
chaque
algorithme
dans
la
rubrique
«
Utilisation
de
Time
and
Pitch
Machine
»
à
la
page
573.
358 Chapitre
13
Création
de
votre
arrangement
Compression ou étirement temporel de plusieurs régions
Les
touches
de
modification
affectent
le
mode
d’étirement
temporel
ou
de
compression
dans
le
cas
où
plusieurs
régions
sont
sélectionnées.
Le
tableau
suivant
présente
toutes
les
options
de
modification
et
leur
effet
(le
cas
échéant)
lorsque
plusieurs
longueurs
de
régions
sont
modifiées
:
Opérations
de
modification
de
longueur
propres
à
une
région
MIDI
Les
fonctions
suivantes
s’appliquent
uniquement
aux
régions
MIDI.
Pour
arrondir
le
point
de
départ
d’une
région
MIDI
à
une
mesure
:
m Utilisez
la
commande
MIDI
>
Positionner
le
point
de
départ
d’une
région
sur
une
mesure
(ou
le
raccourci
clavier
correspondant)
pour
arrondir
le
point
de
départ
de
la
région
MIDI
sélectionnée
à
la
valeur
la
plus
proche.
Ajustement
de
la
longueur
des
régions
MIDI
au
contenu
La
commande
MIDI
>
Définir
des
tailles
de
régions
optimales
Arrondies
à
la
mesure
(ou
le
raccourci
clavier
correspondant,
par
défaut
:
Contrôle
+
B)
permet
de
réduire
ou
d’augmenter
la
longueur
d’une
région
MIDI
sélectionnée,
de
façon
à
ce
qu’elle
soit
juste
assez
longue
pour
contenir
les
événements
(ou
régions,
s’il
s’agit
d’un
dossier).
Les
limites
de
la
région
sont
arrondies
à
la
mesure
la
proche.
Maintenez
la
touche
Option
enfoncée
lors
de
l’utilisation
de
cette
fonction
afin
d’arrondir
les
limites
de
la
région
à
la
valeur
de
dénominateur
la
plus
proche
(ou
utilisez
le
raccourci
clavier
Définir
des
tailles
de
régions
optimales
arrondies
par
dénominateur).
Option de
modification Résultat
Aucune Changement
de
longueur
absolue
identique,
pas
de
correction
temporelle
Maj Position
de
fin
absolue
identique,
pas
de
correction
temporelle
Option Changement
de
longueur
absolue
identique,
avec
correction
temporelle
Option
+
Maj Longueur
de
région
absolue
identique,
avec
correction
temporelle
Contrôle Peut
être
utilisée
après
un
clic
pour
effectuer
des
modifications
de
longueur
avec
une
meilleure
résolution.
Toutefois,
elle
ne
peut
pas
être
employée
conjointement
avec
la
touche
Option.
Pas
de
correction
temporelle
Chapitre
13
Création
de
votre
arrangement 359
Coupe, copie et collage des régions
Vous
pouvez
sélectionner,
retirer
ou
répliquer
une
ou
plusieurs
régions
d’une
partie
d’un
arrangement
à
une
autre.
Vous
pouvez
en
fait
utiliser
les
commandes
Couper,
Copier
et
Coller
entre
les
arrangements
de
deux
projets,
si
vous
le
souhaitez.
Pour
couper
une
région
:
m Sélectionnez
la
région,
puis
choisissez
Édition
>
Couper
(ou
utilisez
le
raccourci
clavier
Couper,
par
défaut
:
Commande
+
X).
La
région
est
supprimée
de
l’arrangement
et
est
placée
dans
le
Presse-papiers.
Pour
copier
une
région
(méthode
1)
:
m Tout
en
maintenant
la
touche
Option
enfoncée,
faites
glisser
la
région
vers
la
position
de
l’arrangement
de
votre
choix.
Si
la
fonction
Dessin
hyper
ou
l’automatisation
est
activée,
vous
devrez
capturer
la
zone
de
nom
de
la
région
afin
de
la
copier.
Pour
copier
une
région
(méthode
2)
:
1 Sélectionnez
la
région,
puis
choisissez
Édition
>
Copier
(ou
utilisez
le
raccourci
clavier
Copier,
par
défaut
:
Commande
+
C).
La
région
sélectionnée
est
copiée
dans
le
Presse-papiers.
2 Définissez
la
position
de
tête
de
lecture
de
votre
choix
en
cliquant
sur
la
règle
Mesure.
3 Choisissez
Édition
>
Coller
(Commande
+
V)
pour
coller
le
contenu
du
Presse-papiers
dans
l’arrangement.
Le
collage
s’effectue
sur
la
piste
sélectionnée,
au
niveau
de
la
tête
de
lecture.
Si
plusieurs
régions
sont
sélectionnées,
leurs
positions
de
piste
et
de
temps
correspondantes
sont
conservées.
Pour
coller
une
région
au
même
niveau
que
la
région
copiée
:
m Sélectionnez
la
piste
dans
laquelle
vous
souhaitez
coller
la
région,
puis
choisissez
Édition
>
Coller
à
la
position
d’origine
(ou
utilisez
le
raccourci
clavier
Coller
à
la
position
d’origine).
Logic
Express
insère
la
région
copiée
dans
la
piste
sélectionnée,
à
la
même
position
que
la
région
source.
Cela
s’avère
utile
si
vous
souhaitez
copier
une
région
au
même
emplacement
sur
une
autre
piste,
afin
de
traiter
ou
d’épaissir
indépendamment
cette
partie,
par
exemple.
Cette
fonction
s’avère
également
très
utile
lors
la
création
de
parties
d’instruments
logicielles
et/ou
MIDI
à
couches.
360 Chapitre
13
Création
de
votre
arrangement
Informations
relatives
aux
régions
copiées
Les
régions
copiées
correspondent
à
de
réelles
répliques
indépendantes
des
régions
d’origine.
Les
modifications
apportées
à
une
région
parent
n’ont
aucune
incidence
sur
les
copies
enfants.
Si
vous
souhaitez
utiliser
ce
type
de
comportement,
dans
lequel
des
modifications
apportées
à
la
région
parent
ont
une
incidence
sur
les
régions
enfants,
utilisez
la
fonction
Boucle
(voir
«
Mise
en
boucle
de
régions
»
à
la
page
371)
ou
créez
des
régions
clonées
ou
alias
(voir
«
Répétition
des
régions
»
à
la
page
365).
Lorsque
vous
copiez
une
région
audio,
une
nouvelle
région
est
automatiquement
créée
dans
le
chutier
Audio.
Cette
nouvelle
région
possède
le
nom
de
la
région
d’origine
et
un
numéro
séquentiel
est
ajouté.
Par
exemple,
boucle
d’enfer.1
correspond
au
nom
de
la
copie
d’une
région,
si
la
région
d’origine
s’intitule
boucle
d’enfer.
Sa
deuxième
copie
sera
intitulée
boucle
d’enfer.2,
sa
troisième
boucle
d’enfer.3,
etc.
Ajout ou suppression de passages de morceaux
Vous
pouvez
à
de
nombreuses
reprises
être
amené
à
supprimer
un
passage
entier
d’un
arrangement—un
refrain
ou
un
couplet,
qui
comprend
les
régions
de
l’ensemble
des
pistes
entre
les
mesures
16
et
20,
par
exemple.
L’ensemble
des
régions
existantes,
des
changements
de
mesure
ou
de
tempo
et
des
symboles
de
sonorisation
globaux
(à
partir
de
la
mesure
21)
sont
décalés
de
4
mesures
vers
la
gauche,
ce
qui
supprime
le
blanc
laissé
par
l’opération
de
coupe.
Vous
pouvez
également
insérer
un
blanc
dans
votre
arrangement
pour
créer
plusieurs
mesures
vides
utilisables
en
tant
que
phrase
musicale
transitoire,
ou
bien
encore
pour
libérer
de
l’espace
pour
un
autre
refrain
ou
couplet,
voire
même
pour
un
pont.
Tout
comme
lors
de
la
coupe,
tous
les
changements
de
tempos
existants
et
autres
sont
déplacés
en
conséquence
(vers
la
droite
par
le
nombre
de
mesures
insérées).
Vous
pouvez,
bien
entendu,
simplement
utiliser
les
commandes
standard
Couper,
Copier
et
Coller
du
menu
Édition
afin
de
supprimer
une
rubrique
de
votre
arrangement,
telle
qu’un
refrain,
ou
de
la
réutiliser
dans
un
autre
emplacement.
Chapitre
13
Création
de
votre
arrangement 361
Vous
pouvez
également
limiter
les
modifications
à
quelques
régions
sélectionnées.
Si
vous
choisissez
cela,
plutôt
que
de
déplacer
toutes
les
régions
d’une
rubrique
de
morceau,
vous
devez
décider
si
des
changements
de
mesure,
de
tempo
et
des
symboles
de
sonorisation
globaux
doivent
également
être
modifiés
ou
non.
Cette
opération
s’effectue
dans
la
zone
de
dialogue
affichée
ci-dessous.
Appuyez
sur
la
touche
Retour
si
vous
ne
souhaitez
pas
déplacer
les
changements
de
tempo
et
les
symboles
de
sonorisation
globaux.
Le
changement
global
mentionné
ci-dessus
est
effectué
sur
l’ensemble
des
régions.
Ces
fonctions
sont
par
ailleurs
limitées
aux
pistes
contenant
les
régions
sélectionnées
(ou
du
moins
à
celles
situées
entre
les
points
du
locator).
Utilisation
des
boutons
d’édition
de
la
rubrique
Arrangement
La
barre
d’outils
Arrangement
comporte
un
certain
nombre
de
boutons
d’édition
de
rubrique
pouvant
être
utilisés
pour
effectuer
certaines
des
opérations
décrites
ci-dessous.
Lorsque
vous
utilisez
ces
boutons,
vous
affectez
toutes
les
régions
situées
entre
les
locators,
que
ces
régions
soient
sélectionnées
ou
non
dans
cette
zone.
Si
vous
souhaitez
vous
limiter
aux
seules
régions
sélectionnées
entre
les
locators,
vous
ne
devez
pas
utiliser
les
boutons
de
la
barre
d’outils
Arrangement.
Une
fois
votre
sélection
de
régions
effectuée,
utilisez
la
commande
de
menu
Région
>
Couper/Insérer
la
durée
(ou
utilisez
le
raccourci
clavier
correspondant).
Pour
insérer
un
blanc
dans
l’arrangement
à
l’aide
des
locators
(durée
du
cycle)
:
1 Définissez
les
positions
des
locators
droits
et
gauches
en
procédant
selon
l’une
des
façons
suivantes
:
 Faites
glisser
la
position
du
locator
de
la
gauche
vers
la
droite
d’un
côté
à
l’autre
de
la
portion
souhaitée
de
la
règle
Mesure.
 Définissez
les
valeurs
de
votre
choix
dans
les
champs
du
locator
du
transport.
2 Sélectionnez
les
régions
à
déplacer
selon
la
durée
de
leur
cycle.
Si
vous
n’avez
rien
sélectionné
(ou
que
vous
avez
cliqué
sur
le
bouton
Insérer
un
silence
dans
une
barre
d’outils
Arrangement
personnalisée),
toutes
les
régions
situées
entre
les
locators
sont
affectées.
3 Choisissez
Région
>
Couper/Insérer
la
durée
>
Insérer
un
silence
entre
des
locators
(ou
utilisez
le
raccourci
clavier
correspondant).
362 Chapitre
13
Création
de
votre
arrangement
 Pour
les
régions
sélectionnées
dépassant
la
durée
du
cycle
:
cette
opération
les
coupe
au
niveau
du
locator
gauche
et
déplace
la
deuxième
région
(venant
d’être
créée
suite
à
la
coupe)
vers
le
locator
droit,
créant
ainsi
un
blanc
entre
les
régions.
 Pour
les
régions
sélectionnées
entièrement
situées
entre
les
locators
:
les
régions
commençant
au
niveau
du
locator
gauche
commencent
à
présent
au
niveau
du
locator
droit.
 Pour
combiner
des
régions
partiellement
et
entièrement
sélectionnées
situées
dans
les
locators
:
la
rubrique
concernée
sera
coupée
et
déplacée
vers
le
locator
droit.
Vous
pouvez
également
supprimer
l’espace
vide
présent
entre
les
régions
sélectionnées,
créant
ainsi
une
continuité
entre
les
régions.
Pour
supprimer
les
blancs
entre
les
régions
:
1 Sélectionnez
les
régions
de
votre
choix.
2 Choisissez
Région
>
Lier
les
régions
par
changement
de
position
(ou
utilisez
le
raccourci
clavier
Lier
les
régions
par
changement
de
position).
La
première
région
reste
inchangée
et
toutes
les
régions
suivantes
sont
déplacées
vers
la
gauche.
Remarque
:
vous
pouvez
utiliser
cette
fonction
pour
accélérer
la
lecture
des
enregistrements
de
mots
prononcés
ayant
été
traités
avec
un
silence
de
bande
(en
supprimant
les
blancs
entre
les
mots).
Chapitre
13
Création
de
votre
arrangement 363
Pour
supprimer
une
rubrique
de
votre
arrangement
à
l’aide
des
locators
:
1 Définissez
les
locators
afin
qu’ils
s’étendent
sur
la
rubrique
que
vous
souhaitez
supprimer
(par
exemple,
mesures
5
à
8).
2 Pour
couper
toutes
les
régions
situées
entre
les
locators
:
cliquez
sur
le
bouton
Couper
la
rubrique
dans
la
barre
d’outils
Arrangement,
ou
utilisez
l’option
Région
>
Couper/
Insérer
la
durée
>
Ciseler
:
couper
la
rubrique
entre
les
locators
(ou
utilisez
le
raccourci
clavier
correspondant).
3 Pour
couper
les
régions
sélectionnées
situées
entre
les
locators
:
Choisissez
Région
>
Couper/Insérer
la
durée
>
Ciseler
:
couper
la
rubrique
entre
les
locators
(ou
utilisez
le
raccourci
clavier
correspondant).
Toutes
les
régions
couvrant
la
zone
de
lecture
en
boucle
(par
exemple,
une
région
de
16
mesures
commençant
à
la
mesure
1
et
se
terminant
au
début
de
la
mesure
17)
sont
coupées.
La
rubrique
située
entre
les
locators
(mesures
5
à
8)
est
supprimée
de
l’ensemble
des
régions
sélectionnées
(celle-ci
est
copiée
dans
le
Presse-papiers
puis
supprimée
de
l’arrangement).
Toutes
les
régions
situées
à
droite
du
locator
droit
sont
déplacées
vers
la
gauche,
et
ce
de
la
longueur
de
la
lecture
(4
mesures).
Les
régions
récemment
créées
à
la
suite
de
l’opération
sont
également
concernées.
Utilisons
la
région
de
16
mesures,
prise
en
exemple.
Celle-ci
est
coupée
en
deux
régions
:
 L’une
s’étend
de
la
mesure
1
à
la
mesure
4.
 L’autre
correspond
maintenant
à
une
région
de
8
mesures,
s’étendant
de
la
mesure
5
au
début
de
la
mesure
13.
Π Conseil
:
la
commande
Ciseler
s’avère
idéale
lorsque
vous
souhaitez
supprimer
une
rubrique
entière
de
votre
arrangement,
telle
qu’un
refrain.
364 Chapitre
13
Création
de
votre
arrangement
Pour
insérer
une
rubrique
de
coupe
dans
votre
arrangement
:
1 Procédez
comme
indiqué
ci-dessus.
2 Définissez
la
tête
de
lecture
sur
la
position
au
niveau
de
laquelle
vous
souhaitez
insérer
la
rubrique
coupée.
3 Cliquez
sur
le
bouton
Insérer
une
rubrique
dans
la
barre
d’outils
Arrangement
(afin
que
toutes
les
pistes
soient
concernées,
quelle
que
soit
la
sélection),
ou
choisissez
Région
>
Couper/Insérer
la
durée
>
Scission
:
insérer
une
rubrique
ciselée
sur
la
tête
de
lecture.
Toutes
les
régions
sélectionnées
sont
coupées
au
niveau
du
locator
gauche
et
un
passage
d’une
durée
de
cycle
est
inséré.
Les
régions
présentes
dans
le
Presse-papiers
sont
ensuite
collées
au
niveau
de
la
tête
de
lecture.
Π Conseil
:
la
commande
Scission
convient
tout
à
fait
si
vous
souhaitez
insérer
une
partie
(par
exemple,
un
refrain)
sur
un
autre
point
de
votre
arrangement.
Pour
vous
assurer
que
toutes
les
pistes
sont
modifiées,
y
compris
le
tempo,
les
modifications
des
signatures
temporelles
et
les
marqueurs,
veuillez
tout
sélectionner
à
l’avance
(à
l’aide
des
combinaisons
de
touches
Commande
+
A
ou
Maj
+
I).
Pour
répéter
une
rubrique
de
votre
arrangement
à
l’aide
des
locators
:
1 Définissez
les
locators
afin
qu’ils
s’étendent
sur
la
rubrique
que
vous
souhaitez
répéter
(par
exemple,
mesures
5
à
8).
2 Sélectionnez
les
régions
que
vous
souhaitez
répéter.
Si
aucune
sélection
n’est
effectuée
(ou
si
vous
utilisez
le
bouton
Répéter
la
rubrique
dans
la
barre
d’outils
Arrangement),
toutes
les
régions
situées
entre
les
locators
seront
concernées.
Chapitre
13
Création
de
votre
arrangement 365
3 Choisissez
Région
>
Couper/Insérer
la
durée
>
Ciseler
:
répéter
la
rubrique
entre
les
locators
(ou
utilisez
le
raccourci
clavier
correspondant).
Les
parties
de
toutes
les
régions
intégralement
ou
partiellement
comprises
entre
les
locators
seront
copiées,
puis
collées
au
niveau
du
locator
droit.
Répétition des régions
Logic
Express
offre
un
certain
nombre
de
solutions
permettant
de
répéter
une
région
au
moyen
de
boucles,
d’alias
et
de
clones.
Ces
options
accélèrent
et
facilitent
le
processus
d’arrangement.
Utilisation
des
alias
des
régions
MIDI
Un
alias
présent
dans
Logic
Express
ressemble
à
un
alias
situé
dans
le
Finder.
Il
a
l’aspect
d’une
région,
mais
ne
contient
en
fait
aucune
donnée.
Il
s’agit
simplement
d’une
référence
aux
données
de
la
région
originale
(un
reflet
virtuel
de
cette
dernière).
Relation entre les régions Parent et Alias
Si
les
données
de
la
région
d’origine
sont
modifiées,
ce
changement
a
une
incidence
immédiate
sur
les
alias
de
la
région.
Voici
des
exemples
d’utilisation
des
alias
:
 Si
un
riff
ou
une
phrase
se
reproduit
dans
un
arrangement,
l’utilisation
d’alias
est
plus
rapide
que
la
création
de
copies
de
la
région
d’origine.
 Si
une
partie
n’est
pas
complètement
satisfaisante,
il
suffit
de
modifier
la
version
d’origine
et
la
correction
s’appliquera
automatiquement
à
l’ensemble
de
l’arrangement.
Cependant,
si
vous
souhaitez
modifier
un
détail
situé
sur
un
point
de
l’arrangement
(par
exemple,
un
couplet
dont
la
tonalité
a
changé),
vous
pouvez
transformer
cet
alias
particulier
en
région
indépendante
(une
copie
de
la
région).
Les
alias
possèdent
un
niveau
d’indépendance
par
rapport
à
leur
région
parent
:
 Les
alias
possèdent
leur
propre
jeu
de
paramètres
de
région.
366 Chapitre
13
Création
de
votre
arrangement
 Les
alias
peuvent
être
nommés
individuellement.
Les
noms
des
régions
Alias
figurent
en
italique.
Si
vous
attribuez
un
nom
à
une
région
Alias,
le
nom
de
sa
région
parent
apparaît
sous
le
nom
de
l’alias
(dans
la
mesure
où
le
niveau
de
zoom
est
approprié).
Les
changements
apportés
à
la
région
parent
seront
reflétés
dans
toutes
les
régions
Alias.
Remarque
:
il
est
impossible
de
modifier
les
alias
des
régions
MIDI.
Si
vous
double-cliquez
sur
un
alias,
Logic
Express
part
du
principe
que
vous
souhaitez
modifier
la
région
d’origine
ou
transformer
l’alias
en
région
réelle.
Une
zone
de
dialogue
vous
demande
si
vous
souhaitez
créer
ou
modifier
une
copie
réelle,
ou
si
vous
souhaitez
modifier
la
version
d’origine.
Création d’alias de région MIDI
Les
alias
peuvent
être
créés
pour
des
dossiers
et
des
régions
MIDI.
Le
terme
«
région
»
se
réfère
uniquement
aux
dossiers
et
aux
régions
MIDI
de
cette
rubrique.
Remarque
:
seules
les
régions
audio
clonées
(ou
copies
de
régions
indépendantes)
peuvent
être
créées
pour
les
régions
audio
(voir
«
Clonage
de
régions
audio
»
à
la
page
368).
Pour
créer
un
alias,
procédez
selon
l’une
des
façons
suivantes
:
m Faites
glisser
la
région
tout
en
maintenant
les
touches
Option
+
Maj
enfoncées
vers
la
position
de
votre
choix
pour
l’alias.
m Sélectionnez
la
piste
sur
laquelle
vous
souhaitez
créer
l’alias,
placez
la
tête
de
lecture,
sélectionnez
la
région
à
partir
de
laquelle
vous
souhaitez
créer
l’alias,
puis
choisissez
MIDI
>
Alias
>
Créer
(ou
utilisez
le
raccourci
clavier
Créer
alias).
L’alias
s’affiche
sur
la
piste
sélectionnée
et
commence
au
niveau
de
la
tête
de
lecture.
Si
plusieurs
régions
sont
sélectionnées,
leurs
positions
de
piste
et
de
temps
correspondantes
sont
conservées.
La
piste
sélectionnée
correspond
à
la
piste
de
destination
de
la
première
région
de
la
ligne
temporelle.
Vous
pouvez
également
utiliser
la
commande
Répéter
les
régions
(reportez-vous
à
la
rubrique
«
Création
de
plusieurs
copies
de
régions
»
à
la
page
370).
Réassignation d’alias de région MIDI
Vous
pouvez
assigner
une
nouvelle
région
d’origine
à
un
alias
existant.
Cela
s’avère
très
pratique
pour
des
tâches
d’arrangement
qui
ont
une
structure
correcte,
mais
dont
la
partie
musicale
est
inappropriée.
Vous
pouvez
copier
une
région
à
l’endroit
qui
convient
d’une
nouvelle
piste,
créer
un
alias,
passer
en
mode
«
Silence
»
la
région
existante
et
lancer
la
lecture,
ou
utiliser
la
méthode
ci-dessous,
bien
plus
simple
:
Chapitre
13
Création
de
votre
arrangement 367
Pour
réassigner
un
alias
:
1 Sélectionnez
l’alias
et
la
nouvelle
région
d’origine
souhaitée.
2 Choisissez
MIDI
>
Alias
>
Réassigner
(ou
utilisez
le
raccourci
clavier
Réassigner
les
alias).
Recherche d’une région d’origine ou d’un alias
Si
vous
ne
vous
rappelez
pas
de
l’emplacement
de
la
région
d’origine
d’un
certain
alias,
vous
pouvez
le
rechercher.
Pour
rechercher
et
sélectionner
la
région
d’origine
d’un
alias
:
m Sélectionnez
l’alias,
puis
choisissez
MIDI
>
Alias
>
Sélectionner
la
région
d’origine
(ou
utilisez
le
raccourci
clavier
Rechercher
la
région
d’origine
d’un
alias).
Pour
rechercher
des
alias
créés
à
partir
d’une
région
:
m Choisissez
MIDI
>
Alias
>
Sélectionner
tous
les
alias
de
la
région
(ou
utilisez
le
raccourci
clavier
correspondant,
par
défaut
:
Maj
+
A).
Tous
les
alias
existants
seront
trouvés
et
sélectionnés.
Sélection et suppression d’alias orphelins
Si
vous
supprimez
une
région
source
dont
un
ou
plusieurs
alias
sont
dérivés,
Logic
Express
affichera
le
message
d’erreur
suivant
:
 Annuler
:
cliquez
sur
ce
bouton
pour
annuler
la
procédure
de
suppression.
 Convertir
:
cliquez
sur
ce
bouton
pour
transformer
toutes
les
régions
MIDI
alias
en
copies
réelles.
 Conserver
:
cliquez
sur
ce
bouton
pour
supprimer
la
région
parent
et
conserver
toutes
les
régions
alias
(orphelines).
Même
si
les
alias
orphelins
n’ont
pas
d’utilité
réelle,
Logic
Express
ne
les
supprime
pas
automatiquement
étant
donné
que
vous
pouvez
choisir
de
les
réassigner
ultérieurement
à
de
nouvelles
régions
d’origine.
Si
le
fichier
de
votre
projet
contient
plusieurs
alias
non
souhaités,
vous
pouvez
rapidement
effectuer
un
tri
en
sélectionnant
et
en
supprimant
les
alias
orphelins.
Pour
sélectionner
tous
les
alias
orphelins
:
m Choisissez
MIDI
>
Alias
>
Sélectionner
tous
les
alias
orphelins
(ou
utilisez
le
raccourci
clavier
Sélectionner
tous
les
alias
orphelins).
368 Chapitre
13
Création
de
votre
arrangement
Pour
supprimer
tous
les
alias
orphelins
:
m Choisissez
MIDI
>
Alias
>
Supprimer
tous
les
alias
orphelins
(ou
utilisez
le
raccourci
clavier
Supprimer
tous
les
alias
orphelins).
Conversion d’un alias en région réelle
Vous
pouvez
utiliser
MIDI
>
Alias
>
Convertir
en
copie
de
région
(ou
le
raccourci
clavier
Convertir
l’alias
en
une
copie
de
région)
pour
créer
une
région
réelle
à
partir
d’un
alias
;
son
contenu
sera
identique
à
celui
de
la
région
d’origine
référencée
par
l’alias,
mais
ses
paramètres
de
lecture
correspondront
à
ceux
de
l’alias.
Étant
donné
qu’il
s’agit
d’une
région
réelle,
vous
pouvez
librement
la
modifier
(ou
modifier
la
région
parent
d’origine,
sans
pour
autant
affecter
la
nouvelle
région
réelle).
Remarque
:
vous
pouvez
également
double-cliquer
sur
un
alias
pour
créer
une
zone
de
dialogue
vous
demandant
si
vous
souhaitez
créer
ou
modifier
une
copie
réelle,
ou
encore
modifier
la
région
d’origine.
Clonage
de
régions
audio
Vous
pouvez
créer
une
autre
version
d’une
région
audio
dans
la
zone
Arrangement—
en
l’occurrence,
une
région
clonée—comparable
à
un
alias
de
région
MIDI.
Pour
créer
une
région
clonée
:
m Maintenez
les
touches
Option
+
Maj
enfoncées
tout
en
faisant
glisser
une
région
audio.
Lorsque
vous
réglez
les
points
de
départ
ou
de
fin
d’une
de
ces
régions
clonées,
toutes
les
autres
seront
réglées
de
la
même
manière.
Pour
rendre
plusieurs
régions
clonées
indépendantes
les
unes
des
autres
:
m Sélectionnez
les
régions
(clonées)
de
votre
choix
et
choisissez
Audio
>
Convertir
les
régions
en
nouvelles
régions
(ou
utilisez
le
raccourci
clavier
correspondant,
par
défaut
:
Option
+
Commande
+
R)
dans
la
zone
Arrangement.
Il
se
peut
que
les
points
de
départ
et
de
fin
des
régions
clonées
devenues
indépendantes
de
cette
manière
soient
modifiés,
sans
que
cela
affecte
pour
autant
les
autres
régions
clonées.
Chapitre
13
Création
de
votre
arrangement 369
Pour
convertir
plusieurs
régions
sélectionnées
en
fichiers
audio
:
1 Choisissez
Audio
>
Convertir
les
régions
en
nouveaux
fichiers
audio
(ou
utilisez
le
raccourci
clavier
correspondant,
par
défaut
:
Option
+
Commande
+
F).
370 Chapitre
13
Création
de
votre
arrangement
2 Dans
la
zone
de
dialogue
:
définissez
la
fréquence
d’échantillonnage,
la
profondeur
de
bits,
le
format
de
fichier,
la
conversion
stéréo
et
le
type
de
tramage
aléatoire
pour
les
fichiers
de
destination.
Les
nouveaux
fichiers
audio
sont
créés
dans
le
même
dossier
que
votre
fichier
audio
d’origine.
Les
fichiers
sont
également
ajoutés
au
chutier
audio
et
toutes
les
références
relatives
à
ces
nouvelles
régions
d’arrangement
sont
modifiées—et
ce,
afin
de
correspondre
aux
fichiers
récemment
créés.
Il
est
alors
possible
de
modifier
indépendamment
ces
fichiers
récemment
créés,
ce
qui
vous
permet
de
procéder
à
des
inversions,
des
étirements
temporels
et
à
bien
d’autres
opérations,
sans
affecter
les
autres
régions
basées
sur
le
même
fichier
d’origine.
Création
de
plusieurs
copies
de
régions
Vous
pouvez
créer
plusieurs
copies
des
régions
audio
et
MIDI
à
l’aide
de
la
commande
Répéter
les
régions.
Pour
créer
plusieurs
copies
d’une
région
:
1 Sélectionnez
la
région
pour
laquelle
vous
souhaitez
créer
plusieurs
copies.
2 Choisissez
Région
>
Répéter
les
régions
dans
le
menu
de
la
zone
Arrangement
(ou
utilisez
le
raccourci
clavier
Répéter
les
régions/événements).
3 Définissez
les
paramètres
suivants
dans
la
fenêtre
Répéter
les
régions/événements
:
 Nombre
de
copies
:
il
s’agit
de
la
zone
dans
laquelle
vous
entrez
le
nombre
de
copies
(hormis
la
région
d’origine).
 Ajustement
:
choisissez
si
vous
souhaitez
que
la
copie
commence
à
la
fin
de
la
région
d’origine
(réglage
:
Aucun)
ou
si
vous
préférez
que
le
point
de
départ
soit
quantifié
(sur
les
mesures,
battements,
ticks,
etc.).
 Comme
:
Copier/Alias
ou
clones
:
vous
définissez
si
les
répétitions
sont
des
copies,
des
alias
(régions
MIDI)
ou
des
clones
(régions
audio)
de
la
région
d’origine.
Chapitre
13
Création
de
votre
arrangement 371
Mise
en
boucle
de
régions
La
fonction
Boucle
vous
permet
de
répéter
automatiquement
une
région,
sans
avoir
à
la
copier.
Une
région
mise
en
boucle
se
répétera
jusqu’à
ce
qu’elle
rencontre
une
autre
région
sur
la
même
piste,
sinon
le
projet
se
termine.
La
boucle
s’arrête
également
au
niveau
du
marqueur
de
fin
d’un
dossier,
si
la
région
mise
en
boucle
se
situe
dans
un
dossier
(voir
«
Utilisation
des
dossiers
»
à
la
page
381).
Les
répétitions
de
boucles
sont
affichées
sous
forme
de
segments
étendus
de
la
région
d’origine.
Chaque
segment
possède
la
même
longueur
que
la
région
d’origine,
et
sera
modifié
si
la
longueur
de
la
région
d’origine
change.
Π Conseil
:
si
vous
souhaitez
créer
des
structures
polyrythmiques,
faites
des
tests
en
vous
fondant
sur
la
durée
de
la
région
d’origine.
Pour
mettre
en
boucle
une
région
à
l’aide
du
paramètre
Boucle
:
1 Sélectionnez
la
région
dans
la
zone
Arrangement.
2 Cliquez
(activez)
sur
l’option
Boucle
dans
la
zone
Paramètres
de
région
de
l’Inspecteur
(ou
utilisez
le
raccourci
clavier
Activer/Désactiver
la
boucle,
par
défaut
:
L).
La
région
est
mise
en
boucle
jusqu’à
ce
que
cette
dernière
rencontre
une
autre
région
sur
la
même
piste
(sinon
le
projet
ou
le
dossier
se
termine).
Pour
désactiver
le
paramètre
Boucle
:
m Cliquez
sur
l’option
Boucle
dans
la
zone
Paramètres
de
région
(ou
utilisez
le
raccourci
clavier
Activer/Désactiver
la
boucle,
par
défaut
:
L).
Boucles
de
région
372 Chapitre
13
Création
de
votre
arrangement
Pour
mettre
en
boucle
une
région
à
l’aide
de
la
souris
:
1 Déplacez
le
curseur
jusqu’à
la
fin
de
la
région
que
vous
souhaitez
mettre
en
boucle.
Le
curseur
se
transforme
en
flèche
circulaire
(l’outil
d’édition
de
la
durée
de
la
boucle)
lorsqu’il
est
placé
sur
la
zone
supérieure
de
la
région.
2 Cliquez
sur
l’extrémité
de
la
région
tout
en
la
maintenant
enfoncée,
puis
faites-la
glisser
vers
la
droite,
selon
vos
besoins,
afin
de
définir
la
longueur
de
la
région
mise
en
boucle.
Les
répétitions
de
boucles
s’affichent
sous
la
forme
de
segments
(de
la
même
longueur
que
la
région
d’origine)
dans
la
région
mise
en
boucle
globale.
Le
paramètre
Boucle
de
la
zone
Paramètres
de
région
est
automatiquement
activé.
Remarque
:
la
désactivation
du
paramètre
Boucle
permet
de
redéfinir
la
longueur
de
la
boucle
créée
manuellement.
Lorsque
le
paramètre
Boucle
est
utilisé
la
fois
suivante,
la
région
est
répétée
jusqu’à
ce
que
cette
dernière
rencontre
une
autre
région
sur
la
même
piste,
sinon
le
projet
(ou
dossier)
se
termine.
Le
curseur
se
transforme
uniquement
en
flèche
circulaire
(et
active
les
fonctions
d’édition
de
la
longueur
de
la
boucle)
lorsque
la
piste
est
suffisamment
élevée.
Utilisez
une
des
options
de
zoom
pour
la
redimensionner.
Si
vous
souhaitez
sélectionner
la
région
mise
en
boucle
(par
exemple,
pour
la
déplacer),
cliquez
sur
la
moitié
inférieure
de
la
zone
mise
en
boucle,
ou
cliquez
tout
en
maintenant
la
touche
Maj
enfoncée
sur
la
zone
de
boucle
supérieure.
Remarque
:
la
plupart
des
autres
outils
peuvent
également
être
utilisés
pour
définir
la
durée
de
la
boucle
(ils
prennent
la
forme
de
la
flèche
circulaire
lorsqu’ils
se
trouvent
sur
la
partie
supérieure
droite
des
régions).
Cependant,
vous
devez
utiliser
l’outil
Pointeur
car,
si
vous
cliquez
sur
un
point
erroné
dans
une
région
à
l’aide
de
l’outil
Gomme,
la
région
sera
supprimée,
et
la
boucle
que
vous
souhaitiez
créer
ne
sera
pas
définie.
Les
répétitions
de
boucles
sont
simplement
des
pointeurs
sur
la
région
d’origine.
Elles
ne
peuvent
pas
être
transposées
et
ne
possèdent
aucun
paramètre
de
lecture
dans
la
zone
Paramètres
de
région,
affichée
dans
l’Inspecteur.
Seules
les
régions
réelles
(ou
les
copies)
offrent
des
paramètres
de
lecture
et
peuvent
être
transposées.
Si
vous
souhaitez
utiliser
différents
paramètres
de
lecture
pour
chaque
répétition
de
boucle,
vous
devez
les
transformer
en
copies
réelles.
Chapitre
13
Création
de
votre
arrangement 373
Pour
convertir
une
boucle
existante
en
copie
réelle :
1 Sélectionnez
la
région
d’origine.
2 Choisissez
Région
>
Boucles
>
Convertir
en
copies
réelles
(ou
utilisez
le
raccourci
clavier
correspondant,
par
défaut
:
K).
Les
nouvelles
régions
remplaceront
les
segments
des
répétitions
de
boucles.
Les
copies
réelles
possèdent
un
avantage
majeur
:
elles
peuvent
être
redimensionnées
indépendamment.
Cela
s’avère
utile
lorsque
vous
souhaitez
redimensionner
quelques
copies
de
boucles
parmi
des
centaines
d’entre
elles
réparties
sur
toute
la
chanson.
Pour
convertir
une
boucle
en
alias
ou
en
clones
:
1 Sélectionnez
la
région
d’origine.
2 Choisissez
Région
>
Boucles
>
Convertir
en
alias
(ou
utilisez
le
raccourci
clavier
correspondant).
Les
répétitions
de
boucles
des
régions
MIDI
sont
converties
en
alias.
Les
répétitions
de
boucles
des
régions
sont
converties
en
régions
audio
clonées.
De
cette
manière,
la
modification
de
la
longueur
de
la
région
d’origine
a
une
incidence
sur
les
régions
aliasées
et
clonées.
Division, démixage et fusion de régions
À
de
nombreuses
reprises,
il
est
possible
d’utiliser
certaines
portions
de
régions,
contrairement
à
certaines
autres.
Cette
rubrique
s’intéresse
aux
fonctions
vous
permettant
de
disperser
des
régions
et
de
réutiliser
des
portions
d’entre
elles
(ou
des
régions
entières)
pour
créer
des
régions
nouvelles
et
combinées.
Π Conseil
:
n’oubliez
pas
d’utiliser
l’outil
Sélecteur
(voir
«
Sélection
de
parties
d’une
région
»
à
la
page
342)
pour
effectuer
des
tâches
d’édition
de
régions
similaires.
Division
de
régions
Vous
pouvez
diviser
une
ou
plusieurs
régions
sélectionnées
à
l’aide
de
l’outil
Ciseaux.
Pour
diviser
une
ou
plusieurs
régions
:
1 Sélectionnez
vos
régions.
2 Sélectionnez
l’outil
Ciseaux.
3 Cliquez
tout
en
maintenant
les
régions
de
votre
choix
enfoncées.
La
bulle
d’aide
affiche
la
position
de
division
actuelle.
374 Chapitre
13
Création
de
votre
arrangement
4 Relâchez
le
bouton
de
la
souris.
Toutes
les
régions
sélectionnées
sont
coupées
au
niveau
de
la
position
affichée
dans
la
bulle
d’aide.
Lorsque
vous
sélectionnez
un
point
de
coupe
à
l’aide
de
l’outil
Ciseaux,
vous
pouvez
vous
déplacer
vers
l’avant
ou
vers
l’arrière
division
par
division.
La
grille
est
basée
sur
le
réglage
du
menu
Alignement.
Pour
créer
de
meilleures
divisions
de
résolution
(remplaçant
la
valeur
d’alignement
actuelle)
:
m Maintenez
la
touche
Contrôle
enfoncée
après
avoir
sélectionné
à
l’aide
de
l’outil
Ciseaux
la
région
à
diviser
en
valeur
de
division
(1/16e,
1/32e,
etc.,
comme
indiqué
dans
le
transport).
m Maintenez
les
touches
Contrôle
+
Maj
enfoncées
afin
de
diviser
plus
précisément
les
régions
(ticks
ou
échantillons).
Les
segments
récemment
créés
d’une
région
audio
sont
nommés
à
partir
de
la
région
d’origine,
et
un
numéro
séquentiel
est
ajouté
à
la
fin
du
nom.
Les
régions
MIDI
divisées
possèdent
le
nom
de
la
région
d’origine,
et
ne
possèdent
pas
de
numéro
séquentiel.
Chaque
région
MIDI
issue
d’une
division
est
indépendante
et
contient
des
données.
Pour
diviser
une
région
en
plusieurs
parties
de
même
longueur
:
m Maintenez
la
touche
Option
enfoncée
tout
en
coupant
une
région
à
l’aide
de
l’outil
Ciseaux.
Un
symbole
«
+
»
s’affiche
en
regard
de
l’outil
Ciseaux
et
la
bulle
d’aide
affiche
le
message
Diviser
plusieurs.
La
région
sélectionnée
est
découpée
en
plusieurs
parties,
chacune
d’entre
elles
ayant
la
même
longueur
que
le
premier
segment.
Par
exemple
:
pour
diviser
une
région
de
16
mesures
en
huit
régions
de
2
mesures,
coupez
la
région
au
début
de
la
mesure
3,
tout
en
maintenant
la
touche
Option
enfoncée.
Chapitre
13
Création
de
votre
arrangement 375
Pour
diviser
des
régions
au
niveau
du
locator
:
1 Définissez
les
positions
des
locators
droits
et
gauches.
2 Sélectionnez
les
régions
que
vous
souhaitez
diviser
entre
les
limites
du
locator.
3 Choisissez
Région
>
Séparer/Démixer
>
Séparer
les
régions
selon
les
locators
(ou
utilisez
le
raccourci
clavier
correspondant).
Toutes
les
régions
sélectionnées
situées
partiellement
ou
entièrement
entre
les
locators
sont
coupées
au
niveau
des
locators
droit
et
gauche.
Toutes
les
régions
créées
entre
les
positions
du
locator
suite
à
l’opération
de
séparation
sont
ensuite
automatiquement
sélectionnées.
Π Conseil
:
vous
pouvez
obtenir
le
même
résultat
en
définissant
un
cycle
à
l’aide
de
la
souris
dans
la
règle
Mesure,
tout
en
maintenant
la
touche
Commande
enfoncée.
Pour
diviser
des
régions
au
niveau
de
la
tête
de
lecture
:
1 Sélectionnez
les
régions
que
vous
souhaitez
diviser.
2 Choisissez
Région
>
Séparer/Démixer
>
Séparer
les
régions
au
niveau
de
la
tête
de
lecture
(ou
utilisez
le
raccourci
clavier
correspondant).
Toutes
les
régions
sélectionnées
sont
exactement
divisées
au
niveau
de
la
tête
de
lecture.
Π Conseil
:
pour
couper
au
niveau
de
la
mesure
la
plus
proche,
utilisez
le
raccourci
clavier
Scinder
les
régions/événements
à
la
position
arrondie
de
la
tête
de
lecture.
376 Chapitre
13
Création
de
votre
arrangement
Gestion des notes superposées dans les régions MIDI divisées
Si
des
notes
d’une
région
MIDI
divisée
sont
superposées
sur
d’autres
notes
de
plus
d’une
note
1/16
(double-croche),
la
zone
de
dialogue
suivante
s’affiche
:
 Conserver
:
cliquez
ici
pour
laisser
toutes
les
notes
telles
quelles.
Comme
prévu,
la
région
MIDI
est
coupée,
mais
vous
pouvez
terminer
avec
des
notes
dans
la
moitié
gauche
(région
la
plus
ancienne)
plus
longues
que
la
région
MIDI
les
contenant.
Ces
notes
vont
être
lues
normalement,
à
moins
que
l’option
Durée
du
clip
ne
soit
activée
(voir
«
Options
d’utilisation
des
notes
lors
de
la
modification
des
longueurs
des
régions
MIDI
»
à
la
page
354).
 Diminuer
:
raccourcit
(diminue)
toutes
les
notes
superposées,
afin
qu’elles
se
terminent
à
l’endroit
où
la
région
MIDI
d’origine
a
été
divisée.
 Séparer
:
divise
les
notes
superposées
dans
les
deux
régions
MIDI
;
deux
notes
sont
créées,
possédant
les
mêmes
tonalités
et
vitesses
que
celles
d’origine,
ainsi
que
la
même
longueur
totale
que
la
note
d’origine.
Passages
à
zéro
lors
de
la
division
de
régions
audio
Le
paramètre
Audio
>
Chercher
les
passages
à
zéro
situé
dans
le
menu
Arrangement
local
n’a
aucune
incidence
lors
de
la
division
de
régions
audio,
effectuée
au
moyen
d’une
des
méthodes
mentionnées
ci-dessus.
Lorsque
l’option
Audio
>
Chercher
les
passages
à
zéro
est
activée,
celle-ci
s’applique
uniquement
aux
modifications
des
points
de
départ
et
de
fin
d’une
région,
et
non
aux
opérations
de
division.
Si
vous
souhaitez
diviser
automatiquement
un
fichier
audio
en
plusieurs
régions,
utilisez
la
fonction
Éliminer
le
silence.
Division de régions audio à l’aide la fonction Éliminer le silence
La
fonction
Audio
>
Éliminer
le
silence
située
dans
le
menu
Arrangement
ouvre
une
fenêtre
qui
vous
permet
de
partitionner
un
enregistrement
audio
en
différentes
régions
audio.
Cette
division
est
basée
sur
une
analyse
des
degrés
d’amplitude
au
sein
du
fichier
audio.
Vous
trouverez
une
description
détaillée
de
cette
fonction
dans
le
chapitre
suivant
:
chapitre
22,
«
Suppression
des
passages
silencieux
dans
les
régions
audio
»
à
la
page
589.
Chapitre
13
Création
de
votre
arrangement 377
Fusion
de
régions
Vous
pouvez
fusionner
deux
régions
sélectionnées
ou
plus
(du
même
type—audio
ou
MIDI)
en
une
seule
région.
Cette
option
facilite
la
gestion
des
régions
et
consiste
également
en
un
outil
de
création.
Pour
fusionner
plusieurs
régions
à
l’aide
de
l’outil
Colle
:
1 Sélectionnez
l’outil
Colle.
2 Cliquez
sur
les
régions
que
vous
souhaitez
fusionner
(si
nécessaire,
appuyez
sur
la
touche
Maj
pendant
la
sélection).
Pour
fusionner
deux
régions
ou
plus
à
l’aide
de
la
commande
Fusionner
les
régions
:
1 Sélectionnez
les
régions
que
vous
souhaitez
fusionner
à
l’aide
de
l’outil
Pointeur.
2 Choisissez
Région
>
Fusionner
>
Régions
(ou
utilisez
le
raccourci
clavier
correspondant).
Toutes
les
régions
sélectionnées
sont
fusionnées
(ainsi
que
celles
présentes
sur
des
pistes
différentes)
en
une
seule
région.
Pour
créer
plusieurs
fichiers
de
fusion,
chacun
figurant
sur
sa
propre
piste
:
1 Sélectionnez
les
régions
que
vous
souhaitez
fusionner
sur
chaque
piste
à
l’aide
de
l’outil
Pointeur.
Pour
ce
faire,
il
peut
être
utile
de
cliquer
en
maintenant
la
touche
Maj
enfoncée,
de
faire
appel
à
la
méthode
de
sélection
par
étirement
ou
d’utiliser
la
combinaison
de
touches
Commande
+
A.
Outil
Colle
378 Chapitre
13
Création
de
votre
arrangement
2 Choisissez
Région
>
Fusionner
>
Régions
par
pistes
(ou
utilisez
le
raccourci
clavier
correspondant).
Les
régions
sélectionnées
sont
regroupées
en
une
seule
région
par
piste.
Par
exemple,
les
pistes
1
à
4
possèdent
des
régions
que
vous
souhaitez
fusionner.
Sélectionnez
vos
régions
dans
chaque
rangée
de
pistes
et
appuyez
sur
Maj
+
J.
Quatre
régions
fusionnées
seront
créées,
une
pour
chaque
piste.
Événements survenant lorsque des régions MIDI sont fusionnées
Lorsque
vous
fusionnez
des
régions
MIDI
:
 Tous
les
événements
de
chaque
région
MIDI
conservent
leurs
positions
temporelles
d’origine.
 La
nouvelle
région
MIDI
(fusionnée)
possède
les
mêmes
nom
et
piste
que
la
première
région
MIDI
d’origine
(sur
la
ligne
temporelle).
 Les
paramètres
de
région
Transposition,
Vitesse
et
Dynamiques—s’ils
ne
sont
pas
identiques
dans
l’ensemble
des
régions
sélectionnées—sont
normalisés
avant
la
fusion.
Cela
signifie
que
toutes
les
valeurs
de
paramètres
sont
créées
sous
forme
de
données
modifiées
pour
chaque
région
avant
la
fusion.
Les
paramètres
de
la
région
MIDI
récemment
créée
(fusionnée)
sont
tous
définis
sur
des
valeurs
neutres
(par
défaut).
 Si
un
des
paramètres
de
région
(par
exemple,
la
valeur
Transposition)
est
défini
à
l’identique
dans
l’ensemble
des
régions
sélectionnées,
cette
valeur
est
conservée
dans
la
zone
Paramètres
de
région
de
la
région
fusionnée,
et
les
événements
conservent
leurs
valeurs
d’origine.
Remarque
:
veuillez
noter
que,
au
besoin,
les
canaux
d’événements
MIDI
individuels
sont
remplacés
par
le
canal
MIDI
de
la
bande
de
canal
Instrument
de
la
piste
actuelle.
Fusion de régions audio
La
fusion
des
régions
audio
est
une
opération
non
destructrice
étant
donné
que
Logic
Express
crée
toujours
un
fichier
pour
les
données
audio
fusionnées
(parfois
appelé
mixage).
Ce
nouveau
fichier
audio
est
stocké
(dans
le
dossier
du
projet)
sur
votre
disque
dur
et
est
automatiquement
ajouté
au
chutier
audio.
La
région
fusionnée
remplace
les
régions
d’origine.
Chapitre
13
Création
de
votre
arrangement 379
Aucune
fusion
Si
plusieurs
régions
(mono
ou
stéréo)
ayant
été
coupées
d’une
région
à
l’aide
de
l’outil
Ciseaux
sont
présentes
sur
la
même
piste,
aucune
fusion
n’est
effectuée.
Dans
ce
cas,
une
seule
région
est
créée
sur
la
zone
entière.
Vous
obtenez
le
résultat
escompté,
sans
avoir
à
utiliser
d’espace
disque
supplémentaire.
Remarque
:
Logic
Express
est
en
mesure
de
reconnaître
des
régions
associées,
même
si
des
blancs
existent
entre
elles.
Le
fait
que
la
position
relative
des
régions
dans
l’arrangement
corresponde
à
la
position
relative
des
régions
dans
le
fichier
audio
sous-jacent
représente
un
facteur
déterminant.
Aucune
fusion
n’a
lieu
lorsque
vous
essayez
de
fusionner
deux
régions
sur
des
pistes
s’étendant
d’une
extrémité
à
l’autre,
car
les
deux
fichiers
de
fusion
seraient
identiques
aux
fichiers
audio
d’origine
(dans
les
zones
utilisées
pour
les
régions).
Fusion
authentique
à
l’aide
de
l’option
Clipscan
Si
vous
combinez
des
données
audio
(dans
les
régions)
à
partir
de
deux
pistes
ou
plus,
les
niveaux
de
volume
et
balance
des
pistes
individuelles
permettront
de
définir
les
paramètres
de
volume
et
de
balance
dans
le
nouveau
fichier
audio.
Si
vous
souhaitez
combiner
les
deux
extrémités
d’un
fichier
audio
stéréo
(un
canal
mono
sur
chacune
des
deux
pistes),
définissez
en
premier
lieu
les
contrôles
de
balance
des
extrémités
mono
du
composant
sur
les
extrêmes
gauche
et
droit.
Suite
à
l’analyse
de
l’écrêtage
numérique
et
à
la
fusion,
Logic
Express
remplace
les
régions
sélectionnées
auparavant
par
une
région
contenant
le
fichier
audio
fusionné
intégral.
Vous
pouvez
utiliser
la
fonction
Édition
>
Annuler
(Commande
+
Z)
pour
restaurer
les
régions
audio
d’origine,
si
nécessaire.
Si
vous
effectuez
cette
opération,
vous
devrez
indiquer
si
vous
souhaitez
conserver
ou
supprimer
le
fichier
audio
fusion
tout
juste
créé.
Si
vous
décidez
de
le
conserver,
il
restera
dans
le
chutier
audio
et
pourra
ensuite
être
utilisé
et
traité.
Au
cours
d’une
fusion,
la
fonction
Analyse
de
l’écrêtage
avec
résolution
de
32
Bits
permet
de
s’assurer
que
le
niveau
le
plus
élevé
possible
est
conservé,
sans
écrêtage.
Fusion
de
régions
audio
sur
une
piste
Si
plusieurs
régions
audio
superposées
sont
sélectionnées
sur
une
seule
piste,
aucune
fusion
n’est
effectuée.
Vous
êtes
invité
à
créer
un
fichier
audio,
possédant
le
nom
de
la
première
région
de
la
piste.
Les
régions
sélectionnées
sont
ensuite
fusionnées,
sans
modification
du
volume
et
sans
analyse
de
l’écrêtage.
S’il
existe
des
rubriques
vides
entre
deux
régions,
celles-ci
sont
ajoutées
au
nouveau
fichier
audio—sous
forme
de
passages
silencieux.
380 Chapitre
13
Création
de
votre
arrangement
Fondus
audio
dans
une
fusion
numérique
La
fonction
Fusion
numérique
prend
en
charge
les
fondus
entre
les
régions
sélectionnées.
Les
paramètres
de
fondu
sont
définis
dans
l’onglet
des
préférences
audio
générales,
auquel
vous
accédez
en
sélectionnant
Logic
Express
>
Préférences
>
Audio
>
Général
(ou
en
utilisant
le
raccourci
clavier
Options
de
fondu
enchaîné
audio
pour
la
fusion
).
Il
existe
deux
équilibreurs
:
 Durée
du
fondu
enchaîné
[en
ms]
:
il
s’agit
de
la
durée
du
fondu
enchaîné.
Pour
désactiver
celui-ci,
définissez
cette
valeur
sur
zéro.
 Courbe
de
fondu
enchaîné
:
pour
obtenir
un
fondu
enchaîné
linéaire,
définissez
cette
valeur
sur
zéro.
Les
autres
valeurs
(positives
ou
négatives)
créent
plusieurs
fondus
exponentiels.
Les
fondus
sortants
et
entrants
sont
toujours
symétriques
afin
d’éviter
toute
déviation
dans
le
niveau.
Les
valeurs
prédéfinies
sont
les
suivantes
:
Durée
=
0
ms,
Courbe
=
0
(linéaire).
Démixage
des
régions
MIDI
Vous
pouvez
séparer
des
régions
MIDI
(ou
des
formats
de
fichiers
MIDI
standards
1
ou
0)
selon
les
canaux
d’événements
ou
la
tonalité
des
notes.
Pour
séparer
des
régions
MIDI
selon
des
canaux
d’événements
:
1 Sélectionnez
les
régions
MIDI
de
votre
choix.
2 Choisissez
Région
>
Séparer/Démixer
>
Démixer
par
canal
d’événement
(ou
utilisez
le
raccourci
clavier
correspondant).
Logic
Express
recherche
les
événements
de
régions
MIDI
sélectionnés
à
l’aide
de
différents
canaux
MIDI.
 Une
région
MIDI
séparée,
contenant
tous
les
événements
similaires,
est
créée
pour
chaque
canal
MIDI
détecté.
 Chacune
de
ces
régions
est
créée
sur
une
piste
à
l’aide
d’un
canal
d’instrument
similaire
au
canal
MIDI.
 S’il
n’existe
aucune
piste,
de
nouvelles
pistes
sont
créées
pour
chaque
canal.
Chapitre
13
Création
de
votre
arrangement 381
Pour
séparer
des
régions
MIDI
selon
les
tonalités
des
notes
:
1 Sélectionnez
les
régions
MIDI
de
votre
choix.
2 Choisissez
Région
>
Séparer/Démixer
>
Démixer
par
hauteur
de
note
(ou
utilisez
le
raccourci
clavier
correspondant).
Logic
Express
recherche
les
notes
des
régions
MIDI
sélectionnées
à
l’aide
de
différents
numéros
de
notes.
 Une
région
MIDI
différente
de
la
même
durée
est
créée
pour
chaque
numéro
de
note
trouvé.
 Les
pistes
sont
créées
pour
ces
régions
MIDI,
et
la
même
bande
de
canal
que
la
région
MIDI
d’origine
leur
est
assignée.
Cette
fonction
s’avère
particulièrement
utile
pour
séparer
les
éléments
de
batterie
ayant
été
enregistrés
dans
Logic
Express
à
partir
d’une
boîte
à
rythmes—dans
laquelle
toutes
les
notes
se
trouvent
sur
le
même
canal
MIDI.
Chaque
région
de
note
peut
alors
être
assignée
à
un
autre
bande
de
canal
et
il
est
possible
de
supprimer
certaines
d’entre
elles
afin
d’atténuer
la
rythmique
des
sons
de
batterie
d’origine.
Utilisation des dossiers
Un
dossier
est
une
région
pouvant
contenir
d’autres
régions,
tout
comme
un
dossier
du
Finder
peut
contenir
d’autres
dossiers
ou
fichiers.
En
principe,
vous
pouvez
modifier
des
dossiers
de
la
même
manière
que
des
régions
MIDI.
Afin
de
mieux
comprendre
ce
qu’est
un
dossier,
celui-ci
peut
être
considéré
comme
un
arrangement
dans
un
arrangement.
Un
dossier
peut
contenir
autant
de
pistes
avec
régions
que
nécessaire.
Un
dossier
fermé
ressemble
à
une
région
MIDI,
mais
est
placé
sur
une
piste
assignée
à
un
dossier
de
la
liste
des
pistes,
plutôt
qu’à
une
bande
de
canal.
Une
fois
ouverts,
les
dossiers
sont
semblables
à
la
zone
Arrangement
et
à
la
liste
des
pistes
d’un
projet.
382 Chapitre
13
Création
de
votre
arrangement
Toutes
les
régions
du
dossier
sont
envoyées
vers
les
bandes
de
canaux
définies
dans
la
liste
des
pistes
du
dossier
et
jouées
par
celles-ci
comme
elles
le
seraient
au
niveau
supérieur
de
la
fenêtre
Arrangement.
Remarque
:
si
vous
faites
glisser
un
dossier
vers
une
piste
définie
sur
une
bande
de
canal
d’instrument,
son
contenu
(toutes
les
régions
MIDI
du
dossier)
sont
lues
par
cet
instrument.
Cela
s’applique
uniquement
si
le
dossier
contient
des
pistes
d’un
instrument
ou
d’un
type
d’instrument
donné,
telle
qu’une
batterie
ou
un
bruit
de
corde
générique.
Cela
permet
d’écouter
rapidement
un
arrangement
de
cordes,
par
exemple
si
certaines
des
sources
de
bruit
souhaitées
ne
sont
pas
disponibles.
Exemple
:
un
dossier
«
rubrique
des
cuivres
»
peut
contenir
des
pistes
de
trompette,
de
saxophone
et
de
trombone,
ou
bien
encore
14
pistes
de
batterie,
que
vous
souhaitez
peut-être
utiliser
comme
une
seule
région
de
rythmique
de
sons
de
batterie.
De
la
même
manière,
votre
projet
entier,
comprenant
toutes
les
pistes
et
régions,
peut
correspondre
à
un
dossier,
s’affichant
sous
la
forme
d’une
barre
de
couleur
grise
dans
un
arrangement.
Ainsi,
vous
pouvez
arranger
plusieurs
projets
pour
un
concert.
Mais
les
dossiers
ne
se
limitent
pas
à
cela.
Vous
pouvez
utiliser
des
dossiers
pour
représenter
par
exemple
des
refrains
et
des
couplets
d’un
morceau.
Tout
comme
dans
le
Finder,
vous
pouvez
insérer
autant
de
dossiers
que
vous
le
souhaitez
dans
d’autres
dossiers,
au
sein
desquels
vous
pouvez
créer
davantage
de
dossiers
(par
exemple,
pour
les
groupes
d’instruments
au
sein
des
différents
éléments
d’un
morceau).
Le
nombre
de
niveaux
pouvant
être
créés
est
illimité.
Il
est
également
possible
de
stocker
différents
arrangements
d’un
projet
dans
différents
dossiers,
ce
qui
vous
permet
de
les
intervertir
rapidement.
Compression
et
décompression
de
dossiers
Vous
pouvez
compresser
des
régions
sélectionnées
dans
un
dossier,
ou
encore
créer
un
dossier
vide
et
y
ajouter
des
régions.
Pour
compresser
des
régions
sélectionnées
dans
un
dossier
:
1 Sélectionnez
les
régions
de
votre
choix.
2 Choisissez
Région
>
Dossier
>
Compresser
le
dossier
(ou
utilisez
le
raccourci
clavier
correspondant,
par
défaut
:
Commande
+
F).
Toutes
les
régions
sélectionnées
sont
placées
dans
un
dossier.
Logic
Express
crée
une
piste
et
y
place
la
région
de
dossiers.
Si
une
piste
dossier
existante
est
sélectionnée,
Logic
Express
copie
les
régions
dans
ce
dossier.
Si
aucune
région
n’est
sélectionnée,
Logic
Express
crée
un
dossier
vide.
Il
ne
contient
aucune
région—uniquement
les
pistes
assignées
à
l’ensemble
des
bandes
de
canaux
du
niveau
actuel.
Chapitre
13
Création
de
votre
arrangement 383
Pour
décompresser
un
dossier
:
1 Sélectionnez
le
dossier.
2 Choisissez
l’une
des
commandes
suivantes
:
 Choisissez
la
commande
Région
>
Dossier
>
Décompresser
le
dossier.
La
fenêtre
Arrangement
se
mettra
à
jour
afin
d’afficher
le
contenu
(les
pistes
et
les
régions)
du
dossier.
 Choisissez
Région
>
Dossier
>
Décompresser
les
dossiers
(Créer
de
nouvelles
pistes)
ou
utilisez
le
raccourci
clavier
correspondant.
Logic
Express
crée
des
pistes
situées
au
même
niveau
que
le
dossier
(sous
la
piste
dossier
précédente).
 Choisissez
Région
>
Dossier
>
Décompresser
les
dossiers
(Utiliser
les
pistes
existantes).
Les
régions
contenues
dans
le
dossier
sont
placées
sur
les
pistes
assignées
aux
bandes
de
canaux
appropriées.
Ouverture
et
fermeture
des
dossiers
Après
avoir
compressé
un
dossier,
vous
allez
généralement
l’ouvrir,
puis
le
fermer
pour
modifier
des
données,
à
mesure
que
vous
développez
votre
arrangement.
Vous
pouvez
facilement
le
différencier
dans
ou
hors
de
l’affichage
du
dossier
dans
la
fenêtre
Arrangement
:
 Une
fois
dans
la
partie
supérieure
du
niveau
Arrangement
(hors
du
dossier),
le
dossier
est
visible
sur
une
piste,
la
barre
de
titre
de
la
fenêtre
Arrangement
affiche
le
nom
du
projet
et
le
bouton
Hiérarchie
est
grisé.
 Lorsque
vous
vous
trouvez
dans
un
dossier,
la
piste
du
dossier
n’est
pas
visible.
La
barre
de
titre
Arrangement
affiche
le
nom
du
projet,
suivi
du
nom
du
dossier
(Sans
titre
:
Dossier
Refrain,
par
exemple)
et
le
bouton
Hiérarchie
ne
s’affiche
pas
en
grisé.
Pour
ajouter
un
dossier,
procédez
selon
l’une
des
façons
suivantes
:
m Double-cliquez
sur
la
région
du
dossier.
m Sélectionnez
le
dossier
que
vous
souhaitez
ajouter,
puis
utilisez
le
raccourci
clavier
Aller
dans
Dossier
ou
Région.
Vous
devez
vous
assurer
que
le
dossier
est
sélectionné
avant
d’utiliser
la
commande.
Si
une
région
MIDI
est
sélectionnée,
l’éditeur
de
la
liste
des
événements
(affichant
le
contenu
de
la
région
MIDI)
s’ouvre.
Lorsque
vous
double-cliquez
sur
le
nom
de
la
piste
du
dossier
dans
la
liste
des
dossiers,
la
table
de
mixage
s’ouvre.
384 Chapitre
13
Création
de
votre
arrangement
Pour
quitter
un
dossier,
procédez
selon
l’une
des
façons
suivantes
:
m Double-cliquez
sur
l’arrière-plan
de
la
zone
Arrangement
(du
dossier)
(ou
utilisez
le
raccourci
clavier
Sortir
du
Dossier
ou
Région
).
m Cliquez
sur
le
bouton
Hiérarchie
situé
au
niveau
de
l’extrémité
gauche
de
la
barre
de
menu
de
la
fenêtre
Arrangement.
La
bulle
d’aide
affiche
Quitter
le
dossier.
Vous
avancez
alors
d’un
niveau
dans
la
hiérarchie
et
le
contenu
de
la
fenêtre
Arrangement
(affichant
le
dossier
fermé)
est
visible.
Ajout
et
suppression
de
régions
Vous
pouvez
facilement
ajouter
ou
supprimer
des
régions
dans
un
dossier
existant.
Ces
opérations
sont
assez
courantes
car
vous
êtes
généralement
amené
à
ajouter
et
à
supprimer
des
éléments
lorsque
vous
travaillez
sur
un
arrangement.
Pour
déplacer
des
régions
vers
un
dossier
:
m Au
niveau
supérieur
de
la
hiérarchie
Arrangement
(hors
du
dossier)
:
faites
glisser
les
régions
de
votre
choix
dans
le
dossier,
à
l’emplacement
souhaité.
Si
le
dossier
ne
contient
pas
déjà
de
piste
utilisant
la
même
bande
de
canal
que
la
région
source,
Logic
Express
en
crée
une.
Si
c’est
le
cas,
ce
canal
sera
ensuite
utilisé.
Lorsque
vous
entrez
dans
le
dossier,
les
régions
déplacées
s’affichent
en
position
de
retrait.
Chapitre
13
Création
de
votre
arrangement 385
Pour
extraire
des
régions
individuelles
des
dossiers
:
1 Ouvrez
une
deuxième
fenêtre
Arrangement
à
partir
du
menu
Fenêtre
ou
utilisez
le
raccourci
clavier
par
défaut
:
Commande
+
1.
2 Entrez
le
nom
du
dossier
pour
lequel
vous
souhaitez
retirer
la
région
dans
une
des
deux
zones
Arrangement.
3 Faites
glisser
la
région
du
dossier
vers
l’autre
zone
Arrangement.
Vous
pouvez
également
couper
une
région
d’un
dossier,
à
l’aide
de
la
commande
Édition
>
Couper.
La
région
est
transférée
vers
le
Presse-papiers.
Vous
pouvez
alors
copier
la
région
vers
l’emplacement
de
la
zone
Arrangement
de
votre
choix
à
l’aide
de
la
commande
Édition
>
Coller.
Création
d’un
dossier
d’alias
Vous
pouvez
créer
une
copie
d’un
dossier
contenant
des
alias
et
des
clones
des
régions
du
dossier
d’origine.
Grâce
à
cela,
dans
ce
dossier,
vous
pouvez
(par
exemple)
rendre
des
régions
silencieuses
et
modifier
les
paramètres
des
programmes,
instruments
ou
de
lecture,
si
nécessaire.
Vous
disposez
ainsi
d’un
deuxième
dossier
de
mixage
;
n’oubliez
pas
que
le
son
des
dossiers
peut
être
désactivé
et
que
ces
derniers
peuvent
être
lus
en
mode
solo,
comme
c’est
le
cas
pour
les
autres
régions,
ce
qui
vous
permet
de
passer
rapidement
d’une
version
d’un
arrangement
à
une
autre.
Pour
créer
un
dossier
d’alias
:
1 Sélectionnez
un
dossier.
2 Choisissez
MIDI
>
Alias
>
Créer
mais
copier
dans
Dossier.
Création de fondus et de fondus enchaînés dans des régions
audio
Vous
serez
souvent
amené
à
créer
des
fondus
entrants
et
des
fondus
sortants
dans
des
régions
audio,
ou
à
utiliser
des
fondus
afin
de
créer
des
enchaînements
en
douceur
entre
deux
régions
audio
adjacentes
(ou
superposées)
sur
une
piste.
Ce
dernier
type
de
fondu,
le
fondu
enchaîné,
peut
être
créé
automatiquement
par
Logic
Express
sur
des
régions
audio
superposées.
Pour
activer
la
fonction
de
fondu
enchaîné
automatique
:
m Choisissez
le
paramètre
X-Fade
dans
le
menu
Déplacer
(voir
«
Utilisation
des
modes
Déplacer
»
à
la
page
332).
Les
autres
types
de
fondus—fondus
entrants
et
fondus
sortants—,
ainsi
que
les
fondus
enchaînés,
peuvent
être
créés
manuellement
à
l’aide
de
l’outil
Fondu
enchaîné,
ou
des
paramètres
de
fondu
situés
dans
la
zone
Paramètres
de
région
de
l’Inspecteur.
Π Conseil
:
il
est
conseillé
d’utiliser
ces
deux
méthodes,
car
chacune
d’entre
elles
présente
des
avantages.
Lorsqu’elles
sont
combinées,
les
méthodes
de
création
et
de
modification
de
fondus
sont
simplifiées
et
plus
rapides.
Vous
pouvez
régler
simultanément
les
paramètres
de
fondu
de
l’ensemble
des
régions
audio
sélectionnées.
Remarque
:
ces
paramètres
de
fondu
ne
modifient
pas
le
fichier
audio
d’origine,
contrairement
aux
fonctions
de
fondu
disponibles
dans
l’Éditeur
des
échantillons.
Création
de
fondus
à
l’aide
de
l’outil
Fondu
Un
fondu
entrant
survient
au
début
d’une
région
et
un
fondu
sortant
survient
à
la
fin
de
cette
région.
Les
fondus
sont
uniquement
visibles
si
vous
utilisez
un
zoom
avant
assez
puissant
pour
voir
la
forme
d’onde
dans
la
région
audio.
Important
:
vous
ne
pouvez
pas
créer
de
fondus
sur
des
fichiers
Apple
Loops
représentés
comme
des
régions
dans
la
fenêtre
Arrangement.
Les
paramètres
sont
affichés
dans
l’Inspecteur
lorsqu’une
région
Apple
Loops
est
sélectionnée.
Pour
créer
un
fondu
entrant
ou
un
fondu
sortant
:
1 Sélectionnez
l’outil
Fondu
enchaîné.
2 Cliquez
sur
le
point
de
départ
ou
de
fin
d’une
région
audio
et
faites-le
glisser.
Un
fondu
entrant
ou
sortant
est
créé.
La
longueur
de
la
zone
de
glissement
du
fondu
détermine
la
durée
de
ce
dernier.
Par
conséquent,
plus
la
zone
est
longue,
plus
la
durée
du
fondu
l’est
également
et
vice
versa.
Chapitre
13
Création
de
votre
arrangement 387
Pour
créer
un
fondu
enchaîné
entre
deux
fichiers
:
m Faites
glisser
le
pointeur
sur
le
point
de
fin
d’une
région
audio
ou
sur
le
point
de
départ
de
la
région
suivante
à
l’aide
de
l’outil
Fondu
enchaîné.
Cela
fonctionne,
même
si
les
deux
rubriques
ne
sont
pas
directement
jointes.
Pour
supprimer
un
fondu
:
m Tout
en
maintenant
la
touche
Option
enfoncée,
cliquez
sur
une
zone
de
fondu
à
l’aide
l’outil
Fondu
enchaîné.
Pour
modifier
un
fondu
existant
:
m Faites
glisser
sur
le
point
de
départ
ou
de
fin
d’une
région
à
l’aide
de
l’outil
Fondu
enchaîné.
La
forme
de
courbe
(voir
ci-dessous)
du
fondu
précédent
est
utilisée.
Pour
régler
la
forme
de
courbe
du
fondu
:
m Maintenez
les
touches
Contrôle
et
Maj
enfoncées
tout
en
utilisant
l’outil
Fondu
enchaîné.
Dans
l’exemple
ci-dessous,
une
Courbe
positive
est
affichée
pour
le
fondu
entrant
et
le
fondu
sortant.
Dans
l’exemple
ci-dessous,
une
Courbe
négative
est
affichée
pour
le
fondu
entrant,
et
un
fondu
linéaire
(aucune
courbe)
est
affichée
pour
le
fondu
sortant.
388 Chapitre
13
Création
de
votre
arrangement
Création
et
modification
des
fondus
dans
la
zone
Paramètres
de
région
Vous
pouvez
également
créer
et
modifier
des
fondus
dans
la
zone
Paramètres
de
région.
Pour
créer
un
fondu
ou
un
fondu
enchaîné
:
1 Sélectionnez
les
régions
de
votre
choix.
2 Définissez
la
valeur
souhaitée
pour
les
paramètres
de
fondu
entrant
ou
de
fondu
sortant
dans
l’Inspecteur.
Utilisez
la
souris
comme
curseur,
ou
double-cliquez
puis
entrez
la
valeur
souhaitée.
Cela
fait,
un
fondu
est
créé
à
une
extrémité
ou
l’autre
des
régions
sélectionnées.
Remarque
:
la
valeur
du
fondu
détermine
la
durée
de
ce
dernier.
Ainsi,
une
valeur
plus
importante
entraîne
une
plus
longue
durée
de
fondu
et
une
valeur
faible
entraîne
un
fondu
rapide.
Pour
supprimer
un
fondu
:
m Définissez
le
paramètre
Fondu
entrant
ou
Fondu
sortant
sur
0.
Pour
modifier
un
fondu
existant
:
m Modifiez
la
valeur
du
fondu
entrant
ou
sortant.
Pour
régler
la
forme
de
courbe
du
fondu
:
m Modifiez
la
valeur
Courbe
dans
la
zone
Paramètres
de
région.
La
courbe
de
fondu
est
immédiatement
modifiée
dans
la
région.
Modification du type de fondu
Si
vous
cliquez
sur
le
menu
Type
de
fondu
(la
flèche
vers
le
haut/bas
en
regard
du
paramètre
Fondu
dans
l’Inspecteur),
quatre
options
s’affichent
:
 Sortant
(par
défaut)
:
crée
un
fondu
sortant
standard
lorsque
vous
utilisez
l’outil
ou
le
paramètre
Fondu.
 X
:
crée
un
fondu
enchaîné
entre
la
région
sélectionnée
et
la
région
suivante
lorsque
vous
utilisez
l’outil
ou
le
paramètre
Fondu.
Chapitre
13
Création
de
votre
arrangement 389
 EqP
:
crée
un
fondu
à
puissance
égale.
Cela
limite
les
baisses
de
volume
entre
les
régions
audio,
créant
ainsi
un
fondu
enchaîné
plus
régulier
entre
les
régions
dont
le
niveau
peut
légèrement
varier.
 X
S
:
crée
un
fondu
à
courbe
en
S.
Comme
son
nom
l’indique,
cette
courbe
de
fondu
est
en
forme
de
S.
Remarque
:
ces
trois
dernières
options
peuvent
uniquement
être
appliquées
à
deux
régions
consécutives.
Notez
également
que
les
paramètres
de
fondu
entrant
(et
de
courbe
correspondants)
deviennent
redondants
lorsque
l’une
des
options
X,
EqP
ou
X
S
est
choisie.
Suppression de fichiers de fondu
La
commande
Options
>
Audio
>
Supprimer
l’ensemble
du
fichier
de
fondu
permet
de
supprimer
le
fichier
de
fondu.
Toutes
les
informations
sont
conservées
lors
de
cette
opération,
car
Logic
Express
crée
automatiquement
un
fichier
de
fondu
lors
du
prochain
démarrage
d’une
séquence
de
lecture.
Ce
fichier
de
fondu
est
basé
sur
les
paramètres
de
fondu
de
chaque
région
audio.
Fondu
de
boucles
Apple
Loops
Les
boucles
Apple
Loops
ne
prennent
pas
en
charge
les
fondus.
De
cette
manière,
vous
ne
pouvez
pas
leur
assigner
un
fondu
directement.
Puisque
vous
ne
pouvez
pas
appliquer
de
fondus
à
une
boucle
Apple
Loops,
aucun
paramètre
de
fondu
ne
s’affiche
dans
la
zone
Paramètres
de
région
lorsqu’une
boucle
Apple
Loops
est
sélectionnée.
Si
vous
souhaitez
obtenir
un
effet
de
fondu,
vous
devez
exporter
la
boucle
Apple
Loops
(choisissez
Fichier
>
Exporter
>
Région
Audio
sous
dans
la
barre
de
menus
principale).
Importez
ce
fichier
dans
la
zone
Arrangement
et
appliquez-y
le
fondu.
Définition des paramètres de région
Les
paramètres
affichés
dans
la
zone
Paramètres
de
région
de
l’Inspecteur
dépendent
du
type
de
région
sélectionné
dans
la
zone
Arrangement.
Il
existe
des
paramètres
:
 Disponibles
pour
les
régions
audio
et
MIDI.
 Uniquement
disponibles
pour
les
régions
audio.
 Uniquement
disponibles
pour
les
régions
MIDI.
Remarque
:
les
paramètres
de
région
MIDI
s’appliquent
également
aux
dossiers
et
ont
une
incidence
globale
sur
l’ensemble
des
régions
MIDI
qu’ils
contiennent.
390 Chapitre
13
Création
de
votre
arrangement
Paramètres
généraux
des
régions
audio
et
MIDI
Seuls
deux
paramètres
généraux
sont
disponibles
lorsque
vous
sélectionnez
une
région
audio
ou
MIDI.
Boucle
La
lecture
de
l’ensemble
des
types
de
régions
est
répétée
en
continu
si
vous
cochez
la
case
Boucle,
ou
à
l’aide
de
l’outil
Boucle
(voir
«
Mise
en
boucle
de
régions
»
à
la
page
371).
Retard
La
lecture
de
tous
les
types
de
régions
peut
être
retardée
ou
avancée
(il
peut
s’agir
d’une
valeur
positive
ou
négative)
d’un
certain
nombre
de
ticks
ou
selon
une
variable
de
format
musical.
Exemples
:
1/96,
1/16,
1/192,
etc.
(pour
en
savoir
plus,
reportez-vous
à
la
rubrique
«
Décalage
de
la
position
de
lecture
des
régions
»
à
la
page
351).
La
zone
Paramètres
de
région
possède
également
des
comportements
par
défaut
:
MIDI Thru : paramètres par défaut des régions MIDI
Si
aucune
région
n’est
sélectionnée,
la
ligne
supérieure
de
la
zone
Paramètres
de
région
affiche
MIDI
Thru.
Toute
entrée
MIDI
active
(en
mode
arrêt,
ainsi
qu’au
cours
de
l’enregistrement
ou
de
la
lecture)
sera
lue
au
moyen
des
réglages
sélectionnés
dans
cette
rubrique.
Lorsque
vous
enregistrez
une
nouvelle
région
MIDI,
les
réglages
effectués
dans
la
zone
Paramètres
MIDI
Thru
sont
répercutés
dans
la
nouvelle
zone
Paramètres
de
région
MIDI.
La
zone
Paramètres
MIDI
Thru
peut
être
considérée
comme
une
zone
de
paramètres
par
défaut
modifiable.
Vous
pouvez
régler
les
paramètres
MIDI
Thru
dans
le
cas
où
aucune
région
n’est
sélectionnée.
Cliquez
sur
l’arrière-plan
de
la
fenêtre
Arrangement
pour
désélectionner
toutes
les
régions.
Remarque
:
le
raccourci
clavier
Définir
des
paramètres
de
piste
&
MIDI
Thru
par
région/
dossier
vous
permet
de
définir
les
paramètres
MIDI
de
manière
à
ce
qu’ils
soient
identiques
à
ceux
d’une
région
MIDI
sélectionnée.
Lors
de
cette
opération,
la
piste
de
la
région
est
également
sélectionnée.
Modification de plusieurs régions simultanément
Si
plusieurs
régions
sont
sélectionnées,
leur
nombre
s’affiche,
à
la
place
d’un
nom
de
région.
Si
vous
modifiez
un
paramètre
de
région,
toutes
les
régions
sélectionnées
seront
modifiées.
Si
un
paramètre
donné
est
défini
différemment
dans
les
régions
individuelles,
le
symbole
*
s’affiche
dans
le
champ
Paramètre.
Vous
pouvez
modifier
ce
paramètre
pour
l’ensemble
des
régions
sélectionnées
et
le
différentiel
de
niveau
sera
conservé
(modification
relative).
Si
vous
souhaitez
définir
la
même
valeur
pour
l’ensemble
des
régions
sélectionnées,
maintenez
la
touche
Option
enfoncée
tout
en
modifiant
la
valeur
(modification
absolue).
Chapitre
13
Création
de
votre
arrangement 391
Paramètres
de
région
audio
Les
paramètres
de
région
audio
varient
en
fonction
du
type
de
région
audio
sélectionné,
qui
est
en
fait
subdivisé
en
deux
catégories
:
les
boucles
Apple
Loops
et
les
régions
audio
standard.
Les
paramètres
de
fondu
sont
uniquement
disponibles
lorsque
des
régions
audio
standard
sont
sélectionnées.
Lorsque
des
boucles
Apple
Loops
(vertes
ou
bleues)
sont
ajoutées
aux
pistes
audio,
les
paramètres
Suivre
le
tempo
et
Transposition
s’affichent.
Suivre
le
tempo
Ce
paramètre
(activé
par
défaut)
permet
aux
boucles
Apple
Loops
de
suivre
le
tempo
du
projet.
Transposition
Ce
paramètre
permet
d’augmenter
ou
de
diminuer
la
tonalité
de
la
région
audio
Apple
Loops
selon
le
niveau
choisi.
Paramètres
de
région
MIDI
Si
vous
sélectionnez
une
région
MIDI
(sur
une
piste
MIDI
logicielle
ou
externe),
la
zone
Paramètres
de
région
affiche
les
paramètres
spécifiques
de
région
MIDI
suivants.
Ces
paramètres
s’affichent
également
lorsqu’un
instrument
logiciel
Apple
Loops
vert
est
ajouté
à
une
piste
dirigée
vers
un
canal
d’instrument
(l’instrument
Apple
Loops
est
chargé
dans
le
logement
Instrument
de
la
bande
de
canal).
Quantifier
La
durée
de
tous
les
événements
de
note
de
la
région
MIDI
est
corrigée
en
fonction
du
format
de
grille
(paramètre
Quantifier)
choisi
dans
le
menu.
L’ensemble
des
détails
relatifs
aux
fonctions
de
quantification
disponibles
dans
Logic
Express
se
situent
dans
la
rubrique
chapitre
19,
«
Quantification
d’événements
MIDI
»
à
la
page
513.
Zone
de
paramètres
de
région
MIDI
392 Chapitre
13
Création
de
votre
arrangement
Transposition
Tous
les
événements
de
note
de
la
région
MIDI
sont
transposés
vers
le
haut
ou
vers
le
bas
selon
le
niveau
sélectionné
pendant
la
lecture.
Les
dossiers
entiers
peuvent
également
être
transposés
instantanément
de
cette
manière.
Si
plusieurs
régions
MIDI
individuelles
du
dossier
ont
déjà
été
transposées,
les
différences
relatives
entre
elles
sont
conservées.
Si
vous
souhaitez
transposer
des
octaves,
cliquez
sur
les
flèches
situées
à
droite
du
paramètre
Transposition.
Un
menu
local
s’affiche
et
vous
permet
d’effectuer
des
transpositions
d’octaves
directes.
Pour
éviter
toute
apparition
de
notes
de
batterie
et
ainsi
leur
transposition,
la
zone
Paramètres
d’un
canal
d’instrument
possède
la
case
à
cocher
Aucun
réglage
de
transposition.
Si
vous
activez
cette
option,
le
paramètre
de
transposition
est
ignoré
dans
toutes
les
régions
MIDI
lues
par
cette
bande
de
canal
d’instrument
(y
compris
les
boucles
Apple
Loops
vertes
ajoutées
aux
pistes
dirigées
vers
les
canaux
d’instruments).
Vélocité
Toutes
les
notes
de
la
région
MIDI
concernée
sont
décalées
de
la
valeur
sélectionnée.
Les
valeurs
positives
permettent
d’augmenter
la
vélocité
d’origine
enregistrée,
tandis
que
les
valeurs
négatives
la
diminuent,
bien
qu’il
soit
impossible
d’outrepasser
les
limites
définies
par
le
standard
MIDI
(0–127).
Si
vous
sélectionnez
un
décalage
de
vélocité
dépassant
les
valeurs
minimales
et
maximales
autorisées
pour
une
note
particulière,
cette
note
sera
lue
avec
l’amplitude
la
plus
extrême
possible.
Par
exemple,
lorsque
vous
définissez
un
réglage
de
+20,
une
note
dotée
d’une
vélocité
de
120
sera
lue
à
une
vitesse
de
127.
Dynamiques
Ce
paramètre
permet
également
de
modifier
les
valeurs
de
vélocité
des
notes,
mais
au
lieu
d’ajouter
ou
de
soustraire
une
valeur
fixe,
les
différences
entre
les
notes
douces
et
les
notes
fortes
(la
dynamique)
augmentent
ou
diminuent.
Cela
s’applique
également
au
compresseur
ou
à
l’expanseur.
Les
valeurs
supérieures
à
100
%
permettent
d’augmenter
la
dynamique,
ce
qui
accentue
la
différence
entre
les
notes
douces
et
fortes.
En
revanche,
les
valeurs
inférieures
à
100
%
diminuent
la
dynamique,
réduisant
ainsi
la
différence
entre
les
notes
fortes
et
douces.
Le
réglage
Fixe
permet
de
transmettre
toutes
les
notes
avec
une
valeur
de
vélocité
égale
à
64.
Utilisé
conjointement
avec
le
paramètre
Vélocité
(voir
ci-dessus),
il
permet
de
définir
n’importe
quelle
valeur
de
vitesse
fixe.
Chapitre
13
Création
de
votre
arrangement 393
Temps
de
maintien
Le
terme
«
temps
de
maintien
»
est
issu
de
la
technologie
utilisée
dans
les
synthétiseurs
analogiques
et
fait
référence
à
la
durée
s’écoulant
entre
la
pression
et
le
relâchement
d’une
touche.
Ce
paramètre
a
une
incidence
sur
la
durée
ou
la
longueur
de
la
note
absolue.
Celui-ci
ne
doit
pas
être
confondu
avec
la
valeur
de
note
musicale,
faisant
en
temps
normal
référence
à
la
durée
écoulée
avant
la
note
suivante.
Suite
à
l’utilisation
de
ce
paramètre,
les
notes
de
la
région
sont
davantage
staccato
ou
legato.
La
plage
de
paramètres
est
liée
aux
longueurs
des
notes
d’origine.
Le
réglage
Fixe
permet
d’émettre
des
notes
staccato
extrêmes.
Les
valeurs
inférieures
à
100
%
permettent
de
diminuer
les
longueurs
des
notes.
Les
valeurs
supérieures
à
100
%
permettent
d’augmenter
la
longueur
des
notes.
Le
réglage
«
legato
»
crée
un
effet
legato
intégral
sur
toutes
les
notes,
quelle
que
soit
leur
longueur
d’origine,
ce
qui
permet
d’éliminer
les
blancs
présents
entre
les
notes
de
la
région
concernée.
Utilisé
dans
un
dossier,
ce
réglage
aura
une
incidence
sur
toutes
les
notes
de
l’ensemble
des
régions
MIDI
de
ce
dossier.
Réglage des paramètres de région MIDI
Vous
pouvez
normaliser
les
réglages
des
paramètres
de
région
MIDI
de
l’ensemble
des
régions
MIDI
sélectionnées
et
des
dossiers
à
l’aide
de
la
commande
MIDI
>
Paramètres
de
région
>
Normaliser
les
paramètres
de
région.
Cela
signifie
que
tous
les
réglages
sont
créés
sous
forme
de
données
et
les
paramètres
de
lecture
recouvrent
leurs
valeurs
normales.
L’effet
sonore
reste
le
même.
Le
paramètre
Boucle
et
les
paramètres
de
région
MIDI
étendus
ne
sont
pas
modifiés.
L’utilisation
de
cette
fonction
revient
à
«
rendre
permanentes
ces
valeurs
de
paramètres
de
région
MIDI/instrument
».
Dans
la
plupart
des
cas,
le
recours
à
cette
fonction
est
déconseillé,
car
vous
disposerez
d’une
flexibilité
plus
importante
si
vous
ne
modifiez
pas
les
données
d’origine.
Vous
pourrez
également
modifier
comme
bon
vous
semble
les
régions
MIDI,
et
ce
grâce
aux
nombreuses
opportunités
offertes.
Normaliser et canaux MIDI
Tout
comme
la
fonction
Fusionner
et
l’outil
Colle,
la
fonction
Normaliser
confère
une
utilisation
intelligente
car
elle
permet
de
traiter
les
numéros
de
canaux
MIDI
stockés.
Si
tous
les
événements
stockés
possèdent
le
même
numéro
de
canal
MIDI,
le
canal
utilisé
correspondra
alors
au
canal
de
l’instrument
assigné
à
la
piste
en
cours.
Si
les
événements
se
situent
sur
des
canaux
différents,
Logic
Express
vous
demandera
si
vous
souhaitez
ou
non
convertir
les
canaux
d’événements.
Les
options
Normaliser
suivantes
sont
également
disponibles
dans
le
menu
MIDI
>
Paramètres
de
région
:
 Normaliser
sans
canal
:
ne
modifie
pas
le
numéro
de
canal
stocké.
 Normaliser
sans
canal
&
retard
:
ne
modifie
pas
les
paramètres
de
retard
et
de
numéro
de
canal
stockés.
394 Chapitre
13
Création
de
votre
arrangement
Si
le
réglage
de
canal
de
l’instrument
de
lecture
est
défini
sur
Tout
ou
si
utilisez
un
type
d’objet
d’environnement
totalement
différent
(par
exemple,
un
séparateur
de
canaux
utilisé
en
tant
que
Lecture
A),
la
fonction
Normaliser
habituelle
n’a
également
aucune
incidence
sur
les
numéros
de
canaux
MIDI
enregistrés.
Remarque
:
si
vous
modifiez
des
régions
MIDI
affichées
sous
forme
de
notation
dans
un
style
de
portée
polyphonique,
il
est
conseillé
d’utiliser
la
fonction
Normaliser
sans
canal,
car
le
canal
d’événement
est
utilisé
pour
assigner
des
notes
aux
voix
polyphoniques
individuelles
dans
l’éditeur
de
partition.
14
395
14 Enregistrement
dans
Logic
Express
Ce chapitre décrit tous les aspects des enregistrements audio
et MIDI dans Logic Express.
Vous
allez
apprendre
à
configurer
Logic
Express
pour
vos
enregistrements
audio
et
MIDI,
ainsi
qu’à
utiliser
les
diverses
fonctions
de
gestion
du
flux
de
production.
Parmi
ces
fonctions
figurent
notamment
les
méthodes
d’enregistrement
cyclique,
de
prises
multiples
et
Punch.
Enregistrement
audio
Cette
rubrique
fournit
toutes
les
informations
relatives
aux
enregistrements
audio.
Étant
donné
que
les
méthodes
d’enregistrement
et
la
gestion
des
régions
présentent
des
similitudes
pour
les
données
audio
et
MIDI,
la
plupart
des
techniques
générales
d’enregistrement
audio
peuvent
également
s’appliquer
aux
enregistrements
MIDI.
Les
informations
spécifiques
aux
enregistrements
MIDI
sont
détaillées
dans
la
rubrique
«
Enregistrement
MIDI
»,
à
la
page
426.
Vue d’ensemble de la procédure d’enregistrement
Les
principales
étapes
requises
pour
la
création
d’un
enregistrement
audio
sont
répertoriées
ci-après.
Pour
chaque
étape,
la
vue
d’ensemble
est
suivie
d’une
description
détaillée.
Pour
créer
un
enregistrement
audio
:
1 Vérifiez
la
configuration
de
votre
système
d’enregistrement
(voir
rubrique
suivante)
afin
de
vous
assurer
que
vos
données
matérielles
et
logicielles
communiquent
correctement.
2 Dans
la
liste
des
pistes
d’arrangement
:
sélectionnez
le
nom
de
la
piste
audio
sur
laquelle
vous
souhaitez
effectuer
l’enregistrement.
La
bande
de
canaux
correspondante
s’affiche
dans
l’Inspecteur.
3 Choisissez
le
format
de
bande
de
canaux
souhaité.
396 Chapitre
14
Enregistrement
dans
Logic
Express
4 Cliquez
sur
le
logement
d’entrée
de
la
bande
de
canaux
tout
en
maintenant
la
touche
enfoncée,
puis
choisissez
les
entrées
appropriées
de
votre
interface
audio
dans
le
menu
local.
5 Cliquez
sur
le
bouton
Activer
l’enregistrement
pour
armer
la
piste.
6 Faites
glisser
l’équilibreur
de
niveau
du
canal
activé
vers
la
position
souhaitée
afin
de
définir
le
niveau
de
contrôle.
Remarque
:
vous
devez
cocher
la
case
Contrôle
logiciel
dans
les
préférences
Audio
pour
pouvoir
entendre
les
données
audio
entrantes
dans
Logic
Express
(que
vous
soyez
en
train
d’enregistrer
ou
non).
7 Cliquez
sur
le
bouton
Enregistrer
dans
la
zone
Transport,
puis
commencez
à
jouer
ou
à
chanter.
8 Appuyez
sur
Arrêt
pour
arrêter
l’enregistrement.
Préparation de l’enregistrement
Il
est
recommandé
de
vérifier
la
configuration
de
votre
système
avant
de
commencer
l’enregistrement.
Assurez-vous
que
toutes
les
sources
sonores
que
vous
souhaitez
utiliser
dans
votre
session
d’enregistrement
(table
de
mixage,
lecteur
CD
ou
micro,
par
exemple)
sont
connectées
aux
entrées
audio
de
votre
système
et
fonctionnent
correctement.
Vérifiez
les
réglages
matériels
importants
pour
l’enregistrement,
tels
que
le
réglage
de
la
mémoire
tampon
E/S.
Pour
en
savoir
plus,
reportez-vous
à
la
rubrique
«
Configuration
de
votre
matériel
audio
»
à
la
page
103.
La
qualité
et
la
précision
du
fichier
audio
enregistré
sont
directement
liées
à
la
fréquence
d’échantillonnage
et
à
la
profondeur
de
bits
(ainsi
qu’à
la
qualité
des
convertisseurs
du
matériel
audio).
Tous
les
fichiers
audio
sont
enregistrés
à
la
fréquence
d’échantillonnage
du
projet.
Veillez
à
ce
que
la
fréquence
d’échantillonnage
(voir
ci-après)
soit
adaptée
à
vos
besoins.
Vous
devez
également
vous
assurer
d’avoir
choisi
un
type
de
fichiers
approprié
(AIFF,
WAV,
SDII,
CAF)
dans
le
menu
«
Type
de
fichier
enregistré
»,
accessible
via
Logic
Express
>
Préférences
>
Audio
>
Préférences
générales.
Lorsque
vous
effectuez
un
enregistrement
audio
dans
Logic
Express,
le
processus
se
déroule
comme
suit
:
 Un
fichier
audio
est
créé
sur
le
disque
dur.
 Une
région
audio,
qui
représente
le
fichier
audio
enregistré
intégral,
est
automatiquement
créée
sur
la
piste
d’arrangement
sélectionnée.
 Le
fichier
et
la
région
audio
sont
également
ajoutés
automatiquement
dans
le
chutier
audio.
Le
fichier
audio
s’affiche
également
dans
le
navigateur.
Chapitre
14
Enregistrement
dans
Logic
Express 397
Définition
de
la
fréquence
d’échantillonnage
Il
est
conseillé
de
définir
la
fréquence
d’échantillonnage
lorsque
vous
démarrez
un
projet,
et
d’éviter
de
la
modifier
par
la
suite.
Remarque
:
si
l’option
«
Convertir
la
fréquence
du
fichier
audio
lors
de
l’importation
»
est
activée,
tout
fichier
audio
qui
ne
correspond
pas
à
la
fréquence
d’échantillonnage
du
projet
est
automatiquement
converti
lors
de
l’importation.
Pour
définir
la
fréquence
d’échantillonnage
d’un
projet,
effectuez
l’une
des
opérations
suivantes
:
m Choisissez
Fichier
>
Réglages
du
projet
>
Audio
(ou
utilisez
le
raccourci
clavier
«
Ouvrir
les
réglages
du
projet
audio
»),
puis
choisissez
la
fréquence
d’échantillonnage
souhaitée
dans
le
menu
correspondant.
m Cliquez
sur
l’écran
Fréquence
d’échantillonnage
dans
la
barre
d’outils
Transport,
puis
choisissez
la
fréquence
voulue
dans
le
menu
local.
Si
l’écran
Fréquence
d’échantillonnage
ne
s’affiche
pas,
c’est
probablement
parce
qu’il
a
été
remplacé
par
les
locators
Punch.
Désactivez
l’option
Cycle
dans
la
barre
d’outils
Transport
pour
afficher
l’écran
Fréquence
d’échantillonnage.
Il
se
peut
également
que
vous
n’ayez
pas
coché
la
case
Fréquence
d’échantillonnage
ou
Locators
Punch
dans
la
zone
de
dialogue
Personnaliser
la
barre
de
transport.
Importance
de
la
fréquence
d’échantillonnage
Les
données
audionumériques
sont
jouées
à
une
vitesse
différente
lorsque
la
fréquence
d’échantillonnage
n’est
pas
appropriée.
Les
données
audionumériques
doivent
être
jouées
à
leur
fréquence
d’échantillonnage
originale
ou
être
converties
à
une
autre
fréquence
avant
d’être
jouées
à
une
autre
fréquence
d’échantillonnage.
En
d’autres
termes,
lorsque
un
fichier
créé
à
partir
d’un
échantillon
de
96
000
temps
par
seconde
(fréquence
d’échantillonnage
de
96
kHz)
est
joué
à
48
000
échantillons
par
seconde,
il
est
lu
plus
lentement
(vitesse
réduite
de
moitié).
398 Chapitre
14
Enregistrement
dans
Logic
Express
En
règle
générale,
tout
bounce
créé
pour
être
utilisé
dans
un
projet
doit
être
réglé
sur
la
fréquence
d’échantillonnage
originale
du
projet.
Il
ne
sert
à
rien
de
créer
un
bounce
à
96
kHz,
puis
de
l’importer
et
de
le
convertir
à
44,1
kHz.
Une
fois
que
vous
avez
terminé
votre
projet,
effectuez
un
bounce
sur
celui-ci
à
la
fréquence
d’échantillonnage
souhaitée.
Conseils
relatifs
à
différentes
situations
:
 Si
le
fichier
de
bounce
est
destiné
à
un
CD
audio
(dans
l’hypothèse
où
vous
n’avez
pas
besoin
de
l’envoyer
à
un
studio
ou
dans
une
application
externe
pour
qu’il
soit
masterisé),
il
n’est
pas
nécessaire
d’utiliser
une
fréquence
supérieure
à
44,1
kHz,
car
il
s’agit
de
la
fréquence
d’échantillonnage
standard
pour
les
CD.
 Si
vous
travaillez
dans
le
secteur
du
cinéma
ou
de
la
télévision,
vous
devrez
probablement
utiliser
une
fréquence
d’échantillonnage
de
48
kHz
pour
les
fichiers
audio.
 Si
vous
enregistrez
des
morceaux
classiques
ou
jazz
(ensembles
plus
petits)
ou
que
vous
archivez
des
enregistrements
datant
de
plusieurs
années,
il
peut
être
intéressant
d’utiliser
une
fréquence
de
96
kHz
ou
plus
pour
l’enregistrement.
La
lecture
à
96
kHz
(ou
plus)
des
fichiers
audio
impose
des
contraintes
de
débit
bien
plus
importantes
à
votre
système
et
utilise
beaucoup
plus
d’espace
sur
le
disque
dur.
Dans
la
majorité
des
cas,
il
est
conseillé
d’effectuer
l’enregistrement
à
une
fréquence
de
44,1
kHz
et
à
une
profondeur
de
24
bits.
Réglage
de
la
profondeur
de
bits
Par
défaut,
Logic
Express
enregistre
les
fichiers
audio
avec
une
profondeur
de
16
bits.
Si
vous
possédez
un
matériel
audio
approprié,
les
enregistrements
à
24
bits
constituent
une
amélioration
considérable
dans
la
dynamique
disponible.
Les
fichiers
de
24
bits
utilisent
une
fois
et
demie
plus
d’espace
disque
que
les
fichiers
de
16
bits.
Si
vous
devez
effectuer
un
enregistrement
à
24
bits
:
1 Ouvrez
les
préférences
audio
en
effectuant
l’une
des
opérations
suivantes
:
 Choisissez
Logic
Express
>
Préférences
>
Audio
(ou
utilisez
le
raccourci
clavier
«
Ouvrir
les
préférences
audio
»).
 Cliquez
sur
le
bouton
Préférences
dans
la
barre
d’outils
Arrangement
et
choisissez
Audio
dans
le
menu.
2 Cliquez
sur
l’onglet
Appareils,
puis
sur
l’onglet
Core
Audio.
3 Activez
l’option
Enregistrement
24
bit.
Chapitre
14
Enregistrement
dans
Logic
Express 399
Réglage
du
métronome
Si
vous
souhaitez
entendre
le
métronome
(clic)
pendant
l’enregistrement,
vous
pouvez
configurer
cette
option
dans
le
menu
des
réglages
du
projet
Métronome.
Pour
ouvrir
les
réglages
de
projet
Métronome,
procédez
de
l’une
des
manières
suivantes
:
m Choisissez
Fichier
>
Réglages
du
projet
>
Métronome
(ou
utilisez
le
raccourci
clavier
«
Ouvrir
les
réglages
du
projet
Métronome
»).
m Cliquez
sur
le
bouton
Réglages
dans
la
barre
d’outils
Arrangement,
puis
choisissez
Métronome
dans
le
menu
local.
m Dans
le
menu
Transport,
cliquez
sur
le
bouton
Métronome
tout
en
maintenant
la
touche
Contrôle
enfoncée,
puis
choisissez
Réglages
métronome
dans
le
menu
local.
La
fenêtre
«
Réglages
du
projet
Métronome
»
contient
tous
les
réglages
pour
:
 Une
source
audio
de
métronome
d’instrument
logiciel
appelée
KlopfGeist
(qui
est
activée
par
défaut).
Vous
pouvez
la
désactiver
via
la
case
à
cocher
«
Instrument
de
clic
logiciel
(KlopfGeist)
».
 L’objet
Clic
MIDI
de
l’Environnement
(voir
«
Objet
Clic
MIDI
»
à
la
page
1004).
Vous
pouvez
préciser
à
quel
port
MIDI
cet
objet
est
envoyé
(Tous
par
défaut).
Pour
désactiver
la
sortie
de
métronome
MIDI,
choisissez
Désactivé
dans
le
menu
local
du
port
MIDI.
Vous
pouvez
utiliser
ces
sources
de
clic
de
manière
isolée
ou
les
combiner.
400 Chapitre
14
Enregistrement
dans
Logic
Express
KlopfGeist
est
un
instrument
logiciel
qui
se
trouve
dans
le
menu
Module
des
logements
d’instrument.
KlopfGeist
est
inséré
dans
le
canal
d’instrument
128,
par
défaut.
Lorsque
la
case
KlopfGeist
est
cochée,
Logic
Express
crée
automatiquement
un
canal
d’instrument
128
(dans
lequel
KlopfGeist
est
inséré).
En
théorie,
tout
autre
instrument
Logic
Express
ou
de
tierce
partie
peut
servir
de
source
audio
de
métronome
par
le
biais
du
canal
d’instrument
128.
Pour
en
savoir
plus
sur
l’instrument
KlopfGeist,
veuillez
vous
reporter
au
manuel
Instruments
et
effets.
Pour
configurer
le
métronome
en
vue
de
l’enregistrement
:
1 Définissez
la
fréquence
à
laquelle
vous
souhaitez
entendre
le
clic
du
métronome
:
à
chaque
mesure,
temps
ou
division,
en
activant
la
case
à
cocher
correspondante
(Mesure,
Temps
ou
Division).
2 Activez
l’option
Clic
pendant
l’enregistrement
(elle
est
déjà
active
par
défaut).
Définissez
également
les
options
«
Seulement
durant
le
décompte
»
et
«
Clic
pendant
la
lecture
»
en
fonction
de
vos
besoins.
Il
est
conseillé
de
laisser
l’option
Clics
polyphoniques
activée,
car
elle
permet
le
chevauchement
de
clics.
3 Cliquez
sur
le
bouton
Enregistrer
en
haut
de
la
fenêtre
Réglages
du
projet
pour
ouvrir
les
réglages
du
projet
d’enregistrement.
4 Activez
le
bouton
radio
Décompte
(actif
par
défaut).
5 Choisissez
la
période
de
décompte
qui
précédera
l’enregistrement.
Ces
options
sont
disponibles
dans
le
menu
local.
 Aucun
:
l’enregistrement
commence
sans
décompte.
 x
mesures
:
X
mesures
de
décompte.
 x/4
:
zone
permettant
de
définir
le
temps
de
décompte.
Ces
réglages
sont
utiles
lorsque
le
décompte
(et,
par
conséquent,
l’enregistrement)
se
situe
dans
un
trait
de
mesure.
Pour
plus
d’informations
sur
les
réglages
du
projet
Métronome,
reportez-vous
à
la
rubrique
«
Réglages
Métronome
»
à
la
page
1035.
Chapitre
14
Enregistrement
dans
Logic
Express 401
Utilisation
du
contrôle
logiciel
La
fonction
Contrôle
logiciel
permet
de
contrôler
les
données
audio
entrantes
à
l’aide
des
modules
d’effets
insérés
dans
un
canal
audio
activé.
Les
entrées
audio
doivent
être
attribuées
sur
les
pistes
activées
pour
l’enregistrement
afin
de
pouvoir
utiliser
la
fonction
de
contrôle
logiciel.
Les
modules
d’effet
sont
contrôlés
mais
ne
sont
pas
enregistrés.
Cela
peut
être
utile
pendant
une
session
d’enregistrement.
Par
exemple
:
au
cours
d’un
enregistrement
vocal,
de
nombreux
chanteurs
préfèrent
entendre
leurs
performances
avec
un
léger
réverb,
mais
la
piste
est
enregistrée
de
façon
«
sèche
»
(sans
effet).
Pour
contrôler
une
piste
avec
des
modules
d’effet
lors
de
l’enregistrement
:
1 Cochez
la
case
Logic
Express
>
Préférences
>
Audio
>
Appareils
>
Core
Audio
>
Contrôle
logiciel.
Remarque
:
aucun
contrôle
de
quelque
nature
que
ce
soit
n’aura
lieu
si
cette
option
est
désactivée
pour
le
matériel
audio
actif.
2 Insérez
l’effet
souhaité
dans
le
canal
audio,
armez
la
piste,
puis
commencez
l’enregistrement.
L’effet
fera
partie
du
mixage
de
contrôle
mais
ne
sera
pas
enregistré.
Monitoring automatique d’entrée
Si
l’option
Monitoring
automatique
d’entrée
est
activée,
vous
entendez
le
signal
d’entrée
au
cours
de
l’enregistrement
(toutefois,
avant
et
près,
vous
entendez
l’audio
précédemment
enregistré
sur
la
piste
alors
que
le
séquenceur
était
en
fonctionnement).
Cela
vous
permet
d’évaluer
les
points
de
Punch-in
et
de
Punch-out
lors
de
l’enregistrement
Punch.
Si
l’option
Monitoring
automatique
d’entrée
est
désactivée,
vous
entendez
toujours
le
signal
d’entrée.
L’activation
de
cette
option
vous
permet
également
d’entendre
la
source
d’entrée
lorsque
Logic
Express
est
arrêté,
ce
qui
facilite
le
réglage
des
niveaux.
Pour
activer
le
monitoring
automatique
d’entrée,
effectuez
l’une
des
opérations
suivantes
:
m Choisissez
Options
>
Audio
>
Monitoring
automatique
d’entrée
dans
la
barre
des
menus
principale
(ou
utilisez
le
raccourci
clavier
«
Basculer
Basculer
Monitoring
d’entrée
Auto
»).
m Dans
le
menu
Transport,
cliquez
sur
le
bouton
Enregistrer
tout
en
maintenant
la
touche
Contrôle
enfoncée,
puis
activez
l’option
Monitoring
automatique
d’entrée
dans
le
menu
local.
402 Chapitre
14
Enregistrement
dans
Logic
Express
Dans
certaines
circonstances,
l’utilisation
du
monitoring
automatique
d’entrée
avec
les
pistes
activées
pour
l’enregistrement
peut
se
révéler
problématique
:
 Le
chanteur
ne
s’entend
pas
lorsque
Logic
Express
est
en
mode
lecture
ou
enregistrement.
Il
n’entend
que
l’ancien
enregistrement.
Dans
ce
cas,
désactivez
le
monitoring
automatique
d’entrée.
 La
piste
est
inaudible,
bien
que
Logic
Express
ne
soit
pas
en
mode
enregistrement.
Activez
le
monitoring
automatique
d’entrée
pour
entendre
l’audio
sur
la
piste.
En
fonction
des
circonstances,
chacune
de
ces
options
peut
être
utile.
En
règle
générale,
le
monitoring
automatique
d’entrée
est
activé
et
n’est
désactivé
que
dans
des
circonstances
particulières.
Utilisation des boutons de contrôle des entrées
Vous
pouvez
utiliser
le
bouton
Contrôler
les
entrées
pour
contrôler
les
pistes
audio
qui
ne
sont
pas
armées.
Activez
simplement
le
bouton
Contrôler
les
entrées
sur
une
piste
audio
(ou
sur
une
bande
de
canaux
dans
la
fenêtre
Arrangement
ou
Table
de
mixage).
Cela
fonctionne
lorsque
Logic
Express
est
arrêté
ou
en
cours
de
lecture.
Pour
déterminer
quel
signal
(entrée)
est
contrôlé
:
m Choisissez
l’entrée
(ou
la
paire
d’entrées)
appropriée
dans
le
menu
de
logement
audio
pour
la
bande
de
canaux
correspondante.
Π Conseil
:
en
règle
générale,
vous
pouvez
laisser
le
bouton
Contrôler
les
entrées
activé
avant,
pendant
et
après
l’enregistrement.
Lorsque
le
bouton
Contrôler
les
entrées
est
activé,
l’utilisation
des
boutons
Activer
l’enregistrement
ou
Monitoring
automatique
d’entrée
n’affecte
pas
le
contrôle
logiciel.
Dans
le
cadre
d’un
enregistrement
Punch,
il
est
conseillé
d’utiliser
la
fonction
Contrôle
d’entrée
automatique
plutôt
que
le
bouton
Contrôler
les
entrées.
Chapitre
14
Enregistrement
dans
Logic
Express 403
Problèmes éventuels liés au contrôle des entrées
Notez
que
le
contrôle
des
entrées
entraîne
toujours
un
court
temps
de
latence.
Le
temps
de
latence
dépend
entièrement
des
capacités
du
matériel
audio
et
du
réglage
des
gestionnaires.
Dans
certaines
configurations,
vous
obtiendrez
de
meilleurs
résultats
si
vous
n’effectuez
pas
de
contrôle
dans
Logic
Express.
Ainsi,
vous
bénéficierez
de
la
meilleure
synchronisation
possible.
Acheminez
le
signal
que
vous
souhaitez
enregistrer
directement
sur
des
écouteurs
ou
sur
l’amplificateur
de
contrôle
afin
de
contrôler
le
signal
(et
sur
les
entrées
de
l’interface
audio
pour
l’enregistrement).
Vous
n’effectuerez
pas
de
surmodulation
accidentelle
de
vos
convertisseurs
A/N,
car
les
VU-mètres
d’entrée
de
Logic
Express
affichent
un
avertissement
en
cas
de
surcharge.
Réglage
du
niveau
de
contrôle
Si
la
préférence
Niveau
de
contrôle
indépendant
(pour
les
bandes
de
canaux
où
l’enregistrement
est
activé)
du
menu
Logic
Express
>
Préférences
>
Audio
>
Appareils
>
onglet
Core
Audio
est
activée,
un
niveau
de
contrôle
indépendant
est
disponible
lorsque
le
canal
audio
est
activé
pour
l’enregistrement.
Une
fois
que
la
piste
est
armée,
réglez
l’équilibreur
au
niveau
souhaité.
Le
niveau
de
lecture
initial
est
rétabli
lorsque
le
bouton
d’enregistrement
du
canal
est
désactivé.
Important
:
quand
une
piste
est
activée
pour
l’enregistrement,
l’équilibreur
de
niveau
s’applique
uniquement
au
niveau
de
lecture
(ou
de
contrôle),
mais
pas
au
niveau
d’enregistrement.
Les
niveaux
d’enregistrement
doivent
être
définis
de
manière
externe
:
sur
votre
table
de
mixage
ou
sur
la
source
sonore
d’origine.
Soyez
prudent
lorsque
vous
réglez
les
niveaux
d’entrée,
car
un
écrêtage
de
l’audio
numérique
aura
lieu
en
cas
de
surcharge.
Cet
écrêtage
entraîne
une
distorsion
métallique
particulièrement
dure.
Si
vous
souhaitez
éviter
les
styles
musicaux
lourds,
il
est
donc
recommandé
de
ne
pas
surcharger
les
entrées
(voir
«
Comprendre
le
détecteur
d’écrêtage
»
à
la
page
620).
Réglage
du
dossier
d’enregistrement
Avant
de
procéder
à
l’enregistrement,
il
est
conseillé
de
définir
une
cible
(sur
votre
disque
dur)
pour
les
données
audio.
Remarque
:
si
vous
enregistrez
votre
projet
avec
ses
ressources,
Logic
Express
stocke
votre
fichier
de
projet
(le
«
morceau
»)
dans
un
dossier
de
projet.
Le
dossier
de
projet
contient
un
dossier
«
Fichiers
audio
»
automatiquement
créé,
qui
est
utilisé
comme
dossier
d’enregistrement
par
défaut.
Si
vous
préférez
enregistrer
vos
projets
sans
ressources,
reportez-vous
à
la
rubrique
qui
suit.
Vous
pouvez
définir
un
dossier
d’«
enregistrement
»
différent
pour
chaque
projet.
Le
dossier
d’enregistrement
est
défini
dans
les
réglages
du
projet
Enregistrement.
404 Chapitre
14
Enregistrement
dans
Logic
Express
Pour
définir
le
dossier
d’enregistrement
:
1 Ouvrez
les
réglages
du
projet
Enregistrement
en
procédant
de
l’une
des
manières
suivantes
:
 Choisissez
Fichier
>
Réglages
du
projet
>
Enregistrement
(ou
utilisez
le
raccourci
clavier
Ouvrir
les
réglages
de
projet
Enregistrement).
 Cliquez
sur
le
bouton
Réglages
dans
la
barre
d’outils
Arrangement,
puis
choisissez
Enregistrement
dans
le
menu
local.
 Cliquez
sur
le
bouton
Enregistrer
tout
en
maintenant
la
touche
Contrôle
enfoncée,
puis
choisissez
Réglages
d’enregistrement
dans
le
menu
local.
2 Cliquez
sur
le
bouton
Définir
pour
ouvrir
un
sélecteur
de
fichier,
puis
parcourez
le
disque
pour
accéder
au
dossier
d’enregistrement
souhaité.
Taille
maximale
de
l’enregistrement
Les
formats
de
fichier
AIFF
et
SDII
ne
peuvent
pas
prendre
en
charge
les
enregistrements
de
fichier
audio
supérieurs
à
2
Go.
Pour
les
fichiers
stéréo
de
16
bits
à
44,1
kHz,
cela
équivaut
à
un
temps
d’enregistrement
d’environ
3
heures
et
15
minutes.
Le
format
de
fichier
WAV
ne
peut
pas
prendre
en
charge
les
enregistrements
de
fichier
audio
supérieurs
à
4
Go.
Pour
les
fichiers
stéréo
de
16
bits
à
44,1
kHz,
cela
équivaut
à
un
temps
d’enregistrement
d’environ
6
heures
et
30
minutes.
Si
la
taille
de
votre
enregistrement
est
censée
dépasser
à
ces
limites,
choisissez
le
type
de
fichier
d’enregistrement
CAF.
Le
format
CAF
peut
prendre
en
charge
les
temps
d’enregistrement
suivants
:
 environ
13
heures
et
30
minutes
à
une
fréquence
de
44,1
kHz
;
 environ
6
heures
à
une
fréquence
de
96
kHz
;
 environ
3
heures
à
une
fréquence
de
192
kHz.
La
profondeur
de
bits
et
le
format
de
canal
(mono
ou
stéréo)
n’ont
aucune
incidence
sur
la
taille
d’enregistrement
maximale
des
fichiers
CAF.
Vous
pouvez
définir
un
type
de
fichier
par
défaut
dans
le
menu
Type
de
fichier
enregistré,
accessible
via
Logic
Express
>
Préférences
>
Audio
>
Préférences
générales.
Chapitre
14
Enregistrement
dans
Logic
Express 405
Nom
des
enregistrements
audio
Le
nom
de
la
piste
est
utilisé
comme
nom
de
fichier
par
défaut
pour
un
enregistrement.
Les
enregistrements
ultérieurs
sur
cette
piste
se
voient
attribuer
un
suffixe
numérique
croissant.
Ainsi,
les
enregistrements
de
«
Audio
1
»
se
voient
attribuer
les
noms
«
Audio
1_01
»,
«
Audio
1_02
»,
etc.
Si
aucun
nom
n’est
attribué
à
la
piste,
le
nom
de
la
bande
de
canaux
vers
laquelle
la
piste
est
acheminée
est
utilisé.
Vous
pouvez
renommer
les
pistes
dans
les
fenêtres
Liste
des
pistes
d’arrangement
et
Table
de
mixage
(voir
«
Attribution
de
noms
à
des
pistes
»
à
la
page
212
et
«
Attribution
de
nouveaux
noms
de
pistes
dans
la
fenêtre
de
la
table
de
mixage
»
à
la
page
645).
Configuration des canaux de piste
Si
vous
souhaitez
apporter
des
ajustements
aux
bandes
de
canaux
audio,
vous
pouvez
les
effectuer
directement
dans
la
bande
de
canaux
d’arrangement.
Vous
pouvez
également
régler
la
bande
de
canaux
à
l’aide
de
la
fenêtre
Table
de
mixage.
Pour
en
savoir
plus,
reportez-vous
à
la
rubrique
«
Réglage
des
niveaux
des
bandes
de
canaux
»
à
la
page
618.
Création
d’enregistrements
mono
ou
stéréo
Logic
Express
permet
d’effectuer
des
enregistrements
mono
ou
stéréo.
Pour
modifier
le
format
d’enregistrement
d’un
canal
:
m Cliquez
sur
le
bouton
Format
de
la
bande
de
canaux
tout
en
maintenant
la
touche
Contrôle
enfoncée,
puis
choisissez
le
format
souhaité
dans
le
menu
local.
Le
symbole
figurant
sur
le
bouton
indique
le
statut
actuel
de
la
manière
suivante
:
Mono Stéréo Gauche Droit
406 Chapitre
14
Enregistrement
dans
Logic
Express
 Mono
:
le
format
d’entrée
mono
est
représenté
par
un
cercle.
Le
VU-mètre
ne
contient
qu’une
seule
colonne.
 Stéréo
:
le
format
d’entrée
stéréo
est
représenté
par
deux
cercles
entrelacés.
Lorsque
le
format
d’entrée
stéréo
est
sélectionné,
le
VU-mètre
se
décompose
en
deux
colonnes
indépendantes.
 Gauche
:
deux
cercles,
dont
celui
de
gauche
est
plein,
indiquent
un
format
d’entrée
de
canal
gauche.
Si
ce
format
d’entrée
est
choisi,
seul
le
canal
de
gauche
est
lu
pour
un
fichier
audio
stéréo.
Le
VU-mètre
ne
contient
qu’une
seule
colonne.
 Droit
:
deux
cercles,
dont
celui
de
droite
est
plein,
indiquent
un
format
d’entrée
de
canal
droit.
Si
ce
format
de
sortie
est
choisi,
seul
le
canal
de
droite
est
lu
pour
un
fichier
audio
stéréo.
Le
VU-mètre
ne
contient
qu’une
seule
colonne.
Activation
d’une
ou
plusieurs
pistes
pour
l’enregistrement
Les
pistes
audio
doivent
être
activées
pour
l’enregistrement
(armées)
de
façon
manuelle
avant
l’enregistrement,
tout
comme
pour
les
pistes
d’un
magnétophone.
Le
bouton
Activer
l’enregistrement
devient
rouge
pour
indiquer
le
statut
armé
des
pistes.
Vous
ne
pouvez
effectuer
des
enregistrements
audio
que
sur
des
pistes
armées,
quel
que
soit
le
nom
de
piste
sélectionné
dans
la
liste
des
pistes
d’arrangement.
Si
plusieurs
pistes
d’arrangement
sont
acheminées
vers
la
même
bande
de
canaux
(«
Audio
1
»,
par
exemple),
le
nouveau
fichier
audio
sera
enregistré
dans
la
piste
sélectionnée
(acheminée
vers
«
Audio
1
»).
Si
aucune
piste
n’est
sélectionnée,
l’audio
sera
enregistré
dans
la
première
(plus
haute)
de
ces
pistes.
Un
espace
est
réservé
sur
le
disque
dur
pour
les
pistes
armées
et
n’est
plus
disponible
pour
les
fichiers
d’annulation.
De
ce
fait,
Logic
Express
désactive
automatiquement
les
pistes
audio
lors
des
modifications
apportées
dans
l’Éditeur
des
échantillons,
ou
si
le
disque
dur
est
presque
plein.
Important
:
vous
pouvez
seulement
utiliser
le
bouton
Activer
l’enregistrement
sur
les
pistes
audio
qui
possèdent
une
entrée
unique.
Il
n’est
pas
possible
d’armer
simultanément
plusieurs
pistes
qui
utilisent
la
même
entrée
(sélectionnées
dans
le
logement
d’entrée).
Pour
activer
l’enregistrement
sur
une
ou
plusieurs
pistes
audio,
effectuez
l’une
des
opérations
suivantes
:
m Cliquez
sur
le
bouton
Activer
l’enregistrement
sur
la(les)
piste(s)
souhaitée(s)
dans
la
liste
des
pistes.
Chapitre
14
Enregistrement
dans
Logic
Express 407
m Cliquez
sur
le
bouton
Activer
l’enregistrement
pour
tous
les
canaux
de
piste
(dans
la
table
de
mixage)
sur
lesquels
vous
souhaitez
effectuer
l’enregistrement.
m Sélectionnez
la
ou
les
piste(s)
de
votre
choix
dans
la
zone
Arrangement
et
utilisez
le
raccourci
clavier
«
Enregistrer
la
piste
active
».
Remarque
:
si
ces
boutons
ne
sont
pas
visibles
dans
la
liste
des
pistes,
choisissez
Présentation
>
Configurer
l’en-tête
de
piste.
Dans
la
zone
de
dialogue,
cochez
la
case
Activer
l’enregistrement.
Si
cette
case
est
active
mais
que
la
coche
n’est
pas
visible,
activez
le
matériel
audio
correspondant
dans
Logic
Express
>
Préférences
>
Audio
>
Matériel
et
gestionnaires
audio.
Pour
désarmer
une
piste
sur
laquelle
l’enregistrement
est
activé
:
m Cliquez
une
deuxième
fois
sur
le
bouton
(mis
en
surbrillance)
Activer
l’enregistrement,
soit
dans
la
liste
des
pistes,
soit
dans
la
table
de
mixage.
Pour
désarmer
toutes
les
pistes
sur
lesquelles
l’enregistrement
est
activé
:
m Cliquez
sur
le
bouton
clignotant
Activer
l’enregistrement
de
n’importe
quel
canal
de
piste
activé
pour
l’enregistrement.
Activation
simultanée
des
enregistrements
de
piste
audio
et
MIDI
Vous
pouvez
être
amené
à
enregistrer
simultanément
des
pistes
audio
et
MIDI,
par
exemple
pour
capturer
un
enregistrement
de
groupe
en
direct
avec
un
synthétiseur
qui
utilise
un
ou
plusieurs
instruments
logiciels
de
Logic
Express.
Vous
pouvez
enregistrer
simultanément
plusieurs
pistes
MIDI
et
audio
(voir
«
Enregistrement
sur
plusieurs
pistes
MIDI
»
à
la
page
431).
Remarque
:
vous
pouvez
seulement
utiliser
le
bouton
Activer
l’enregistrement
sur
les
pistes
audio
qui
possèdent
une
entrée
unique.
Il
n’est
pas
possible
d’armer
simultanément
plusieurs
pistes
qui
utilisent
la
même
entrée
(sélectionnées
dans
le
logement
d’entrée).
Pour
activer
plusieurs
pistes
audio
et
MIDI
en
vue
de
l’enregistrement
:
1 Cliquez
sur
le
bouton
Activer
l’enregistrement
correspondant
aux
pistes
audio
que
vous
souhaitez
utiliser.
2 Cliquez
sur
les
boutons
Activer
l’enregistrement
correspondant
aux
pistes
MIDI.
Création d’un enregistrement audio
Logic
Express
met
à
votre
disposition
une
variété
de
modes
et
de
méthodes
d’enregistrement,
adaptés
aux
diverses
situations
auxquelles
vous
pouvez
être
confronté
et
à
vos
multiples
tâches.
Ces
méthodes
sont
les
suivantes
:
 Enregistrement
standard
:
armez
une
piste,
puis
cliquez
sur
le
bouton
Enregistrer
de
la
barre
de
transport.
408 Chapitre
14
Enregistrement
dans
Logic
Express
 Enregistrement
de
prise
:
semblable
à
l’enregistrement
standard,
mais
lorsque
plusieurs
enregistrements
d’une
même
rubrique
sont
sur
une
piste
unique,
ils
sont
automatiquement
compactés
dans
des
«
dossiers
de
prises
».
 Enregistrement
Punch
:
vous
pouvez
utiliser
manuellement
les
méthodes
de
«
punch-in
»
et
de
«
punch
out
»
à
des
positions
de
projet
spécifiques,
ce
qui
vous
permet
d’effectuer
des
enregistrements
sur
une
région
existante.
 Enregistrement
de
remplacement
:
généralement
associé
à
l’enregistrement
Punch,
où
le
nouvel
enregistrement
remplace
l’enregistrement
original
(ou
une
partie
de
celui-ci).
Tous
les
modes
d’enregistrement
peuvent
fonctionner
conjointement
avec
le
mode
Cycle,
ce
qui
vous
permet
d’effectuer
des
enregistrements
sur
une
rubrique
continue
répétée
de
votre
projet.
Enregistrement
standard
avec
un
décompte
Vous
pouvez
débuter
l’enregistrement
à
tout
moment
d’un
projet,
en
réglant
la
tête
de
lecture
à
l’emplacement
souhaité.
En
supposant
que
les
pistes
d’enregistrement
sont
correctement
définies
(les
entrées
du
matériel
audio
souhaitées
sont
connectées,
réglées
et
sélectionnées
comme
source
d’entrée
dans
le
canal)
et
que
la
piste
est
armée
:
Pour
commencer
l’enregistrement
:
m Cliquez
sur
le
bouton
Enregistrement
dans
le
menu
Transport
(ou
utilisez
le
raccourci
clavier
Enregistrer,
par
défaut
:
*).
Le
décompte
x
défini
dans
Fichier
>
Réglages
du
projet
>
Enregistrement
est
entendu.
Toute
donnée
audio
présente
au
cours
du
décompte
est
enregistrée.
Pendant
l’enregistrement,
un
indicateur
de
progression
affiche
le
temps
d’enregistrement
restant
et
le
temps
écoulé.
Chapitre
14
Enregistrement
dans
Logic
Express 409
Pour
arrêter
l’enregistrement
:
m Cliquez
sur
le
bouton
Arrêt
dans
le
menu
Transport.
Logic
Express
crée
automatiquement
une
région
audio
dans
la
zone
Arrangement
ainsi
qu’une
vue
d’ensemble
du
fichier
audio.
Il
s’agit
d’un
fichier
graphique
utilisé
pour
afficher
la
forme
d’onde.
Vous
pouvez
lire
le
nouvel
enregistrement
tandis
que
la
vue
d’ensemble
est
en
cours
de
création.
Remarque
:
si
vous
avez
interrompu
l’enregistrement
(en
appuyant
sur
le
bouton
Pause),
vous
pouvez
le
reprendre
en
cliquant
sur
Enregistrement,
Pause
ou
Lecture.
L’enregistrement
commence
au
niveau
de
la
position
actuelle
de
la
tête
de
lecture.
Commandes
d’enregistrement
avancées
Plusieurs
commandes
d’enregistrement
avancées
permettent
de
rendre
le
processus
d’enregistrement
beaucoup
plus
rapide.
Il
est
conseillé
de
les
utiliser,
lorsque
cela
est
possible,
au
cours
de
vos
sessions
d’enregistrement.
 Enregistrement
:
la
commande
Enregistrement
(par
défaut)
lance
l’enregistrement.
Si
vous
l’utilisez
en
cours
d’enregistrement,
elle
n’a
aucun
effet
et
l’enregistrement
continue.
Vous
devez
appuyer
sur
la
touche
Arrêt
pour
mettre
fin
à
l’enregistrement
(raccourci
clavier
par
défaut
:
touche
astérisque
sur
le
pavé
numérique).
 Enregistrement/Activation-désactivation
de
l’enregistrement
:
si
vous
utilisez
cette
commande
en
cours
d’enregistrement,
l’enregistrement
est
temporairement
interrompu,
mais
la
lecture
continue.
Utilisez
de
nouveau
cette
commande
pour
reprendre
l’enregistrement
à
partir
de
la
position
actuelle
de
la
tête
de
lecture.
 Enregistrement/Répétition
de
l’enregistrement
:
si
vous
utilisez
cette
commande
en
cours
d’enregistrement,
l’enregistrement
en
cours
est
supprimé,
la
tête
de
lecture
est
repositionnée
à
la
position
de
départ
(de
l’enregistrement)
et
un
nouvel
enregistrement
est
lancé
immédiatement.
 Abandonner
l’enregistrement
et
revenir
à
la
dernière
position
de
lecture
:
ce
raccourci
clavier
abandonne
l’enregistrement
en
cours,
supprime
les
fichiers
correspondants
du
chutier
audio
et
déplace
la
tête
de
lecture
vers
la
dernière
position
de
lecture
(raccourci
clavier
par
défaut
:
Command
+
Point).
La
différence
entre
cette
commande
et
la
fonction
Enregistrement/Répétition
de
l’enregistrement
est
qu’elle
ne
lance
pas
automatiquement
et
immédiatement
un
nouvel
enregistrement.
Les
communications
rétroactives
sont
ainsi
autorisées
quand
Logic
Express
est
arrêté.
Vous
devez
ensuite
lancer
un
nouvel
enregistrement
(avec
n’importe
quelle
commande
d’enregistrement).
410 Chapitre
14
Enregistrement
dans
Logic
Express
Configuration
du
bouton
d’enregistrement
dans
la
barre
de
transport
Vous
pouvez
remplacer
la
fonction
du
bouton
Enregistrer
de
la
barre
de
transport
en
la
faisant
passer
d’Enregistrement
(par
défaut)
à
Activation-désactivation
de
l’enregistrement
ou
à
Répétition
de
l’enregistrement.
Pour
configurer
le
bouton
Enregistrer
de
la
barre
de
transport
:
m Cliquez
sur
le
bouton
Enregistrer
tout
en
maintenant
la
touche
Contrôle
enfoncée,
puis
choisissez
l’option
souhaitée
dans
le
menu.
La
commande
active
est
indiquée
par
une
coche.
Enregistrement
de
prises
Logic
Express
met
à
votre
disposition
des
fonctionnalités
avancées
de
gestion
des
prises.
Une
prise
est
un
morceau
(tel
qu’un
solo
de
guitare)
joué
et
enregistré
plusieurs
fois.
Vous
pouvez,
par
exemple,
enregistrer
plusieurs
versions
consécutives
d’un
solo
et
choisir
ensuite
la
meilleure
«
prise
».
Les
prises
sont
généralement
créées
via
un
enregistrement
en
mode
cyclique,
mais
elles
peuvent
également
être
créées
par
un
simple
enregistrement
dans
les
régions
existantes.
Les
prises
constituent
également
la
base
des
tâches
de
comping
qui
consistent
à
compiler
les
meilleurs
enregistrements
(tirés
de
prises
différentes)
en
une
seule
«
super
prise
».
Cette
compilation
sera
utilisée
comme
version
finale
de
votre
prise.
Pour
obtenir
des
informations
complètes
sur
les
accompagnements,
reportez-vous
à
la
rubrique
«
Création
d’accompagnements
»
à
la
page
420.
La
préparation
de
l’enregistrement
des
prises
est
identique
à
celle
des
enregistrements
audio.
Aucune
configuration
spécifique
n’est
requise.
Vous
pouvez
donc
lancer
l’enregistrement
comme
vous
le
feriez
pour
un
enregistrement
audio.
Reportez-vous
à
la
rubrique
«
Enregistrement
standard
avec
un
décompte
»
à
la
page
408.
La
première
prise
apparaît
sous
forme
de
région
audio,
de
manière
habituelle.
Une
fois
qu’un
enregistrement
est
effectué
sur
une
région
existante
(par
exemple
quand
la
deuxième
phase
d’un
enregistrement
cyclique
prend
fin
et
que
la
troisième
phase
commence,
ou
quand
vous
arrêtez
l’enregistrement
manuellement
après
la
première
mesure),
un
dossier
de
prise
est
créé.
 L’enregistrement
entier
(toutes
les
prises)
est
stocké
sous
forme
de
fichier
audio
unique.
Chapitre
14
Enregistrement
dans
Logic
Express 411
 Le
dossier
des
prises
n’occupe
qu’une
seule
piste
(mais
peut
être
ouvert
-
fonction
décrite
ultérieurement).
Remarque
:
les
dossiers
de
prises
sont
uniquement
créés
lorsque
le
mode
de
remplacement
est
désactivé
(valeur
par
défaut).
Fonctionnement de l’enregistrement du dossier des prises
Cette
rubrique
décrit
comment
les
prises
sont
gérées
dans
les
différents
cas
d’enregistrements.
Enregistrement
sur
une
région
Lorsque
vous
effectuez
un
enregistrement
sur
une
région
existante,
un
dossier
de
prises
est
automatiquement
créé.
La
taille
de
ce
dossier
est
déterminée
par
la
région
la
plus
longue
(la
région
existante
ou
la
région
résultant
de
l’enregistrement).
Au
cours
de
l’enregistrement
cyclique
:
 L’arrêt
manuel
d’un
enregistrement
au
sein
de
la
première
mesure
de
la
répétition
d’un
cycle
(si
vous
interrompez,
par
exemple,
un
enregistrement
de
quatre
mesures
à
la
moitié
de
la
première
mesure,
au
niveau
de
la
quatrième
passe
d’un
enregistrement
cyclique)
provoque
la
suppression
de
cette
petite
rubrique.
Logic
Express
estime
que
vous
avez
suspendu
l’enregistrement
un
peu
tard
et
considère
donc
l’enregistrement
comme
«
accidentel
».
 L’arrêt
manuel
d’un
enregistrement
après
la
première
mesure
de
la
répétition
d’un
cycle
(si
vous
interrompez,
par
exemple,
un
enregistrement
de
quatre
mesures
à
la
moitié
de
la
deuxième
mesure,
au
niveau
de
la
quatrième
passe
d’un
enregistrement
cyclique)
crée
automatiquement
un
«
accompagnement
»
constitué
de
la
dernière
prise
et
de
l’avant-dernière.
412 Chapitre
14
Enregistrement
dans
Logic
Express
Remarque
:
les
enregistrements
de
prises
durant
plus
d’une
mesure,
mais
ne
couvrant
pas
la
longueur
totale
du
dossier
(ou
de
la
région)
de
prises
sont
automatiquement
«
accompagnés
».
Enregistrement
sur
un
dossier
de
prises
Lorsque
vous
effectuez
un
enregistrement
sur
un
dossier
de
prises
existant,
le
nouvel
enregistrement
est
ajouté
à
ce
dossier
(et
sélectionné
pour
la
lecture).
 Si
le
nouvel
enregistrement
commence
plus
tôt
ou
se
termine
plus
tard,
le
dossier
de
prises
s’étend
pour
s’adapter
à
la
taille
de
l’enregistrement.
 Si
le
nouvel
enregistrement
commence
plus
tard
ou
se
termine
plus
tôt,
une
nouvel
accompagnement
est
créé,
composé
de
la
prise
ou
de
l’accompagnement
précédent
ainsi
que
du
nouvel
enregistrement.
Enregistrement
sur
plusieurs
dossiers
de
prises
Lorsque
vous
effectuez
un
enregistrement
sur
plusieurs
dossiers
de
prises
existants
(placés
les
uns
après
les
autres
sur
une
piste),
le
nouvel
enregistrement
est
fractionné
au
début
de
chaque
dossier
de
prises
(après
la
première
prise).
 Chaque
fraction
est
alors
considérée
comme
une
nouvelle
prise
dans
chaque
dossier
de
prises.
 Les
dossiers
de
prises
antérieurs
sont
étendus
jusqu’au
point
de
départ
du
dossier
de
prises
suivant
(en
cas
de
blanc
entre
les
dossiers
de
prises).
Ajout
d’enregistrements
existants
aux
dossiers
de
prises
Bien
qu’il
ne
s’agisse
pas
d’une
fonction
d’enregistrement
à
proprement
parler,
vous
avez
la
possibilité
de
glisser-déposer
d’autres
enregistrements
(régions
ou
fichiers
audio)
sur
un
dossier
de
prises
existant
:
 Si
la
région
glissée-déposée
est
de
la
même
longueur
que
le
dossier
de
prises,
elle
est
ajoutée
comme
s’il
s’agissait
d’une
nouvelle
prise.
La
nouvelle
région
est
sélectionnée
pour
la
lecture.
 Si
la
région
glissée-déposée
est
plus
longue
que
le
dossier
de
prises,
ce
dernier
est
redimensionné.
La
nouvelle
région
est
sélectionnée
pour
la
lecture.
 Si
la
région
glissée-déposée
est
plus
courte
que
le
dossier
de
prises,
un
nouvel
accompagnement
est
créé.
Ce
nouvel
accompagnement
se
compose
de
la
prise
ou
de
l’accompagnement
précédent,
auquel
s’ajoute
la
nouvelle
région.
Important
:
seul
un
enregistrement
peut
déclencher
la
création
d’un
dossier
de
prises.
Si
vous
tentez
de
faire
glisser
une
région
vers
une
autre
région
initialement
importée
(et
non
enregistrée),
aucun
dossier
de
prises
n’est
créé.
Vous
pouvez
toutefois
«
compacter
»
un
dossier
de
prises
à
partir
de
toute
région
sélectionnée,
qu’elle
soit
enregistrée
ou
importée
(voir
«
Compactage
d’un
dossier
des
prises
»
à
la
page
425).
Chapitre
14
Enregistrement
dans
Logic
Express 413
Affichage du contenu du dossier de prises
Il
se
peut
que
vous
ayez
besoin
d’accéder
au
contenu
du
dossier
de
prises
lors
de
l’enregistrement
de
prises
(par
exemple,
pour
supprimer
une
prise).
Pour ouvrir
un
dossier
de
prises,
effectuez
l’une
des
opérations
suivantes :
m Cliquez
sur
le
triangle
d’affichage
dans
l’angle
supérieur
gauche
d’un
dossier
de
prises.
m Double-cliquez
sur
le
dossier
de
prises.
Le
contenu
du
dossier
de
prises
est
affiché
sur
des
sous-voies
temporaires
de
la
piste
d’arrangement,
en
dessous
du
dossier
de
prises
proprement
dit.
Par
défaut,
la
prise
sélectionnée
est
la
prise
terminée
la
plus
récente
(ou
la
prise
la
plus
complète).
La
prise
sélectionnée
sera
celle
entendue
pendant
la
lecture.
Pour
sélectionner
différentes
prises
lors
de
l’affichage
d’un
dossier
de
prises
ouvert
:
m Cliquez
sur
l’en-tête
de
prise
souhaité.
414 Chapitre
14
Enregistrement
dans
Logic
Express
Pour
sélectionner
différentes
prises
lors
de
l’affichage
d’un
dossier
de
prises
fermé
:
m Choisissez
une
prise
dans
le
menu
Prise,
puis
cliquez
sur
la
flèche
dans
l’angle
supérieur
droit
du
dossier
de
prises
pour
ouvrir
cette
prise.
Les
données
de
forme
d’onde
de
la
prise
sélectionnée
s’affichent
dans
le
dossier
de
prises.
Création d’accompagnements en temps réel
Au
cours
de
l’enregistrement,
vous
pouvez
marquer
les
bonnes
prises,
ce
qui
vous
permet
d’obtenir
un
accompagnement
parfait
dès
la
fin
de
l’enregistrement.
Pour
marquer
une
bonne
prise
lors
de
l’enregistrement
:
m Utilisez
le
raccourci
clavier
Sélectionner
la
rubrique
précédente
pour
l’accompagnement
en
temps
réel.
Une
balise
(non-visible)
est
placée
dans
la
prise
active,
au
niveau
où
le
raccourci
clavier
a
été
utilisé.
Toutes
les
données
audio
précédant
l’utilisation
du
raccourci
clavier
sont
marquées
comme
une
bonne
prise,
qui
sera
utilisée
dans
l’accompagnement
final.
Enregistrement de prise sur plusieurs pistes
L’enregistrement
(et
l’accompagnement)
de
prise
est
également
possible
lorsque
vous
enregistrez
plusieurs
prises.
En
règle
générale,
les
dossiers
de
prises
sur
plusieurs
pistes
sont
modifiés
séparément,
mais
ils
peuvent
être
traités
en
groupe.
Ajoutez
simplement
plusieurs
pistes
à
un
groupe
de
modifications
(utilisez
le
menu
Groupe
dans
les
bandes
de
canaux
correspondantes,
puis
activez
la
propriété
d’édition
de
groupe.
Voir
«
Définition
des
réglages
de
groupe
»
à
la
page
631).
Les
modifications
de
prises
sont
ainsi
regroupées
et
synchronisées
entre
toutes
les
pistes
impliquées.
N’importe
quel
dossier
de
prises
peut
être
ouvert
et
toute
modification
ou
accompagnement
effectué
dans
le
dossier
ouvert
est
immédiatement
reflété
dans
tous
les
autres
dossiers
de
prises
au
même
emplacement
(sur
les
pistes
du
groupe
de
modifications).
Chapitre
14
Enregistrement
dans
Logic
Express 415
Il
est
conseillé
de
regrouper
les
prises
avant
l’enregistrement,
ou
tout
au
moins
avant
l’accompagnement.
Vous
pouvez
également
regrouper
les
pistes
après
en
avoir
modifié
une
ou
deux.
Cela
peut
être
utile
lorsque
quelques
accompagnements
du
dossier
de
prises
requièrent
une
attention
particulière,
mais
toutes
les
modifications
ultérieures
sont
appliquées
à
toutes
les
prises
du
groupe.
Remarque
:
si
vous
tentez
de
modifier
l’une
des
pistes
éditées
(avant
le
regroupement),
Logic
Express
vous
propose
de
la
supprimer
du
groupe
de
modifications.
Coloration des prises lors de l’enregistrement
Les
dossiers
de
prises
sélectionnés
(ou
les
régions
de
prises
dans
un
dossier
de
prises
ouvert)
peuvent
être
colorés
séparément,
tout
comme
les
régions
et
les
dossiers
standard,
lorsque
Logic
Express
n’est
pas
en
cours
d’enregistrement.
Toutefois,
si
vous
êtes
en
train
d’effectuer
un
enregistrement,
changer
la
couleur
du
dossier
de
prises
modifie
la
couleur
de
la
région
de
prises
(en
cours
d’enregistrement),
mais
pas
du
dossier.
Enregistrement
Punch
L’enregistrement
Punch
consiste
à
écraser
une
partie
d’une
passage
précédemment
enregistré
tandis
que
Logic
Express
est
en
cours
d’exécution,
afin
de
corriger
une
erreur
dans
un
enregistrement
autrement
correct.
Vous
effectuez
un
«
punch
in
»
juste
avant
l’erreur,
puis
un
«
punch
out
»
de
l’enregistrement,
une
fois
l’erreur
corrigée
(écrasée
par
le
nouvel
enregistrement).
Cela
vous
permet
de
lire
un
enregistrement
jusqu’à
un
certain
point,
d’effectuer
un
nouvel
enregistrement
sur
une
rubrique
de
l’original,
et
de
continuer
la
lecture
en
continu.
La
possibilité
d’entendre
la
partie
que
vous
souhaitez
remplacer
(dans
le
contexte
musical
précédent)
vous
permet
de
mieux
maîtriser
votre
enregistrement
Punch.
Dans
Logic
Express,
vous
disposez
de
deux
méthodes
pour
effectuer
un
enregistrement
Punch
:
 Vous
pouvez
utiliser
un
raccourci
clavier
pour
lancer
l’enregistrement
alors
que
vous
êtes
en
mode
lecture.
Cette
opération
est
généralement
appelée
«
enregistrement
à
la
volée
».
 Vous
pouvez
utiliser
la
fonction
Autopunch
de
Logic
Express
pour
lancer
et
arrêter
l’enregistrement
à
des
points
de
punch-in
et
de
punch-out
prédéfinis.
Remarque
:
l’enregistrement
Punch
s’applique
seulement
aux
pistes
activées
pour
l’enregistrement.
416 Chapitre
14
Enregistrement
dans
Logic
Express
Enregistrement à la volée
La
fonction
«
Enregistrement
à
la
volée
»
vous
permet
de
lancer
l’enregistrement
alors
que
vous
êtes
en
mode
lecture,
soit
en
temps
réel
soit
«
à
la
volée
».
Cette
fonction
est
techniquement
difficile
à
exécuter
pour
les
enregistreurs
sur
disque
dur,
étant
donné
le
délai
inévitable
généré
lorsque
vous
passez
du
mode
écriture
au
mode
lecture
et
inversement
(lors
de
la
création
de
fichier,
par
exemple).
Pour
éviter
ce
délai,
vous
devez
activer
le
mode
«
Enregistrement
à
la
volée
»,
afin
que
Logic
Express
soit
prêt
pour
l’enregistrement
à
tout
moment.
En
pratique,
l’«
enregistrement
»
se
produit
en
arrière-plan
à
partir
du
moment
où
vous
commencez
la
lecture
(lorsque
le
mode
«
Enregistrement
à
la
volée
»
est
activé).
Pour
effectuer
un
«
punch
in
»
dans
un
passage
enregistré
à
la
volée
:
1 Passez
en
mode
«
Enregistrement
à
la
volée
»
en
effectuant
l’une
des
opérations
suivantes
:
 Dans
le
menu
Transport,
cliquez
sur
le
bouton
Enregistrer
tout
en
maintenant
la
touche
Contrôle
enfoncée,
puis
activez
l’option
«
Enregistrement
à
la
volée
»
dans
le
menu
local.
 Choisissez
Options
>
Audio
>
Enregistrement
à
la
volée
dans
la
barre
des
menus
principale
(ou
utilisez
le
raccourci
clavier
«
Activer/Désactiver
l’enregistrement
à
la
volée
»).
2 Commencez
la
lecture
et
utilisez
le
raccourci
clavier
Activer/désactiver
l’enregistrement
au
niveau
où
vous
souhaitez
commencer
l’enregistrement.
L’enregistrement
audio
commence
immédiatement.
Il
peut
être
suspendu
à
tout
moment,
en
appuyant
sur
le
bouton
Arrêt
ou
en
utilisant
de
nouveau
le
raccourci
clavier
Activer/désactiver
l’enregistrement.
Si
vous
utilisez
cette
dernière
option,
l’enregistrement
s’arrête
mais
la
lecture
se
poursuit.
Remarque
:
vous
pouvez
également
utiliser
le
raccourci
clavier
Activer/désactiver
l’enregistrement
lorsque
Logic
Express
n’est
pas
en
mode
«
Enregistrement
à
la
volée
».
Néanmoins,
il
existe
alors
un
léger
délai
lorsque
vous
basculez
entre
les
modes
lecture
et
enregistrement.
Enregistrement Punch pré-programmé
Autopunch
décrit
l’activation
et
la
désactivation
automatiques
de
l’enregistrement
à
des
points
prédéfinis.
L’avantage
de
la
fonction
Autopunch
est
que
vous
pouvez
vous
concentrer
sur
la
lecture
plutôt
que
sur
le
contrôle
de
Logic
Express.
Un
autre
avantage
est
que
le
lancement
et
l’arrêt
de
l’enregistrement
peuvent
être
définis
de
façon
beaucoup
plus
précise
que
si
vous
activez
et
désactivez
le
mode
enregistrement
manuellement.
La
fonction
Autopunch
peut
être
utilisée
pour
les
pistes
audio,
instrumentales
ou
MIDI.
Chapitre
14
Enregistrement
dans
Logic
Express 417
Pour
effectuer
un
enregistrement
en
mode
Autopunch
:
1 Activez
le
bouton
Autopunch
dans
le
menu
Transport.
Les
locators
droit
et
gauche
d’Autopunch
sont
utilisés
comme
points
de
punch-in
et
de
punch-out.
La
zone
d’enregistrement
Autopunch
est
indiquée
par
une
bande
rouge
au
milieu
de
la
règle
Mesure.
Si
les
modes
Cycle
et
Autopunch
sont
tous
deux
activés,
une
paire
de
locators
s’affiche
dans
la
zone
Autopunch.
Deux
bandes
s’affichent
dans
le
trait
de
mesure
;
la
bande
supérieure
(verte)
représente
la
zone
Cycle
et
la
bande
inférieure
(rouge)
représente
la
zone
Autopunch.
Ces
bandes
peuvent
être
réglées
séparément.
2 Réglez
la
zone
Autopunch
en
effectuant
l’une
des
opérations
suivantes
:
 Utilisez
les
champs
du
locator
Autopunch
pour
régler
la
zone
Autopunch
de
façon
numérique.
Notez
que
le
réglage
Fréquence
d’échantillonnage
ou
locators
Punch
de
la
zone
de
dialogue
«
Personnaliser
la
barre
de
transport
»
doit
être
activé
pour
que
vous
puissiez
afficher
et
régler
les
locators
Autopunch
(à
droite
des
locators
standard).
 Autopunch
s’affiche
graphiquement
dans
la
règle
Mesure,
tout
comme
cela
se
produit
pour
les
cycles.
3 Placez
la
tête
de
lecture
à
n’importe
quelle
position
avant
le
point
de
punch-in.
4 Commencez
l’enregistrement.
5 Arrêtez
l’enregistrement.
Une
région
correspondant
exactement
à
la
longueur
de
la
bande
Autopunch
est
créée.
Toute
entrée
audio
reçue
avant
le
point
de
punch-in
ou
après
le
point
de
punch-out
est
diffusée
dans
Logic
Express
de
manière
habituelle,
mais
n’est
pas
enregistrée.
Logic
Express
commence
l’enregistrement
environ
une
mesure
avant
le
locator
punch-in.
Le
point
de
départ
de
la
région
peut
ainsi
être
ajusté
ultérieurement,
ce
qui
vous
permet
d’écouter
la
zone
de
départ,
si
vous
le
souhaitez.
418 Chapitre
14
Enregistrement
dans
Logic
Express
Vous
pouvez
également
rétablir
le
début
de
l’enregistrement
si
l’interprète
anticipe
légèrement
la
zone
d’Autopunch.
De
tels
ajustements
dans
la
zone
de
départ
ne
modifient
pas
la
position
de
l’enregistrement
par
rapport
à
l’axe
temporel
du
projet.
L’enregistrement
commence
automatiquement
au
niveau
du
locator
punch-in,
après
le
décompte,
même
si
la
tête
de
lecture
est
placée
après
le
locator
droit
lorsque
l’enregistrement
commence.
Si
Autopunch
est
activé
pendant
l’enregistrement,
le
bouton
Enregistrer
clignote
lorsque
la
tête
de
lecture
se
trouve
hors
de
la
zone
comprise
entre
les
locators
de
punch
in/out.
Cela
indique
qu’aucun
enregistrement
n’est
en
cours.
Combinaison
des
enregistrements
Cycle
et
Autopunch
Si
vous
souhaitez
améliorer
un
morceau
difficile
d’un
certain
passage,
vous
pouvez
utiliser
une
combinaison
des
fonctions
Cycle
et
Autopunch.
L’enregistrement
en
mode
Cycle
vous
permet
de
vous
entraîner
autant
que
vous
le
souhaitez
avant
la
prise
finale.
À
chaque
phase
du
cycle,
seuls
les
événements
ou
les
données
audio
compris
dans
la
bande
Autopunch
sont
enregistrés.
Vous
pouvez
ainsi
utiliser
la
rubrique
précédente
du
morceau
pour
trouver
votre
rythme.
Enregistrement
en
mode
Cycle
d’omission
Si
le
mode
Cycle
d’omission
est
activé,
la
zone
du
cycle
est
ignorée
lors
de
l’enregistrement.
Enregistrement
en
mode
Remplacement
En
mode
Remplacement,
les
données
qui
viennent
d’être
enregistrées
sont
stockées
dans
une
nouvelle
région,
comme
pour
un
enregistrement
standard.
En
outre,
toute
région
existante
sur
la
piste
cible
est
coupée
au
niveau
des
points
de
punch-in
et
de
punch-out
de
l’enregistrement,
et
les
données
comprises
entre
ces
points
sont
supprimées.
Pour
activer
le
mode
Remplacement
:
m Activez
le
bouton
Remplacement
dans
le
menu
Transport.
Chapitre
14
Enregistrement
dans
Logic
Express 419
Combinaison
des
enregistrements
Cycle
et
Remplacement
Lorsque
vous
effectuez
un
enregistrement
cyclique
en
mode
Remplacement,
les
régions
existantes
(ou
des
parties
de
ces
régions)
sont
supprimées
uniquement
lors
de
la
première
phase
du
cycle
(du
point
de
punch-in
au
point
de
punch-out
ou
à
la
fin
du
cycle).
Au
début
de
la
deuxième
phase
du
cycle,
l’enregistrement
se
poursuit
mais
aucune
région
(ou
partie
de
région)
n’est
supprimée.
Si
vous
souhaitez
remplacer
la
fin
d’une
région
existante,
vous
n’avez
pas
besoin
d’arrêter
l’enregistrement
avant
le
début
de
la
deuxième
phase
du
cycle
:
le
début
de
la
région
existante
reste
intact.
Gestion des enregistrements audio
Après
avoir
effectué
un
ou
plusieurs
enregistrements,
vous
pouvez
envisager
d’en
supprimer,
d’en
fusionner
certains
ou
de
créer
un
accompagnement
à
partir
de
plusieurs
prises.
Les
opérations
de
ce
type
sont
souvent
effectuées
immédiatement
après
l’enregistrement.
La
modification
des
régions
et
les
tâches
d’arrangement
sont
traitées
dans
le
chapitre
13,
«
Création
de
votre
arrangement
».
Remarque
sur
les
enregistrements
tempo
et
audio
Les
enregistrements
audio
effectués
dans
un
projet
donné
peuvent
suivre
le
tempo
du
projet.
Pour
cela,
activez
la
case
Suivre
le
tempo
dans
la
zone
Paramètres
de
région
(pour
plus
d’informations,
reportez-vous
à
la
rubrique
«
Utilisation
de
la
fonction
Suivre
le
tempo
»
à
la
page
598).
Remarque
:
l’option
Suivre
le
tempo
n’est
pas
disponible
pour
les
dossiers
de
prises.
Si
vous
souhaitez
qu’un
enregistrement
de
dossier
de
prises
suive
le
tempo
du
projet,
vous
devez
le
mettre
au
même
niveau
et
le
fusionner
(voir
«
Mise
sur
un
seul
niveau
et
fusion
»
à
la
page
424).
Il
est
impossible
d’ajuster
automatiquement
au
tempo
du
projet
les
régions
audio
créées
au
sein
d’un
autre
projet
ou
les
fichiers
audio
importés
depuis
une
autre
application
(la
case
Suivre
le
tempo
n’est
pas
affichée
dans
la
zone
Paramètres
de
région).
420 Chapitre
14
Enregistrement
dans
Logic
Express
Ces
fichiers
audio
possèdent
une
fréquence
de
lecture
fixe
et
peuvent
uniquement
être
adaptés
aux
nouveaux
tempos,
via
l’une
des
méthodes
suivantes
:
 Étirement
temporel
ou
compression
des
fichiers
(ou
des
régions)
:
les
algorithmes
de
compression/expansion
du
temps
fournis
dans
Logic
Express
ne
permettent
de
faire
correspondre
les
données
audio
aux
nouveaux
tempos
que
si
les
différences
de
tempo
sont
relativement
faibles.
Lorsque
vous
souhaitez
modifier
de
façon
importante
le
tempo
de
vos
enregistrements,
la
qualité
audio
risque
d’en
souffrir
(reportez-vous
à
la
rubrique
«
Étirement
temporel
de
régions
»
à
la
page
598).
 Conversion
des
fichiers
audio
en
fichiers
Apple
Loop.
Ce
type
de
fichier
rend
plus
faciles
les
tâches
de
transposition
et
d’étirement
temporel
(voir
chapitre
28,
«
Création
de
boucles
Apple
Loops
»
à
la
page
687).
Suppression
d’enregistrements
audio
La
suppression
d’une
région
audio
est
traitée
différemment
pour
les
fichiers
enregistrés
dans
la
session
en
cours
et
pour
ceux
importés
d’une
session
antérieure.
Pour
supprimer
une
région
audio
que
vous
avez
enregistrée
après
l’ouverture
du
projet
:
m Sélectionnez
la
région
audio,
puis
appuyez
sur
la
touche
Retour.
Une
zone
de
dialogue
vous
demande
si
vous
souhaitez
également
effacer
le
fichier
audio
correspondant.
Cela
permet
d’économiser
l’espace
sur
le
disque
dur
utilisé
par
les
mauvaises
prises
et
les
enregistrements
non
souhaités.
Pour
supprimer
un
enregistrement
audio
effectué
avant
la
session
en
cours
:
m Sélectionnez
la
région
audio,
puis
appuyez
sur
la
touche
Retour.
Seule
la
région
audio
est
supprimée
de
l’arrangement,
pas
le
fichier
audio
(du
chutier
audio).
Aucune
zone
de
dialogue
n’apparaît.
Cela
vous
permet
d’éviter
de
supprimer
accidentellement
des
enregistrements
pouvant
être
utilisés
dans
d’autres
projets.
Si
vous
souhaitez
effectivement
supprimer
le
fichier
audio
correspondant
du
disque
dur,
choisissez
Fichier
audio
>
Supprimer
fichier(s)
dans
le
chutier
Audio.
Les
fichiers
audio
supprimés
restent
dans
la
Corbeille
jusqu’à
ce
que
vous
la
vidiez.
Création d’accompagnements
L’action
de
compiler
différentes
rubriques
de
différentes
prises
est
appelée
«
accompagnement
»
ou
«
comping
».
Logic
Express
fournit
des
options
spéciales
qui
simplifient
considérablement
la
méthode
d’édition
standard,
car
elles
permettent
de
créer
des
accompagnements
sans
avoir
à
couper
ou
à
rendre
silencieuses
les
pistes
et
les
régions.
Chapitre
14
Enregistrement
dans
Logic
Express 421
Les
différentes
rubriques
de
prise
d’un
accompagnement
font
automatiquement
l’objet
d’un
fondu,
en
fonction
des
réglages
de
fondu
enchaîné
par
défaut.
Ces
réglages
sont
définis
dans
l’onglet
des
préférences
audio
générales.
Vous
pouvez
rapidement
ouvrir
cet
onglet
à
l’aide
du
raccourci
clavier
Fondus
enchaînés
pour
la
fusion
et
l’accompagnement
de
prises.
En
règle
générale,
vous
devez
double-cliquer
sur
un
dossier
de
prises
pour
l’ouvrir
et
le
modifier.
Vous
pouvez
également
effectuer
plusieurs
opérations
de
modification
d’accompagnement
lorsque
le
dossier
de
prises
est
fermé
(voir
ci-après).
Pour
compiler
des
rubriques
de
différentes
prises,
effectuez
l’une
des
opérations
suivantes
:
m Dans
un
dossier
de
prises
ouvert,
sélectionnez
les
rubriques
de
prises
souhaitées
en
utilisant
la
fonction
cliquer-déposer
avec
l’outil
Pointeur.
Avec
la
nouvelle
fonction
d’accompagnement
par
glissement
rapide
de
Logic
Express,
le
fait
de
sélectionner
une
rubrique
d’une
prise
désélectionne
automatiquement
cette
même
rubrique
dans
toutes
les
autres
prises.
Une
seule
prise
d’un
dossier
de
prises
peut
être
lue
à
n’importe
quel
point
temporel.
La
piste
supérieure
du
dossier
de
prises
s’affiche
dans
la
présentation
de
forme
d’onde
composée
de
toutes
les
rubriques
de
prises
sélectionnées.
Les
lignes
verticales
de
la
présentation
de
forme
d’onde
indiquent
les
transitions
entre
les
différentes
prises.
422 Chapitre
14
Enregistrement
dans
Logic
Express
m Dans
un
dossier
de
prises
fermé,
vous
pouvez
rapidement
remplacer
une
rubrique
de
prise.
Pour
cela,
cliquez
sur
la
rubrique
du
dossier
tout
en
maintenant
la
touche
Contrôle
enfoncée,
puis
choisissez
une
prise
différente
dans
le
menu
local.
Important
:
avant
d’effectuer
une
modification
dans
un
accompagnement,
il
est
conseillé
de
l’enregistrer
(voir
ci-après).
Toutes
les
modifications
ultérieures
créent
automatiquement
un
nouvel
accompagnement.
Pour
modifier
un
accompagnement
:
m Modifiez
les
bordures
des
rubriques
de
prises
existantes
en
cliquant
sur
les
points
de
début
et
de
fin
et
en
les
faisant
glisser
(l’icône
de
changement
de
longueur
s’affiche).
Lorsque
vous
étendez
une
rubrique
(en
déplaçant
le
début
vers
la
gauche
ou
la
fin
vers
la
droite),
les
sélections
adjacentes
des
autres
prises
sont
automatiquement
raccourcies.
Lorsque
vous
raccourcissez
une
rubrique
(en
déplaçant
le
début
vers
la
droite
ou
la
fin
vers
la
gauche),
les
sélections
adjacentes
des
autres
prises
sont
automatiquement
étendues.
Cela
permet
de
garantir
que
vous
ne
créez
aucun
silence
entre
les
différentes
rubriques.
Si
vous
faites
glisser
une
extrémité
tout
en
appuyant
sur
la
touche
Maj,
la
rubrique
est
raccourcie
mais
les
rubriques
adjacentes
des
différentes
prises
ne
sont
pas
étendues.
Le
curseur
prend
alors
la
forme
de
pointeur
Redimensionner.
Cela
vous
permet
de
créer
des
ruptures
(silences
entre
les
différentes
rubriques).
Π Conseil
:
vous
pouvez
écouter
vos
modifications
d’accompagnement
en
temps
réel,
en
créant
un
cycle
qui
s’étend
sur
la
durée
du
dossier
d’accompagnement
et
en
lançant
la
lecture.
Chapitre
14
Enregistrement
dans
Logic
Express 423
Pour
déplacer
la
zone
d’accompagnement sélectionnée
vers
la
gauche
ou
vers
la
droite
:
m Cliquez
sur
la
compilation
et
faites-la
glisser
(une
icône
de
flèche
à
double
sens
s’affiche).
Pour
déplacer
une
zone
d’accompagnement sélectionnée
vers
une
autre
prise
:
m Cliquez
sur
la
forme
d’onde
d’une
zone
non
sélectionnée
pour
déplacer
l’accompagnement
existant
d’une
autre
prise.
Il
s’agit
d’un
moyen
rapide
pour
comparer
une
zone
d’accompagnement
sur
une
prise
avec
la
même
zone
d’accompagnement
sur
une
autre
prise.
Pour
retirer
une
sélection
d’accompagnement
:
m Cliquez
sur
l’accompagnement
en
appuyant
sur
la
touche
Maj.
Pour
retirer
toutes
les
rubriques
d’accompagnement d’une
prise
:
m Cliquez
sur
l’en-tête
de
région
d’une
prise
en
appuyant
sur
la
touche
Maj.
Si
la
prise
ne
contient
aucune
sélection
d’accompagnement,
toutes
les
zones
non
sélectionnées
des
autres
prises
sont
sélectionnées
dans
la
prise
sur
laquelle
vous
avez
cliqué.
Pour
retirer
une
prise
entière
d’un
dossier
de
prises,
effectuez
l’une
des
opérations
suivantes
:
m Sélectionnez
la
prise
en
cliquant
sur
l’en-tête
de
piste
correspondant,
puis
choisissez
Supprimer
la
prise
dans
le
menu
du
dossier
des
prises
(ou
appuyez
sur
la
touche
Retour).
m Cliquez
sur
la
prise
avec
l’outil
Gomme.
Pour
stocker
une
accompagnement,
effectuez
l’une
des
opérations
suivantes
:
m Fermez
le
dossier
de
prises
en
cliquant
sur
le
triangle
d’affichage
correspondant
dans
l’angle
supérieur
gauche.
m Choisissez
Nouvel
accompagnement
dans
le
menu
Dossier
des
prises.
L’accompagnement
est
stocké
dans
le
menu
Prises
et
accompagnement
(et
reçoit
par
défaut
le
nom
«
Accompagnement
nn
»).
Pour
renommer
un accompagnement ou
une
prise
:
m Choisissez
Renommer
l’accompagnement
ou
Renommer
la
prise
(selon
que
vous
sélectionnez
un
accompagnement
ou
une
prise)
dans
le
menu
Prises
et
accompagnements.
Tapez
le
nom
souhaité
dans
la
zone
de
dialogue
qui
s’affiche.
424 Chapitre
14
Enregistrement
dans
Logic
Express
Gestion des dossiers de prises
La
rubrique
suivante
présente
un
certain
nombre
de
commandes
pouvant
être
exécutées
sur
les
dossiers
de
prises.
Ces
commandes
n’ont
aucun
effet
sur
la
lecture
mais
s’appliquent
aux
options
d’édition.
Mise
sur
un
seul
niveau
et
fusion
Le
menu
Dossier
des
prises,
accessible
en
cliquant
sur
la
flèche
dans
l’angle
supérieur
droit
du
dossier
des
prises,
vous
permet
de
mettre
sur
un
seul
niveau
et
de
fusionner
les
dossiers
de
prises.
 Mettre
sur
un
seul
niveau
:
remplace
le
dossier
des
prises
par
les
régions
qui
représentent
les
sélections
d’accompagnement
en
cours.
Cette
option
vous
permet
de
déplacer
des
rubriques
distinctes
plus
près
ou
plus
loin
dans
le
temps.
 Mettre
sur
un
seul
niveau
et
fusionner
:
crée
un
fichier
audio
qui
remplace
le
dossier
des
prises
dans
l’arrangement.
Le
nouveau
fichier
audio
a
exactement
la
même
taille
que
le
dossier
des
prises,
quelle
que
soit
la
position
de
départ
de
la
première
région
ou
la
position
de
fin
de
la
dernière
région).
Remarque
:
il
n’est
pas
possible
de
fusionner
les
dossiers
de
prises
comme
on
fusionne
des
régions
(avec
l’outil
Colle,
par
exemple).
Si
c’était
le
cas,
le
nombre
de
prises
et
d’accompagnements
se
multiplierait
et
les
modifications
seraient
plus
difficiles,
voire
inutilisables.
Chapitre
14
Enregistrement
dans
Logic
Express 425
Ouverture
de
dossiers
de
prise
dans
l’Éditeur
des
échantillons
Il
est
possible
d’ouvrir
des
régions
de
prise
dans
l’Éditeur
des
échantillons,
mais
elles
sont
verrouillées.
Il
est
donc
impossible
de
déplacer
le
point
d’ancrage
ou
de
redéfinir
les
points
de
début
et
de
fin.
De
telles
opérations
rendront
impossible
le
contrôle
du
temps
si
elles
sont
effectuées
dans
l’Éditeur
des
échantillons.
En
revanche,
vous
pouvez
ajuster
les
modifications
des
points
de
début
et
de
fin
dans
l’arrangement,
lorsque
vous
effectuez
un
zoom
avant.
La
synchronisation
des
différentes
rubriques
peut
être
ajustée
une
fois
que
le
dossier
des
prises
a
été
«
mis
sur
un
seul
niveau
».
Compactage
d’un
dossier
des
prises
Dans
le
menu
Arrangement,
choisissez
Région
>
Dossier
>
Compacter
le
dossier
des
prises
afin
de
créer
un
dossier
de
prises
pour
plusieurs
régions
sélectionnées.
Chaque
région
apparaît
sous
forme
de
prise
individuelle
dans
le
dossier
de
prises
généré.
 Si
les
régions
sélectionnées
se
trouvent
sur
différentes
pistes
(qui
utilisent
différentes
bandes
de
canaux),
le
résultat
de
lecture
risque
d’être
différent
(un
dossier
de
prises
utilise
une
seule
bande
de
canaux).
La
bande
de
canal
(et
la
piste)
de
la
piste
compactée
la
plus
haute
est
utilisée
pour
la
lecture
du
dossier
des
prises.
Si
le
son
est
désactivé
sur
la
piste
la
plus
haute,
la
prochaine
piste
sur
laquelle
le
son
n’est
pas
désactivé
sera
utilisée
pour
la
lecture.
 Si
les
régions
sélectionnées
sont
placées
l’une
après
l’autre
sur
une
même
piste,
le
dossier
des
prises
sera
attribué
par
défaut
à
un
accompagnement
créé
automatiquement.
La
lecture
n’est
pas
modifiée.
Si
une
seule
région
est
«
compactée
»,
elle
est
sélectionnée
en
tant
que
prise
et
aucun
accompagnement
n’est
créé.
Dans
les
cas
où
le
nouveau
dossier
de
prises
chevauche
d’autres
régions
(initialement
non
sélectionnées,
ce
qui
risque
de
modifier
le
résultat
de
la
lecture
de
ces
régions),
Logic
Express
crée
une
nouvelle
piste
audio
pour
le
dossier
des
prises.
Décompactage
des
dossiers
de
prises
Le
menu
Arrangement
propose
les
deux
commandes
suivantes
:
 Région
>
Dossier
>
Décompacter
le
dossier
des
prises
 Région
>
Dossier
>
Décompacter
le
dossier
des
prises
en
nouvelles
pistes
Ces
commandes
sont
également
disponibles
dans
le
menu
Dossier
des
prises.
Elles
n’affectent
que
ce
dossier,
pas
tous
les
dossiers
de
prises
sélectionnés.
Ces
deux
commandes
remplacent
les
dossiers
de
prises
sélectionnés
(ou
tous
les
dossiers
de
prises)
par
de
nouvelles
pistes
audio
pour
chaque
prise
et
chaque
accompagnement.
L’ordre
des
prises
et
des
accompagnements
affiché
dans
le
menu
du
dossier
des
prises
est
illustré
par
l’ordre
des
pistes.
426 Chapitre
14
Enregistrement
dans
Logic
Express
La
commande
de
décompactage
utilise
la
même
bande
de
canal
(initiale)
pour
toutes
les
nouvelles
pistes.
Le
son
est
désactivé
sur
toutes
les
régions
de
prises
ou
d’accompagnement
(sauf
celle
initialement
activée),
afin
de
garantir
que
le
résultat
de
la
lecture
n’est
pas
modifié.
La
commande
Nouvelles
pistes
utilise
des
bandes
de
canaux
différentes
pour
chaque
nouvelle
piste,
mais
leur
attribue
automatiquement
le
réglage
de
la
bande
de
canaux
initiale.
Le
son
n’est
désactivé
sur
aucune
prise/aucun
accompagnement
:
tous
sont
joués
simultanément.
Encore
une
fois,
cela
garantit
que
le
résultat
de
la
lecture
n’est
pas
modifié.
Enregistrement
MIDI
Les
régions
MIDI
sont
utilisées
sur
les
instruments
(logiciels)
et
les
pistes
MIDI
externes.
Les
régions
MIDI
sont
enregistrées
en
temps
réel
ou
à
l’aide
de
méthodes
d’«
entrée
pas
à
pas
».
Pour
enregistrer
des
régions
MIDI
dans
Logic
Express,
vous
devez
effectuer
l’une
des
opérations
suivantes
:
 Connecter
un
clavier
MIDI
à
votre
ordinateur.
Pour
plus
d’informations,
veuillez
vous
reporter
à
la
rubrique
«
Connexion
des
modules
et
des
claviers
MIDI
»
à
la
page
99.
 Activer
le
clavier
avec
verrouillage
des
majuscules
en
appuyant
sur
la
touche
Verrouillage
majuscules.
Pour
plus
d’informations,
reportez-vous
à
la
rubrique
«
Utilisation
du
clavier
avec
verrouillage
majuscules
»
à
la
page
439.
 Vous
pouvez
également
utiliser
l’entrée
MIDI
pas
à
pas
pour
«
enregistrer
»
des
notes
dans
Logic
Express,
une
par
une.
Pour
en
savoir
plus,
reportez-vous
à
la
rubrique
«
Enregistrement
MIDI
avec
entrée
pas-à-pas
»
à
la
page
433.
L’enregistrement
MIDI
fonctionne
de
manière
similaire
à
l’enregistrement
audio.
Quelques
différences
seulement
sont
à
prendre
en
compte.
Ces
différences
sont
présentées
dans
les
rubriques
suivantes.
Les
informations
d’ordre
général
sur
l’enregistrement,
telles
que
les
commandes
d’enregistrement,
la
configuration
du
bouton
Enregistrer
dans
la
barre
de
transport,
le
réglage
des
décomptes,
etc.,
sont
décrites
dans
la
rubrique
«
Enregistrement
audio
»,
à
la
page
395.
Chapitre
14
Enregistrement
dans
Logic
Express 427
Enregistrement de régions MIDI en temps réel
Vous
pouvez
enregistrer
une
seule
région
MIDI
ou
plusieurs
régions
de
prises
MIDI
sur
une
piste.
Si
vous
enregistrez
plusieurs
régions
de
prises
MIDI,
vous
pouvez
les
vérifier
après
l’enregistrement
et
les
utiliser
lorsque
cela
est
approprié.
Vous
pouvez
également
assembler
une
région
MIDI
composée
en
utilisant
des
segments
de
plusieurs
régions
MIDI.
Vous
pouvez
aussi
enregistrer
simultanément
plusieurs
régions
MIDI
sur
plusieurs
pistes
MIDI.
Pour
plus
d’informations,
reportez-vous
à
la
rubrique
«
Enregistrement
sur
plusieurs
pistes
MIDI
»
à
la
page
431.
Pour
enregistrer
une
seule
région
MIDI
:
1 Sélectionnez
l’instrument
ou
la
piste
MIDI
externe
à
utiliser
pour
l’enregistrement.
Remarque
:
ces
types
de
pistes
sont
automatiquement
activés
pour
l’enregistrement
lorsqu’ils
sont
sélectionnés.
2 Placez
la
tête
de
lecture
sur
le
point
où
vous
souhaitez
commencer
l’enregistrement.
3 Si
vous
souhaitez
entendre
le
métronome
lors
de
l’enregistrement,
cliquez
sur
le
bouton
Métronome
de
la
barre
de
transport
tout
en
appuyant
sur
la
touche
Contrôle,
puis
activez
le
réglage
Clic
pendant
l’enregistrement
dans
le
menu.
Pour
plus
d’informations
sur
l’utilisation
du
métronome,
reportez-vous
à
la
rubrique
«
Réglage
du
métronome
»
à
la
page
399.
4 Cliquez
sur
le
bouton
Enregistrer
dans
la
barre
de
transport
(ou
appuyez
sur
la
touche
astérisque
du
pavé
numérique,
le
raccourci
clavier
par
défaut
pour
l’enregistrement)
afin
de
lancer
l’enregistrement.
L’enregistrement
commence
au
niveau
de
la
position
de
la
tête
de
lecture
(suivant
un
décompte,
si
l’option
est
activée
dans
les
réglages
du
projet
d’enregistrement)
et
se
termine
lorsque
vous
cliquez
sur
le
bouton
d’arrêt
ou
sur
le
bouton
de
lecture.
Une
région
MIDI
est
créée
sur
la
piste
sélectionnée.
La
région
MIDI
commence
au
début
de
la
mesure
dans
laquelle
le
premier
événement
a
été
enregistré,
et
se
termine
à
la
fin
de
la
mesure
dans
laquelle
le
dernier
enregistrement
a
été
enregistré.
Vous
pouvez
modifier
la
piste
de
l’enregistrement,
sans
arrêter
l’enregistrement
:
sélectionnez
simplement
une
nouvelle
piste
avec
la
souris,
ou
utilisez
le
raccourci
clavier
«
Sélectionner
la
piste
précédente
»
ou
«
Sélectionner
la
piste
suivante
»
(touches
attribuées
par
défaut
:
flèche
vers
le
haut
et
vers
le
bas).
428 Chapitre
14
Enregistrement
dans
Logic
Express
Pour
enregistrer
plusieurs
prises
MIDI
en
mode
Cycle
:
1 Ouvrez
les
réglages
du
projet
Enregistrement
en
procédant
de
l’une
des
manières
suivantes
:
 Choisissez
Fichier
>
Réglages
du
projet
>
Enregistrement
(ou
utilisez
le
raccourci
clavier
Ouvrir
les
réglages
du
projet
Enregistrement,
par
défaut
:
Option
+
Astérisque)
 Cliquez
sur
le
bouton
Réglages
dans
la
barre
d’outils
Arrangement,
puis
choisissez
Enregistrement
dans
le
menu.
2 Choisissez
«
Créer
des
dossiers
de
prises
»
dans
le
menu
Enregistrements
superposés
(voir
«
Fonctionnement
de
l’enregistrement
de
prises
MIDI
»
à
la
page
429).
3 Définissez
un
cycle
en
le
faisant
glisser
de
la
gauche
vers
la
droite
dans
la
règle
de
mesure
de
l’arrangement
(ou
utilisez
les
champs
des
locators
dans
le
menu
Transport).
4 Commencez
l’enregistrement.
5 Laissez
Logic
Express
fonctionner.
Une
fois
que
vous
avez
atteint
la
limite
de
cycle
droite,
la
tête
de
lecture
se
repositionne
à
la
limite
de
cycle
gauche.
Logic
Express
crée
un
nouveau
dossier
de
prises
MIDI.
Chapitre
14
Enregistrement
dans
Logic
Express 429
Une
nouvelle
piste
de
prise
est
automatiquement
créée
dans
le
dossier
des
prises
pour
chaque
répétition
du
cycle.
Lors
de
l’enregistrement,
le
son
est
automatiquement
désactivé
sur
chaque
piste
de
prise
précédente.
Lorsque
vous
arrêtez
l’enregistrement,
vous
pouvez
écouter
chacune
des
prises,
en
les
sélectionnant
dans
le
dossier
des
prises.
Fonctionnement
de
l’enregistrement
de
prises
MIDI
Le
fait
d’activer
l’option
«
Créer
des
dossiers
de
prises
»
dans
le
menu
Enregistrements
superposés
a
les
effets
suivants
:
 L’enregistrement
sur
une
région
MIDI
existante
crée
un
dossier
de
prises
MIDI.
 L’enregistrement
sur
un
dossier
de
prises
MIDI
existant
ajoute
une
prise
MIDI
à
ce
dossier.
 L’enregistrement
sur
plusieurs
régions
MIDI
existantes
fusionne
ces
régions
(par
piste)
avant
de
créer
le
dossier
des
prises.
Toutes
les
régions
MIDI
existantes
s’affichent
comme
première
prise,
tandis
que
les
nouveaux
enregistrements
s’affichent
comme
deuxième
prise,
troisième
prise,
etc.
 L’enregistrement
sur
plusieurs
dossiers
de
prises
MIDI
existants
met
chacun
de
ces
dossiers
sur
un
même
niveau,
les
fusionne
par
piste,
puis
crée
un
nouveau
dossier
de
prises
(qui
s’étend
sur
la
durée
cumulée
de
tous
les
dossiers
de
prises).
Toutes
les
données
existant
avant
l’enregistrement
sont
affichées
comme
étant
la
première
prise,
alors
que
les
enregistrements
suivants
apparaissent
comme
la
deuxième
prise,
la
troisième
prise,
etc.
Remarque
:
toutes
les
prises
qui
n’ont
pas
été
lues
dans
les
dossiers
de
prises
(et
qui
existaient
avant
l’enregistrement)
sont
perdues,
bien
que
l’annulation
soit
impossible.
Seul
l’enregistrement
effectif
d’événements
MIDI
permet
de
déterminer
s’ils
se
chevauchent.
Par
exemple
:
vous
effectuez
un
enregistrement
sur
les
dossiers
des
prises
1,
2
et
3
existants.
Vous
ne
lisez
aucun
événement
MIDI
avant
le
début,
ni
après
la
fin
du
dossier
des
prises
2.
Votre
nouvel
enregistrement
est
donc
ajouté
au
dossier
des
prises
2,
comme
étant
la
prise
suivante.
Logic
Express
tolère
même
des
événements
Note
désactivée
au
cours
de
la
première
mesure
du
dossier
des
prises
3,
sans
fusionner
les
dossiers
des
prises
(2
et
3).
Important
:
les
dossiers
des
prises
MIDI
ne
disposent
pas
de
la
fonctionnalité
d’accompagnement
pour
les
dossiers
des
prises
audio.
Le
menu
Dossier
des
prises
MIDI
ne
propose
pas
les
commandes
Nouvel
accompagnement
et
«
Mettre
sur
un
seul
niveau
et
fusionner
».
Pour
en
savoir
plus
sur
les
autres
commandes
du
menu
Dossier
des
prises
MIDI,
reportez
vous
aux
rubriques
«
Compactage
d’un
dossier
des
prises
»
à
la
page
425
et
«
Mise
sur
un
seul
niveau
et
fusion
»
à
la
page
424.
430 Chapitre
14
Enregistrement
dans
Logic
Express
Enregistrement
dans
une
région
MIDI
ou
remplacement
d’une
région
MIDI
sélectionnée
Vous
pouvez
intégrer
les
données
récemment
enregistrées
dans
une
région
MIDI
existante
(et
sélectionnée).
Cette
option
fonctionne
à
la
fois
en
mode
d’enregistrement
normal
et
en
mode
d’enregistrement
cyclique.
Pour
combiner
plusieurs
prises
d’enregistrement
en
une
seule
région
MIDI
:
m Choisissez
l’option
«
Enregistrements
superposés
:
fusionner
avec
les
régions
sélectionnées
»
dans
l’onglet
Fichier
>
Réglages
du
projet
>
Enregistrement.
Pour
remplacer
des
événements
dans
l’enregistrement
d’une
région
MIDI
:
m Choisissez
l’option
«
Enregistrements
superposés
:
fusionner
avec
les
régions
sélectionnées
»
dans
l’onglet
Fichier
>
Réglages
du
projet
>
Enregistrement,
puis
activez
le
bouton
Remplacer
du
menu
Transport.
Cette
opération
remplace
les
événements
des
régions
MIDI
existantes
(et
sélectionnées)
par
les
événements
récemment
enregistrés.
Vous
pouvez
également
utiliser
la
combinaison
fusion/remplacement
conjointement
avec
les
fonctions
Autopunch
et
Cycle.
Pour
limiter
la
fusion
au
mode
Cycle
:
m Choisissez
l’option
«
Enregistrements
superposés
:
fusionner
seulement
dans
l’enregistrement
cyclique
»
dans
l’onglet
Fichier
>
Réglages
du
projet
>
Enregistrement.
L’enregistrement
de
la
région
MIDI
conserve
son
fonctionnement
habituel
et
de
nouvelles
régions
sont
créées
pour
chaque
enregistrement.
Toutefois,
lorsque
le
bouton
Cycle
est
activé
dans
le
menu
Transport,
tous
les
enregistrements
de
région
MIDI
a
boutissent
à
une
seule
région
fusionnée.
Enregistrement
rétrospectif
de
régions
MIDI
Si
vous
avez
joué
un
solo
satisfaisant
au
cours
de
la
lecture
mais
que
vous
n’étiez
pas
en
mode
enregistrement,
ne
vous
inquiétez
pas.
Utilisez
simplement
le
raccourci
clavier
Capturer
comme
enregistrement.
Tous
les
événements
que
vous
avez
joué
(après
le
dernier
changement
de
tête
de
lecture)
sont
ainsi
ajoutés
à
la
région
MIDI
enregistrée,
comme
si
vous
étiez
en
mode
enregistrement.
Remarque
:
si
vous
déplacez
la
tête
de
lecture
avant
d’exécuter
cette
commande,
le
prochain
événement
entrant
supprimera
tous
les
événements
précédemment
joués
(et
votre
solo
sera
définitivement
perdu).
Chapitre
14
Enregistrement
dans
Logic
Express 431
Enregistrement
sur
plusieurs
pistes
MIDI
Vous
pouvez
occasionnellement
souhaiter
enregistrer
plusieurs
pistes
MIDI
en
même
temps.
Il
s’agit
souvent
de
données
enregistrées
depuis
un
séquenceur
externe
ou
lues
sur
un
clavier
divisé
entre
plusieurs
canaux
MIDI.
Vous
pouvez
également
simplement
lire
les
données
d’un
même
canal
MIDI
à
partir
de
votre
clavier,
mais
les
enregistrer
sur
plusieurs
pistes.
Vous
pouvez
par
exemple
être
amené
à
utiliser
ces
fonctions
pour
créer
des
morceaux
avec
des
instruments
superposés.
Pour
enregistrer
des
régions
sur
plusieurs
pistes
MIDI
:
m Cliquez
sur
le
bouton
Activer
l’enregistrement
correspondant
aux
pistes
sur
lesquelles
vous
souhaitez
effectuer
l’enregistrement.
Remarque
:
si
vous
sélectionnez
une
piste
instrumentale
ou
MIDI
externe
qui
n’est
pas
activée
pour
l’enregistrement,
l’enregistrement
est
désactivé
pour
toutes
les
autres
pistes
instrumentales
ou
MIDI
externes.
En
revanche,
cela
ne
s’applique
pas
aux
pistes
audio
activées
pour
l’enregistrement.
Il
existe
deux
modes
de
fonctionnement
pour
l’enregistrement
simultané
de
plusieurs
pistes
MIDI
:
l’enregistrement
de
type
Superposition
ou
Multi-lecteurs.
 Au
cours
d’un
enregistrement
par
superposition
:
les
événements
MIDI
entrants
sont
transférés
à
toutes
les
pistes
MIDI
activées
pour
l’enregistrement.
Vous
pouvez
écouter
tous
les
instruments
sélectionnés
avant
et
pendant
l’enregistrement.
 Une
région
MIDI
est
créée
sur
la
piste
sélectionnée
après
l’enregistrement.
 Les
alias
de
la
région
MIDI
sur
la
piste
sélectionnée
sont
enregistrés
sur
les
autres
pistes.
L’avantage
de
cette
approche
est
que
toutes
les
modifications
ultérieures
apportées
à
la
région
MIDI
«
parent
»
s’appliqueront
à
tous
les
alias
;
cela
garantit
que
toutes
les
pistes
superposées
resteront
identiques.
 Au
cours
d’un
enregistrement
multi-lecteurs
:
les
événements
MIDI
entrants
sont
transférés
aux
différentes
pistes
activées
pour
l’enregistrement,
en
fonction
des
numéros
des
canaux
MIDI
transmis.
 Le
canal
de
l’événement
entrant
doit
correspondre
au
canal
d’une
piste
sur
laquelle
l’enregistrement
est
activé
pour
que
cette
fonctionnalité
puisse
être
exécutée.
 Si
aucune
piste
avec
le
numéro
de
canal
correspondant
n’est
détectée,
l’événement
est
dirigé,
puis
enregistré
sur
la
piste
sélectionnée.
Il
est
conseillé
de
vérifier
que
chacun
de
vos
contrôleurs
MIDI
transmet
les
données
sur
les
différents
canaux.
Si
cela
n’est
pas
possible,
utilisez
simplement
différentes
entrées
sur
votre
interface
MIDI
et
modifiez
le
canal
MIDI
pour
chaque
entrée,
en
utilisant
un
objet
Transformateur
entre
l’entrée
physique
et
l’entrée
du
séquenceur
(reportez-vous
à
la
rubrique
«
Objets
Entrée
Physique
et
Entrée
Séquenceur
»
à
la
page
1002).
432 Chapitre
14
Enregistrement
dans
Logic
Express
Pour
passer
du
mode
d’enregistrement
Superposition
(par
défaut)
au
mode
Multi-lecteurs
:
m Accédez
à
l’option
Fichier
>
Réglages
du
projet
>
Enregistrement
>
«
Démixer
automatiquement
par
canal
si
enregistrement
multi-pistes
».
Passage
du
mode
Instrument
au
mode
Live
pour
les
instruments
logiciels
Lorsque
vous
sélectionnez
une
piste
d’instrument
(logiciel),
celle-ci
ne
passe
pas
immédiatement
en
mode
Live
ou
Performances.
Vous
devez
envoyer
un
événement
MIDI
pour
activer
le
mode
Live
;
il
faut
toutefois
environ
100
millisecondes
pour
que
l’opération
prenne
effet,
ce
qui
suffit
à
anéantir
la
synchronisation
de
la
note
lue
en
premier.
S’il
est
nécessaire
que
la
première
note
lue
soit
parfaitement
synchronisée,
vous
devez
envoyer
des
événements
MIDI
silencieux
à
l’avance
;
par
exemple,
appuyez
sur
la
pédale
Sustain
ou
faites
bouger
légèrement
la
roulette
de
modulation
de
hauteur.
Cela
vous
permet
de
passer
en
mode
Live.
Pour
plus
d’informations,
reportez-vous
à
la
rubrique
«
Nécessité
du
mode
Live
»
à
la
page
273.
Filtrage
de
l’entrée
MIDI
Le
protocole
MIDI
peut
contenir
une
grande
variété
de
messages
MIDI,
au-delà
des
messages
de
début
de
note
et
de
fin
de
note.
Ces
messages
comportent
également
des
informations
sur
le
contrôleur,
telles
que
les
commandes
de
modulation
de
tonalité,
la
modulation
et
la
commande
Aftertouch
(pression).
Dans
certaines
situations,
il
se
peut
que
vous
ne
souhaitiez
pas
enregistrer
toutes
les
informations
envoyées
par
vos
contrôleurs
MIDI.
Pour
cela,
vous
pouvez
utiliser
plusieurs
«
filtres
MIDI
»
qui
vous
permettront
de
définir
quels
types
d’événements
seront
acceptés
ou
rejetés
à
l’entrée
du
séquenceur.
Pour
filtrer
les
événements
MIDI
entrants
:
1 Choisissez
Fichier
>
Réglages
du
projet
>
MIDI,
puis
cliquez
sur
l’onglet
Filtre
d’entrée.
2 Activez
les
cases
à
cocher
correspondant
aux
types
d’événements
MIDI
que
vous
souhaitez
filtrer
au
niveau
de
l’entrée
du
séquenceur
Logic
Express.
Chapitre
14
Enregistrement
dans
Logic
Express 433
Désactivation
de
la
fonction
MIDI
Thru
Lorsqu’une
piste
d’instrument
MIDI
externe
est
sélectionnée
dans
la
fenêtre
Arrangement,
son
bouton
Activer
l’enregistrement
est
automatiquement
activé
et
l’instrument
transmet
tous
les
événements
à
l’ordinateur
(via
la
fonction
MIDI
Thru).
Pour
désactiver
la
fonction
MIDI
Thru,
il
vous
suffit
de
désactiver
le
bouton
Activer
l’enregistrement.
Dans
certaines
situations
toutefois,
vous
souhaitez
effectuer
un
enregistrement
sur
une
piste
qui
n’est
pas
automatiquement
acheminée
vers
un
port
MIDI.
Par
exemple,
cela
peut
se
produire
lorsque
vous
effectuez
un
transfert
système
exclusif
(SyEx)
à
l’aide
d’un
périphérique.
Alors
que
de
nombreux
périphériques
MIDI
requièrent
une
connexion
MIDI
bidirectionnelle
(en
entrée
et
en
sortie)
pour
ce
type
de
communication,
certains
périphériques
risquent
de
traiter
les
données
entrantes
(transférées
par
la
fonction
MIDI
Thru
de
Logic
Express)
de
manière
étonnante.
Vous
risquez
alors
de
perdre
des
données.
Si
vous
souhaitez
enregistrer
une
image
mémoire
à
partir
d’un
périphérique
qui
réagit
de
façon
inadéquate
avec
une
connexion
bidirectionnelle,
désactivez
la
fonction
MIDI
Thru
de
l’instrument.
Pour
associer
un
instrument
à
une
fonction
MIDI
Thru
désactivée
en
permanence
:
1 Ouvrez
le
menu
Fichier
>
Réglages
du
projet
>
MIDI
>
Général.
2 Choisissez
un
instrument
dans
le
menu
Instrument
sans
fonction
MIDI
Thru.
Enregistrement MIDI avec entrée pas-à-pas
Les
fonctions
Entrée
pas
à
pas
vous
permettent
d’insérer
des
notes
MIDI
lorsque
Logic
Express
n’est
pas
en
mode
d’enregistrement
en
temps
réel.
Cette
fonction
vous
permet
de
créer
des
exécutions
de
notes
qui
peuvent
être
trop
rapides
pour
êtres
lues,
ou
pour
répliquer
des
partitions,
mais
vous
ne
pouvez
pas
effectuer
de
lecture
à
vue.
Vous
pouvez
utiliser
une
ou
plusieurs
des
fonctions
suivantes
pour
l’entrée
pas-à-pas
:
 Clavier
d’entrée
pas
à
pas
 Raccourcis
clavier
du
clavier
d’entrée
 Clavier
MIDI
 Clavier
de
l’ordinateur
(clavier
avec
verrouillage
majuscules)
Les
notes
sont
insérées
au
niveau
de
la
position
actuelle
de
la
tête
de
lecture,
à
l’aide
de
tous
les
modes
d’entrée.
Il
est
possible,
et
conseillé,
de
combiner
ces
méthodes
pour
tirer
le
meilleur
parti
des
fonctions
proposées
par
chaque
option.
Par
exemple
:
vous
pouvez
définir
la
durée
de
la
note
dans
la
fenêtre
«
Clavier
d’entrée
pas
à
pas
»,
insérer
des
notes
via
un
clavier
MIDI
et
définir
la
position
de
la
tête
de
lecture
à
l’aide
des
raccourcis
clavier.
434 Chapitre
14
Enregistrement
dans
Logic
Express
Utilisez
la
souris
pour
vous
familiariser
avec
le
clavier
d’entrée
pas
à
pas.
Pour
l’exploiter
au
mieux,
vous
devrez
néanmoins
apprendre
à
utiliser
les
raccourcis
clavier
d’entrée
pas
à
pas.
Ceux-ci
fournissent
de
nombreuses
options
de
navigation
et
de
saisie
de
notes,
comme
l’insertion
de
pas
avant/arrière
et
de
silence,
qui
ne
sont
pas
disponibles
dans
le
clavier
d’entrée
pas
à
pas.
Reportez-vous
à
la
rubrique
«
Entrée
pas
à
pas
avec
les
raccourcis
clavier
»
à
la
page
436.
Activation
du
mode
d’entrée
MIDI
pas
à
pas
Le
mode
MIDI
avec
entrée
pas
à
pas
est
disponible
dans
la
liste
des
événements,
le
clavier
du
piano
et
les
éditeurs
de
partitions.
Pour
activer
le
mode
«
Entrée
pas
à
pas
»
:
m Cliquez
sur
le
bouton
en
regard
de
la
barre
de
menu
local
de
la
liste
des
événements,
du
clavier
du
piano
ou
de
l’éditeur
de
partition.
Relâchez
le
bouton
pour
quitter
le
mode
«
Entrée
pas
à
pas
».
Utilisation
du
clavier
d’entrée
pas
à
pas
Vous
pouvez
ouvrir
la
fenêtre
«
Clavier
d’entrée
pas
à
pas
»
à
l’aide
du
menu
Options
>
Clavier
d’entrée
pas
à
pas.
 Touches
:
cliquez
pour
insérer
une
note
de
la
tonalité
souhaitée.
La
barre
d’insertion
située
au-dessus
du
clavier
est
mise
à
jour
pour
afficher
l’octave
sélectionnée.
 Boutons
Durée
de
la
note
et
Vélocité
:
déterminent
la
durée
ou
la
vélocité
de
la
note
insérée.
Il
existe
huit
valeurs
de
vélocité,
représentées
par
les
indicateurs
de
volume
traditionnels
:
ppp,
pp,
p,
mp,
mf,
f,
ff
et
fff.
Ces
indicateurs
correspondent
aux
valeurs
de
vélocité
MIDI
16,
32,
48,
64,
80,
96,
112,
et
127
respectivement.
Bouton
Durée
de
la
note
Bouton
Point Bouton
Triolet
Bouton
Bouton
Accord Vélocité
Bouton
Maintenir
la
note
insérée
Chapitre
14
Enregistrement
dans
Logic
Express 435
 Bouton
Triolet
:
cliquez
sur
ce
bouton
pour
que
les
trois
prochaines
notes
saisies
forment
un
triolet.
La
valeur
rythmique
du
triolet
se
base
sur
la
valeur
de
la
note
actuellement
sélectionnée.
 Bouton
Point
:
fonctionne
comme
le
bouton
Triolet.
Une
paire
de
notes
complémentaires
est
insérée
:
une
croche
pointée
et
une
double
croche,
par
exemple.
 Bouton
«
Maintenir
la
note
insérée
»
:
allonge
la
durée
de
la
note
sélectionnée
(généralement
la
dernière
note
insérée)
de
la
valeur
de
durée
de
note
sélectionnée
(bouton
Durée
de
la
note
actif ).
 Bouton
Quantifier
:
quantifie
le
début
de
la
prochaine
note
insérée
par
rapport
à
la
mesure
ou
à
la
ligne
de
temps
la
plus
proche.
Lorsque
vous
utilisez
cette
option,
le
placement
de
la
tête
de
lecture
est
essentiel.
 Champ
Canal
:
détermine
le
canal
MIDI
d’une
note
insérée.
Les
réglages
de
canal
de
notes
isolées
n’ont
aucun
effet
sur
le
canal
de
lecture,
et
par
conséquent
sur
le
son
de
la
région
MIDI.
Les
réglages
du
canal
des
notes
isolées
sont
principalement
utilisés
pour
l’affichage
des
partitions
polyphoniques.
 Bouton
Accord
:
lorsque
ce
bouton
est
activé,
vous
pouvez
insérer
des
notes
de
différentes
tonalités
et
de
différentes
durées.
Elles
seront
«
regroupées
»
sur
la
même
position,
et
constitueront
un
accord.
La
tête
de
lecture
n’avance
pas
tant
que
le
bouton
Accord
reste
désactivé.
Pour
insérer
une
note
à
l’aide
du
clavier
d’entrée
pas
à
pas
:
1 Ouvrez
la
région
MIDI
dans
l’éditeur
dans
lequel
vous
souhaitez
travailler.
2 Placez
la
tête
de
lecture
à
l’emplacement
d’insertion
souhaité.
3 Réglez
les
boutons
par
rapport
à
la
durée
de
la
note,
la
vélocité
et
d’autres
paramètres,
selon
vos
besoins.
4 Cliquez
sur
la
touche
de
votre
choix
dans
le
clavier
d’entrée
pas
à
pas
pour
insérer
une
note
de
la
tonalité
de
la
touche.
Une
note
correspondant
à
la
tonalité,
la
durée
et
la
vélocité
choisies
est
insérée.
La
tête
de
lecture
se
déplace
alors
automatiquement
à
la
fin
de
la
note
choisie.
La
note
suivante
peut
être
insérée
immédiatement,
en
suivant
l’étape
mentionnée
ci-dessus.
Le
mode
Accord
empêche
la
tête
de
lecture
de
se
déplacer
après
l’insertion
d’une
note,
ce
qui
vous
permet
d’insérer
autant
de
notes
que
vous
le
souhaitez
sur
la
même
position
de
mesure.
436 Chapitre
14
Enregistrement
dans
Logic
Express
Pour
insérer
plusieurs
notes
sur
la
même
position
de
mesure
:
m Activez
le
mode
Accord
en
cliquant
sur
le
bouton
Accord
tout
à
gauche
de
la
fenêtre
(ou
en
utilisant
le
raccourci
clavier
Mode
Accord),
puis
suivez
la
procédure
mentionnée
précédemment.
Si
vous
cliquez
une
deuxième
fois
sur
le
bouton
Accord
(ou
sur
le
raccourci
clavier
Mode
Accord),
le
mode
Accord
est
désactivé
(il
est
conseillé
d’effectuer
cette
opération
avant
d’insérer
la
dernière
note
de
l’accord)
et
la
tête
de
lecture
se
déplace
normalement
après
l’insertion
de
la
note.
Entrée
pas
à
pas
avec
les
raccourcis
clavier
L’entrée
de
note
avec
les
raccourcis
clavier
pas
à
pas
répond
aux
mêmes
principes
que
l’entrée
à
l’aide
du
clavier
d’entrée
pas
à
pas.
La
différence
est
que
les
raccourcis
clavier
sont
utilisés
pour
toutes
les
fonctions
et
évitent
d’utiliser
la
souris
pour
choisir
la
tonalité,
la
vélocité
et
la
durée
de
la
note.
Tous
les
raccourcis
clavier
peuvent
être
définis
par
l’utilisateur.
Ils
sont
accessibles
via
le
dossier
Entrée
clavier
de
la
fenêtre
Raccourcis
clavier.
Remarque
:
il
est
également
possible
d’entrer
les
données
de
la
note
en
temps
réel
à
l’aide
du
clavier
de
l’ordinateur
(voir
«
Utilisation
du
clavier
avec
verrouillage
majuscules
»
à
la
page
439).
Raccourcis clavier de tonalité
Les
douze
raccourcis
clavier
des
notes
Do
à
Si
permettent
d’insérer
une
note
de
la
tonalité
sélectionnée,
avec
la
durée
et
la
vélocité
définie,
au
niveau
de
la
tête
de
lecture
actuelle,
dans
la
région
MIDI
sélectionnée.
Pour
insérer
des
accords,
utilisez
le
raccourci
clavier
Mode
Accord.
Pour
désactivez
le
mode
Accord,
appuyez
de
nouveau
sur
ce
raccourci
clavier.
Plutôt
que
d’attribuer
des
raccourcis
clavier
aux
douze
tonalités
de
notes,
vous
avez
également
la
possibilité
de
définir
des
raccourcis
clavier
pour
les
sept
tonalités
de
la
gamme
de
Do
majeur.
Ces
raccourcis
peuvent
être
utilisés
en
association
avec
les
raccourcis
Note
suivante
:
Dièse
et
Note
suivante
:
Bémol,
afin
d’insérer
les
autres
tonalités.
Lorsque
vous
créez
un
système
pour
l’attribution
des
raccourcis
clavier,
il
existe
deux
méthodes
simples
:
 Disposez
ces
raccourcis
sur
le
clavier
de
sorte
qu’ils
ressemblent
à
un
clavier
de
piano(Do,
Ré,
Mi,
Fa,
Sol,
La,
Si
sur
une
ligne,
l’un
à
côté
de
l’autre
et
Do#,
Ré#,
Fa#,
Sol#
et
La#
au-dessus
de
ces
notes,
respectivement).
 Attribuez
des
touches
alphabétiques
aux
tonalités
de
la
gamme
de
Do
majeur,
conformément
à
leur
nom
de
note,
particulièrement
si
vous
utilisez
la
deuxième
méthode
mentionnée
précédemment.
Chapitre
14
Enregistrement
dans
Logic
Express 437
Raccourcis clavier des octaves
L’octave
d’une
note
insérée
dépend
de
la
position
actuelle
de
la
barre
d’insertion.
Une
petite
barre
horizontale
(de
la
longueur
d’une
octave)
apparaît
au
dessus
du
clavier
du
piano
dans
le
menu
«
Clavier
d’entrée
pas
à
pas
».
La
note
choisie
doit
toujours
être
insérée
dans
la
gamme
indiquée
par
cette
barre.
Cette
barre
se
déplace
continuellement
en
fonction
de
la
dernière
note
insérée
:
le
centre
de
la
barre
d’insertion
de
gamme
est
toujours
aligné
avec
la
dernière
note
insérée.
La
note
suivante
est
insérée
dans
cette
octave,
si
la
barre
de
la
gamme
n’est
pas
déplacée
à
l’aide
d’un
raccourci
clavier
ou
de
la
souris.
Exemple
:
si
un
Sol
est
inséré
immédiatement
après
un
Do,
le
Sol
sera
placé
sous
le
Do.
Le
fait
d’insérer
un
Do
place
la
barre
d’insertion
de
gamme
entre
le
Sol
(extrémité
gauche)
et
le
Fa#
(extrémité
droite),
avec
le
Do
au
centre.
Quelle
que
soit
la
prochaine
note
choisie,
elle
est
insérée
dans
cette
gamme.
La
barre
de
la
gamme
se
déplacera
toutefois
à
mesure
que
d’autres
notes
seront
insérées,
et
le
centre
sera
toujours
aligné
à
la
dernière
note
insérée.
D’autres
raccourcis
clavier
vous
permettent
de
placer
la
barre
de
la
gamme
dans
différentes
octaves
:
Octave
0
à
Octave
6,
mais
aussi
Octave
+1/–1/+2/–2,
qui
déplacent
la
barre
de
la
gamme
d’une
ou
deux
octaves
vers
le
haut
ou
vers
le
bas.
La
barre
de
la
gamme
peut
également
être
déplacée
avec
la
souris.
Durée de la note et Vélocité
La
durée
de
la
note
et
la
vélocité
sont
déterminées
avant
l’insertion
de
la
note
à
l’aide
d’une
commande
de
tonalité.
Les
valeurs
sélectionnées
peuvent
être
affichées
dans
la
fenêtre
«
Clavier
d’entrée
pas
à
pas
».
Silences, Correction, Pas avant et Pas arrière
Le
raccourci
clavier
Silence
déplace
la
tête
de
lecture
vers
l’avant
(en
fonction
de
la
valeur
de
note
définie)
sans
insérer
de
note,
et
crée
donc
un
silence.
Les
raccourcis
clavier
Pas
arrière
et
Pas
avant
déplacent
également
la
tête
de
lecture
vers
l’avant
ou
vers
l’arrière,
proportionnellement
à
la
valeur
de
la
note
sélectionnée.
Le
raccourci
clavier
Supprimer
supprime
la
dernière
note
insérée
et
déplace
la
tête
de
lecture
vers
la
position
à
laquelle
la
note
(précédente)
commençait.
Vous
pouvez
ainsi
effectuer
des
corrections
rapides
(une
autre
note
peut
être
insérée
immédiatement
en
remplacement
de
la
note
effacée).
438 Chapitre
14
Enregistrement
dans
Logic
Express
Triolets, Groupes de notes pointées
Le
nom
du
raccourci
clavier
«
Les
trois
notes
suivantes
sont
un
triolet
»
est
explicite.
La
valeur
rythmique
des
triolets
correspond
à
la
valeur
de
note
actuellement
sélectionnée
dans
la
fenêtre
«
Clavier
d’entrée
pas
à
pas
».
Si
une
croche
est
sélectionnée,
un
triolet
de
croches
sera
créé.
Une
fois
les
trois
notes
insérées,
les
valeurs
binaires
seront
insérées,
à
moins
que
le
raccourci
clavier
ne
soit
de
nouveau
utilisé.
Le
raccourci
clavier
«
Les
deux
notes
suivantes
sont
pointées
»
fonctionne
de
la
même
façon.
En
revanche,
avec
ce
raccourci
clavier,
les
notes
insérées
seront
un
couple
de
notes
complémentaires
:
une
croche
pointée
et
une
double
croche,
par
exemple.
Interaction avec les autres raccourcis clavier
Si
le
mode
«
Entrée
pas
à
pas
»
(le
bouton
Entrée)
est
activé
dans
la
partition,
le
clavier
du
piano
ou
les
éditeurs
de
liste
d’événement,
ces
raccourcis
clavier
sont
prioritaires
sur
tous
les
autres.
Cela
signifie
que
vous
pouvez
attribuer
des
touches
ou
des
combinaisons
de
touches
à
ces
fonctions,
même
si
elles
sont
déjà
attribuées
à
d’autres
fonctions.
À
partir
du
moment
où
le
mode
«
Entrée
pas
à
pas
»
est
activé,
ces
attributions
de
touches
seront
appliquées.
Si
le
mode
«
Entrée
pas
à
pas
»
est
désactivé,
toutes
les
autres
attributions
(pour
les
mêmes
touches)
seront
prioritaires.
Remarque
:
étant
donné
que
vous
pouvez
utiliser
les
attributions
de
touches
déjà
utilisées
pour
d’autres
fonctions,
il
est
conseillé
d’éviter
d’utiliser
des
touches
attribuées
à
des
fonctions
que
vous
pouvez
être
amené
à
utiliser
également
lorsque
vous
êtes
en
mode
«
Entrée
pas
à
pas
».
Par
exemple,
la
barre
d’espace
est
utilisée
pour
la
fonction
Lecture/Arrêt/Reprendre.
Il
serait
donc
risqué
d’attribuer
cette
touche
à
la
commande
de
silence.
Utilisation
du
clavier
MIDI
pour
l’entrée
pas
à
pas
L’entrée
de
note
via
le
protocole
MIDI
fonctionne
comme
l’entrée
de
note
via
le
clavier
d’entrée
pas
à
pas
(voir
«
Utilisation
du
clavier
d’entrée
pas
à
pas
»
à
la
page
434).
En
règle
générale,
vous
appuyez
sur
les
touches
de
votre
clavier
MIDI
réel
plutôt
que
de
cliquer
sur
les
notes
du
clavier
qui
s’affiche
à
l’écran.
Les
informations
sur
la
vélocité
de
la
note
MIDI
(la
force
avec
laquelle
vous
tapez
sur
les
touches
du
clavier
MIDI)
sont
envoyées
lorsque
vous
utilisez
l’entrée
MIDI
pas
à
pas.
Vous
pouvez
insérer
un
accord
en
le
jouant
simplement
sur
le
clavier
MIDI.
Vous
n’avez
pas
besoin
de
passer
en
mode
Accord
pour
insérer
un
accord.
Il
est
conseillé
de
laisser
la
fenêtre
«
Clavier
d’entrée
pas
à
pas
»
les
premières
fois
que
vous
utilisez
ces
fonctions,
afin
de
vous
familiariser
avec
celles-ci.
Lorsque
vous
maîtrisez
bien
ces
fonctions,
vous
pouvez
laisser
la
fenêtre
«
Clavier
d’entrée
pas
à
pas
»
fermée,
car
elle
constitue
une
référence
et
non
une
condition
obligatoire
pour
l’entrée
MIDI
pas
à
pas.
Chapitre
14
Enregistrement
dans
Logic
Express 439
Il
est
également
recommandé
d’utiliser
les
raccourcis
clavier
d’entrée
(voir
«
Entrée
pas
à
pas
avec
les
raccourcis
clavier
»
à
la
page
436)
afin
de
passer
rapidement
d’une
valeur
à
une
autre
(par
exemple
la
durée
de
la
note)
ou
pour
déterminer
la
position
d’insertion.
Utilisation du clavier avec verrouillage majuscules
Le
clavier
avec
verrouillage
majuscules
vous
permet
d’utiliser
le
clavier
de
l’ordinateur
en
tant
que
clavier
MIDI
virtuel
en
temps
réel.
Il
peut
également
être
utilisé
pour
l’entrée
MIDI
pas
à
pas.
Il
constitue
donc
un
élément
idéal
lorsque
vous
ne
possédez
aucun
clavier
MIDI
ou
USB,
par
exemple
lorsque
vous
voyagez
avec
votre
ordinateur
Macintosh
portable.
Le
clavier
avec
verrouillage
majuscules
s’étend
sur
plus
de
dix
octaves
et
inclut
également
les
données
sur
la
vélocité
et
la
pédale
Sustain.
Pour
activer
le
clavier
avec
verrouillage
majuscules
:
m Appuyez
sur
la
touche
Verrouillage
majuscules
de
votre
clavier
d’ordinateur.
Un
indicateur
lumineux
Verrouillage
majuscules
montre
que
cette
fonction
est
activée.
Il
va
sans
dire
que
dans
ce
mode,
de
nombreuses
touches
ont
différentes
fonctions
qui
remplacent
leur
attribution
de
raccourci
clavier
habituelle.
La
version
illustrée
ici
est
celle
du
clavier
avec
verrouillage
majuscules
en
anglais.
D’autres
langues
peuvent
être
affichées,
en
fonction
du
réglage
de
votre
clavier
Mac
OS
X.
La
touche
Échap
envoie
une
commande
«
Désactiver
toutes
les
notes
»,
au
cas
où
vous
rencontriez
des
notes
en
attente.
Les
touches
numériques
(au
dessus
du
clavier
QWERTY)
sont
utilisées
pour
définir
l’octave
sur
le
clavier
MIDI.
Les
deux
lignes
situées
sous
les
touches
numériques
sont
utilisées
comme
équivalents
des
touches
du
clavier
MIDI,
en
commençant
par
la
note
Do,
attribuée
à
la
lettre
A
(ou
Q
si
vous
utilisez
un
clavier
français,
par
exemple).
Pour
plus
de
détails,
reportez-vous
aux
touches
noires
et
blanches
illustrées
dans
les
images
ci-dessus.
440 Chapitre
14
Enregistrement
dans
Logic
Express
La
ligne
la
plus
basse
des
touches
alphabétiques
permet
de
régler
la
vélocité
des
notes
MIDI.
Certaines
valeurs
sont
prédéfinies,
et
vont
de
pianissimo
à
forte
fortissimo.
Chaque
valeur
peut
être
ajustée
à
l’aide
des
deux
touches
situées
à
droite
de
cette
ligne
(elles
sont
attribuées
aux
touches
de
virgule
et
de
point
sur
un
clavier
QWERTY
anglais).
Cette
configuration
de
clavier
vous
permet
d’envoyer
une
valeur
de
vélocité
comprise
entre
1
et
127.
La
barre
d’espace
fournit
une
fonction
de
pédale
Sustain,
jouée
avec
vos
pouces
plutôt
qu’avec
vos
pieds.
Vous
pouvez
librement
déclencher
de
nouvelles
notes
ou
passer
d’une
octave
ou
d’une
valeur
de
vélocité
à
une
autre
tout
en
maintenant
les
notes
jouées.
Les
valeurs
d’octave
et
de
vélocité
actuelles
des
notes
MIDI
sont
affichées
dans
la
partie
supérieure
de
la
fenêtre
du
clavier
avec
verrouillage
majuscules.
Un
équilibreur
de
transparence
est
également
disponible
dans
cette
fenêtre,
afin
de
rendre
la
visualisation
plus
nette
ou
de
placer
la
fenêtre
en
arrière-plan.
Préférences
du
clavier
avec
verrouillage
majuscules
L’option
«
Valider
la
touche
de
verrouillage
»
vous
permet
d’activer
ou
de
désactiver
complètement
la
fonction
de
clavier
avec
verrouillage
majuscules.
Si
vous
souhaitez
utiliser
le
raccourci
clavier
Barre
d’espace
pour
commencer,
arrêter
ou
reprendre
la
lecture
dans
Logic
Express,
plutôt
que
la
fonction
Pédale
Sustain
pour
le
Clavier
avec
verrouillage
majuscules
(lorsqu’il
est
activé),
vous
pouvez
désactiver
l’option
«
La
barre
d’espace
sert
de
pédale
Sustain
».
Informations
supplémentaires
sur
le
clavier
avec
verrouillage
majuscules
Étant
donné
que
les
claviers
d’ordinateur
comportent
des
restrictions
techniques,
vous
ne
pouvez
jouer
que
six
notes
simultanément.
Il
existe
d’autres
restrictions
concernant
la
précision
temporelle
ou
pouvant
apparaître
lorsque
vous
essayez
de
jouer
des
clusters
de
notes
(inhabituels
d’un
point
de
vue
musical).
Souvenez-vous
que
le
but
initial
de
cette
fonctionnalité
est
d’apporter
une
aide
lorsque
vous
composez
des
morceaux
au
cours
d’un
voyage
et
non
de
remplacer
complètement
un
vrai
clavier
MIDI.
15
441
15 Présentation
de
l’édition
MIDI
Ce chapitre présente les éditeurs qui conviennent le mieux
pour modifier différents types d’événements MIDI dans
Logic Express.
Logic
Express
offre
plusieurs
éditeurs
d’événements
MIDI
:
les
éditeurs
de
partition,
Clavier
et
Hyper,
Liste
des
événements
et
la
fenêtre
de
transformation.
Chaque
éditeur
fournit
une
vue
différente
d’événements
MIDI
et
offre
des
fonctions
d’édition
uniques.
Ces
différences
facilitent
certaines
tâches
d’édition
MIDI
et
vous
serez
certainement
amené
à
utiliser
plusieurs
éditeurs
en
fonction
du
type
de
partie
à
réaliser.
Les
points
forts
de
chaque
éditeur
sont
listés
ci-après
:
 Éditeur
de
partition
:
utilisé
pour
créer
une
notation
imprimée.
Idéal
si
vous
aimez
travailler
avec
des
points,
des
tirets
et
des
lignes.
 Clavier
:
convient
parfaitement
pour
modifier
la
hauteur
tonale
et
la
longueur
des
événements
de
notes
MIDI.
Les
événements
de
notes
sont
représentés
sous
la
forme
de
rectangles
horizontaux
sur
une
grille.
La
longueur
du
rectangle
est
directement
proportionnelle
à
la
longueur
de
la
note.
La
hauteur
tonale
est
indiquée
par
la
position
verticale
du
rectangle,
les
notes
les
plus
élevées
étant
placées
vers
le
haut
de
l’écran.
 Hyper
Editor
:
utile
pour
la
création
de
parties
de
percussions
MIDI
et
la
modification
de
niveaux
d’événements
de
notes
individuels.
Il
peut
également
servir
à
créer
et
éditer
des
informations
de
contrôleur
MIDI,
permettant
de
dessiner
des
courbes
résultant
en
une
trajectoire
de
filtre
dans
un
synthétiseur
externe,
par
exemple.
 Liste
des
événements
:
affiche
tous
les
types
d’événement
MIDI
sous
forme
de
liste.
Utilisez
cet
éditeur
lorsque
vous
devez
apporter
des
modifications
précises
à
un
aspect
d’un
événement
MIDI.
 Fenêtre
de
transformation
:
il
ne
s’agit
pas
tout
à
fait
d’un
éditeur,
tout
comme
les
autres
fenêtres.
La
fenêtre
de
transformation
est
utilisée
pour
les
tâches
de
traitement
MIDI
via
des
variables
mathématiques.
Outre
ces
opérations
qui
peuvent
sembler
complexes,
vous
pouvez
utiliser
la
fenêtre
de
transformation
pour
créer
un
crescendo
dans
une
région,
doubler
ou
réduire
de
moitié
la
vitesse
des
notes
dans
une
région,
entre
autres.
De
nombreux
processus
sont
disponibles
en
tant
que
préréglages,
mais
vous
pouvez
aussi
créer
les
vôtres.
442 Chapitre
15
Présentation
de
l’édition
MIDI
Important
:
vous
ne
pouvez
pas
effectuer
d’opérations
d’édition
d’événements
dans
la
zone
Arrangement
des
éditeurs,
sauf
si
les
données
MIDI
résident
dans
une
région
MIDI
qui
existe
dans
la
zone
Arrangement.
Ouverture des éditeurs
Tous
les
éditeurs
peuvent
être
ouverts
de
puis
la
menu
Fenêtre.
L’éditeur
est
alors
lancé
dans
une
fenêtre
distincte.
Pour
ouvrir
un
éditeur
depuis
le
menu
Fenêtre
:
m Choisissez
le
nom
de
la
fenêtre
d’éditeur
dans
le
menu
Fenêtre
(ou
utilisez
le
raccourci
clavier
correspondant).
En
général,
vous
accédez
directement
aux
éditeurs
dans
la
fenêtre
Arrangement,
mais
il
peut
être
utile
de
disposer
de
plusieurs
copies
du
même
éditeur
ouvertes
en
même
temps.
Par
exemple
:
deux
listes
d’événements,
l’une
pour
définir
l’affichage
au
niveau
Arrangement
(affichant
les
régions),
l’autre
faisant
apparaître
les
événements
au
sein
des
régions.
Lorsque
vous
cliquez
sur
les
noms
de
régions
dans
la
liste
d’événements
au
niveau
arrangement,
le
contenu
de
la
région
sélectionné
est
mis
à
jour
et
affiché
dans
l’autre
fenêtre
de
liste
des
événements.
Pour
accéder
à
l’éditeur
de
partition,
l’Éditeur
Clavier
ou
Hyper
Editor
dans
la
fenêtre
Arrangement,
effectuez
une
des
opérations
suivantes
:
m Cliquez
sur
le
bouton
approprié
au
bas
de
la
zone
d’édition
de
la
fenêtre
Arrangement.
Le
contenu
(les
événements)
de
la
région
MIDI
sélectionnée
figure
dans
la
fenêtre
de
l’éditeur
sélectionné.
Fenêtre d’éditeur Raccourci clavier par défaut
Liste
des
événements
Éditeur
de
partition Commande
+
3
Transformation Commande
+
4
Hyper
Editor Commande
+
5
Éditeur
Clavier Commande
+
6
Chapitre
15
Présentation
de
l’édition
MIDI 443
m Double-cliquez
sur
une
région
MIDI
(voir
ci-dessous).
Vous
pouvez
utiliser
les
raccourcis
clavier
Ouvrir/fermer
l’éditeur
de
partition,
Afficher/
Masquer
le
clavier
du
piano
et
Ouvrir/fermer
l’Éditeur
Hyper.
L’utilisation
répétée
du
raccourci
clavier
ouvre
ou
ferme
l’éditeur
choisi
en
bas
de
la
fenêtre
Arrangement.
Π Conseil
:
maintenez
la
touche
Option
enfoncée
tout
en
double-cliquant
sur
une
région
MIDI
afin
d’ouvrir
l’éditeur
souhaité
dans
une
fenêtre
séparée.
Pour
accéder
à
la
Liste
des
événements
dans
la
fenêtre
Arrangement,
procédez
de
l’une
des
manières
suivantes
:
m Cliquez
sur
le
bouton
Listes
à
droite
de
la
barre
d’outils
de
la
fenêtre
Arrangement,
puis
cliquez
sur
l’onglet
Liste
des
événements.
m Utilisez
le
raccourci
clavier
Afficher/Masquer
la
liste
des
événements
(affectation
par
défaut
:
E).
m Double-cliquez
sur
une
région
MIDI
(voir
ci-dessous).
Le
contenu
(les
événements)
de
la
région
MIDI
sélectionnée
figure
dans
la
liste
des
événements,
à
droite
de
la
fenêtre
Arrangement.
Pour
définir
l’éditeur
auquel
on
accède
en
double-cliquant
sur
une
région
MIDI
:
1 Ouvrez
les
préférences
globales
en
procédant
de
l’une
des
manières
suivantes
:
 Choisissez
Logic
Express
>
Préférences
>
Global
(ou
utilisez
le
raccourci
clavier
Ouvrir
les
Préférences
Globales).
 Cliquez
sur
le
bouton
Préférences
dans
la
barre
d’outils
Arrangement
et
choisissez
Global
dans
le
menu.
2 Dans
l’onglet
Édition,
choisissez
l’éditeur
souhaité
dans
le
menu
local
«
Double-cliquer
sur
une
région
MIDI
ouvre
».
Pour
accéder
à
la
fenêtre
de
transformation,
effectuez
l’une
des
opérations
suivantes
:
m Choisissez
Fenêtre
>
Transformation
(ou
utilisez
le
raccourci
clavier
correspondant,
par
défaut
:
Commande
+
4).
m Lorsqu’une
fenêtre
d’édition
MIDI
:
Choisissez
Fonctions
>
Transformation.
444 Chapitre
15
Présentation
de
l’édition
MIDI
Écoute des événements MIDI lors de l’édition
Il
va
sans
dire
que
l’édition
MIDI
est
grandement
facilitée
si
vous
pouvez
entendre
chaque
événement
et
édition
que
vous
apportez,
que
vous
parcouriez
la
liste
des
événements
(sélection
automatique)
ou
transposiez
une
note
en
la
faisant
glisser.
Pour
écouter
les
éditions
d’événements
MIDI
en
temps
réel
:
m Cliquez
sur
le
bouton
MIDI
Out
en
haut
à
gauche
de
chaque
fenêtre
d’édition.
Il
s’agit
d’un
réglage
indépendant
pour
chaque
éditeur,
qui
transmettra
les
événements
MIDI
à
chaque
fois
qu’ils
seront
ajoutés,
sélectionnés
ou
édités.
Édition d’événements MIDI dans la zone Arrangement
Vous
ne
pouvez
pas
effectuer
d’opérations
d’édition
d’événements
(dans
la
zone
Arrangement
ou
dans
les
éditeurs),
sauf
si
les
données
MIDI
résident
dans
une
région
MIDI
qui
existe
dans
la
zone
Arrangement
(bien
que
vous
puissiez
utiliser
les
fonctions
Presse-papiers
pour
créer
une
région
MIDI
dans
l’arrangement).
Pour
créer
une
région
MIDI
vide
:
m Cliquez
à
la
position
voulue
dans
la
zone
Arrangement
avec
l’outil
Crayon.
Une
région
MIDI
vide
est
alors
insérée,
dans
laquelle
vous
pouvez
entrer
manuellement
des
événements.
En
général,
l’édition
au
niveau
événement
ne
peut
pas
être
effectuée
sur
des
régions
dans
la
zone
Arrangement,
mais
il
existe
quelques
exceptions.
Dans
certains
cas,
il
peut
même
être
plus
efficace
d’effectuer
vos
éditions
(ou
opérations)
sur
des
régions
MIDI
dans
la
zone
Arrangement,
plutôt
que
dans
un
éditeur
MIDI.
Exemples
:
 Modification
des
longueurs
de
notes
en
redimensionnant
la
région
(voir«
Options
d’utilisation
des
notes
lors
de
la
modification
des
longueurs
des
régions
MIDI
»
à
la
page
354).
 Suppression
ou
déplacement
de
parties
de
régions
(et
donc
d’événements)
avec
l’outil
Sélecteur.
 Ajustement
de
la
lecture
de
tous
les
événements
d’une
région
en
modifiant
ses
paramètres
de
lecture.
Chapitre
15
Présentation
de
l’édition
MIDI 445
Copie
d’événements
via
le
Presse-papiers
dans
la
zone
Arrangement
Vous
pouvez
utiliser
le
Presse-papiers
pour
ajouter
les
événements
MIDI
directement
à
la
piste
sélectionnée
dans
la
zone
Arrangement,
à
la
position
de
la
tête
de
lecture
en
cours.
Cela
fonctionne
aussi
pour
les
événements
d’un
autre
projet.
Pour
copier
des
événements
MIDI
dans
la
zone
Arrangement
:
1 Sélectionnez
les
événements
à
copier
dans
l’un
des
éditeurs
d’événements.
2 Choisissez
Édition
>
Copier
(ou
utilisez
le
raccourci
clavier
Copier,
par
défaut
:
Commande
+
C).
3 Sélectionnez
la
piste
(et
la
région
MIDI,
si
applicable)
dans
laquelle
vous
voulez
copier
les
événements.
4 Choisissez
Édition
>
Coller
(ou
utilisez
le
raccourci
clavier
Coller,
par
défaut
:
Commande
+
V).
Logic
Express
ajoute
le
contenu
du
Presse-papiers
(événements
MIDI)
à
la
région
MIDI
sélectionnée.
Remarque
:
si
aucune
région
MIDI
n’est
sélectionnée,
Logic
Express
va
créer
une
région
MIDI
sur
la
piste
sélectionnée,
à
la
position
de
la
tête
de
lecture
en
cours.
Contrôle et réinitialisation des événements MIDI
La
ligne
supérieure
de
l’affichage
Activité
MIDI
dans
la
barre
de
transport
affiche
le
dernier
message
MIDI
reçu.
La
ligne
du
bas
montre
le
message
MIDI
le
plus
récemment
reçu.
Le
moniteur
est
principalement
utilisé
pour
vérifier
les
connexions
MIDI.
Lorsque
Logic
Express
reçoit
plus
d’une
note
MIDI
simultanément
;
les
intervalles
tenus
respectifs
(entre
des
notes)
sont
interprétés
et
affichés
en
tant
qu’accords.
Pour
désactiver
les
notes
bloquées
:
m Cliquez
sur
la
rubrique
inférieure
de
l’écran
des
activités
MIDI
ou
cliquez
rapidement
à
deux
reprises
sur
le
bouton
Arrêt.
Dans
les
deux
cas,
des
messages
de
réinitialisation
sont
envoyés,
selon
ce
qui
est
défini
dans
Logic
Express
>
Préférences
>
MIDI
>
Messages
de
réinitialisation.
Dans
certains
cas,
des
modules
internes
MIDI
continuent
à
émettre
des
sons,
même
quand
aucune
donnée
de
note
ne
leur
est
envoyée.
Ceci
indique
que
vos
sources
sonores
n’ont
pas
répondu
aux
messages
«
Désactiver
toutes
les
notes
»
envoyés
par
Logic
Express.
Affichage
de
l’activité
MIDI
446 Chapitre
15
Présentation
de
l’édition
MIDI
Pour
arrêter
les
notes
suspendues
:
m Double-cliquez
sur
l’affichage
Activité
MIDI
dans
la
barre
de
transport
(ou
utilisez
le
raccourci
clavier
Envoi
de
désactivation
de
notes
discrètes).
Des
messages
de
désactivation
de
note
distincts
seront
envoyés
pour
chaque
note,
sur
tous
les
canaux
de
chaque
port
MIDI,
ce
qui
devrait
résoudre
le
problème.
Pour
arrêter
une
modulation
indésirable
:
m Choisissez
Options
>
Envoi
vers
MIDI
>
Contrôleurs
de
réinitialisation
(ou
utilisez
le
raccourci
clavier
correspondant).
Ceci
transmet
le
message
de
changement
de
contrôle
n°121,
avec
la
valeur
0
(réinitialise
tous
les
contrôleurs),
sur
tous
les
canaux
et
sorties
MIDI
utilisés
par
des
instruments
définis.
Tous
les
contrôleurs
MIDI
sont
neutralisés,
comme
la
modulation
ou
les
modulations
de
hauteur.
Pour
régler
tous
les
canaux
MIDI
sur
leur
volume
maximal
:
m Choisissez
Options
>
Envoi
vers
MIDI
>
Volume
maximum
(ou
utilisez
le
raccourci
clavier
correspondant).
Ceci
transmet
le
message
de
changement
de
contrôle
n°7,
avec
la
valeur
127,
sur
tous
les
canaux
et
sorties
MIDI
utilisés
par
des
instruments
définis.
Pour
envoyer
tous
les
réglages
de
programme,
de
volume
et
de
balance
depuis
toutes
les
zones
de
paramètres
d’instruments
MIDI
externes
:
m Choisissez
Options
>
Envoi
vers
MIDI
>
Réglages
des
instruments
MIDI
utilisés
(ou
utilisez
le
raccourci
clavier
correspondant).
Vos
sources
sonores
sont
réinitialisées,
si
des
changements
de
programmes
inattendus
se
produisent
à
mi-performance.
Pour
envoyer
automatiquement
des
réglages
d’instruments
après
le
chargement
d’un
projet
:
m Activez
l’option
«
Envoyer
après
avoir
chargé
le
projet
:
réglages
d’instruments
MIDI
utilisés
»
dans
l’onglet
Fichier
>
Réglages
du
projet
>
MIDI
>
Général.
16
447
16 Modification
d’événements
MIDI
dans
l’Éditeur
Clavier
L’Éditeur Clavier présente les événements de notes d’une
région MIDI sous la forme de rectangles horizontaux. Ils ont le
même aspect que les perforations des rouleaux de papier des
pianos mécaniques.
L’Éditeur
Clavier
peut
afficher
les
événements
de
notes
MIDI
d’une
région
MIDI,
ou
de
toutes
les
régions
MIDI
dans
un
dossier
ou
projet,
le
cas
échéant
(voir
«
Affichage
et
édition
de
plusieurs
régions
MIDI
»
à
la
page
449).
Cependant,
vous
travaillerez
généralement
sur
une
région
à
la
fois
dans
l’Éditeur
Clavier.
Découverte de l’interface de l’Éditeur Clavier
Les
événements
de
notes
MIDI
sont
représentés
par
des
rectangles
horizontaux,
alignés
sur
une
grille
de
lignes
horizontales
et
verticales.
 La
position
horizontale
des
événements
de
notes
indique
leur
positionnement
temporel
(mesure,
battement
et
battement
secondaire)
au
sein
de
la
région
et
du
projet.
Événement
de
la
note
MIDI
448 Chapitre
16
Modification
d’événements
MIDI
dans
l’Éditeur
Clavier
 La
position
verticale
des
événements
de
notes
indique
leur
hauteur
tonale,
ceux
étant
positionnés
le
plus
en
haut
de
la
grille
Clavier
ayant
la
hauteur
tonale
la
plus
élevée.
Les
accords
s’affichent
sous
la
forme
de
piles
verticales
de
rectangles
de
notes.
L’alignement
de
notes
dans
des
accords
n’est
pas
toujours
identique,
car
toutes
les
notes
d’un
accord
peuvent
ne
pas
être
frappées
ou
finir
en
même
temps.
 La
durée
d’un
événement
de
note
MIDI
est
directement
liée
à
la
longueur
du
rectangle.
Par
conséquent,
des
notes
telles
que
les
croches,
les
noires,
les
blanches,
etc.,
sont
facilement
reconnaissables.
Utilisation
de
la
grille
La
grille
fournit
une
référence
solide
pour
les
durées
de
notes
:
vous
pouvez
voir
les
positions
de
début
et
de
fin
des
événements
de
notes,
alignés
avec
les
valeurs
temporelles
figurant
dans
la
règle
Mesure.
L’édition
de
la
durée
des
notes
en
est
simplifiée.
Les
traits
affichés
par
défaut
dans
la
grille
sont
:
 Une
ligne
noire
à
chaque
mesure
et
battement.
 Une
ligne
gris
clair
à
chaque
valeur
de
division
(vous
pouvez
modifier
la
valeur
de
division
dans
le
transport).
Vous
pouvez
modifier
l’apparence
de
cette
grille
et
d’autres
aspects
de
l’Éditeur
Clavier
(voir
«
Personnalisation
de
l’Éditeur
Clavier
»
à
la
page
468).
Le
clavier
vertical
sur
la
gauche
de
l’Éditeur
Clavier
indique
des
hauteurs
tonales
de
notes.
Les
lignes
noires
horizontales
s’étendent
sur
l’écran
entre
les
notes
Si
et
Do
et
les
notes
Mi
et
Fa.
Ces
lignes
sont
très
utiles
lors
de
la
transposition
de
notes
en
les
faisant
glisser
vers
le
haut
ou
le
bas.
Explication
de
la
vélocité
des
notes
Chaque
événement
de
note
comporte
une
ligne
horizontale
qui
passe
par
le
rectangle.
La
longueur
de
la
ligne,
relativement
à
la
durée
totale
de
la
note,
correspond
à
la
valeur
de
vélocité
de
la
note
(jusqu’à
la
valeur
maximale
de
127).
La
vélocité
montre
la
force
avec
laquelle
le
clavier
MIDI
a
été
frappé
lorsque
la
note
a
été
enregistrée.
En
règle
générale,
elle
indique
aussi
le
niveau
sonore
de
la
note
dans
une
plage
pouvant
atteindre
127,
cette
dernière
valeur
correspondant
au
niveau
le
plus
fort.
L’Éditeur
Clavier
indique
aussi
les
vélocités
via
différentes
couleurs.
Chapitre
16
Modification
d’événements
MIDI
dans
l’Éditeur
Clavier 449
Ainsi,
il
est
très
aisé
de
visualiser
l’intervalle
global
(et
de
chacune
des
notes)
des
vélocités
dans
une
région
MIDI.
Lorsque
la
vélocité
des
notes
MIDI
est
modifiée,
la
couleur
des
notes
sélectionnées
change
en
temps
réel.
Remarque
:
lorsque
l’option
Présentation
>
Couleur
de
région
est
activée,
les
notes
s’affichent
dans
la
couleur
des
régions
MIDI
qui
les
contiennent.
Il
est
ainsi
plus
facile
d’identifier
les
notes
lors
de
la
visualisation
de
notes
de
plusieurs
régions.
Affichage
et
édition
de
plusieurs
régions
MIDI
L’Éditeur
Clavier
peut
simultanément
afficher
le
contenu
de
toutes
les
régions
MIDI
dans
un
dossier,
de
toutes
les
régions
d’un
projet
ou
de
plusieurs
régions
MIDI
sélectionnées.
Vous
pouvez
sélectionner
à
votre
gré
des
événements
de
notes
appartenant
à
différentes
régions
MIDI,
puis
les
traiter,
les
déplacer
ou
les
redimensionner
selon
vos
besoins.
Une
bulle
d’aide
indique
le
nombre
d’événements
sélectionnés
et
les
régions
MIDI
parentes.
Par
exemple
:
8/2
signifie
que
huit
notes
sont
sélectionnées
dans
deux
régions
MIDI.
Pour
afficher
les
événements
de
notes
de
toutes
les
régions
MIDI
dans
un
projet
:
m Assurez-vous
que,
dans
le
menu
Présentation,
l’option
«
Afficher
les
régions
sélectionnées
uniquement
»
est
décochée
puis
double-cliquer
sur
l’arrière-plan
de
l’Éditeur
Clavier.
Le
point
de
départ
de
chaque
région
MIDI
est
indiqué
par
une
ligne
verticale
de
la
même
couleur
que
la
région
MIDI.
Double-cliquez
sur
un
événement
de
note
pour
revenir
à
l’affichage
du
contenu
d’une
région
MIDI
parente
(la
région
qui
contient
la
note).
Pour
limiter
l’affichage
des
événements
de
note
des
régions MIDI
sélectionnées
:
m Activez
l’option
Présentation
>
Afficher
les
régions
sélectionnées
uniquement.
L’affichage
Clavier
est
restreint
aux
événements
de
notes
des
régions
MIDI
sélectionnées
dans
la
zone
Arrangement.
Logiquement,
les
événements
des
régions
non
sélectionnées
ne
sont
pas
affichés,
ce
qui
simplifie
l’édition
de
plusieurs
régions.
450 Chapitre
16
Modification
d’événements
MIDI
dans
l’Éditeur
Clavier
Création et édition d’événements de notes
La
gestion
d’événements
de
notes
dans
l’Éditeur
Clavier
est
très
similaire
à
la
gestion
de
régions
dans
la
zone
Arrangement.
Un
grand
nombre
des
techniques
utilisées
pour
allonger,
couper
et
déplacer
des
régions
étant
également
applicables
aux
événements
de
notes,
une
majorité
de
cette
rubrique
devrait
donc
vous
être
familière.
Alignement
d’éditions
sur
des
positions
temporelles
Vous
déplacez
et
redimensionnez
des
événements
dans
l’Éditeur
Clavier
car
vous
voulez
qu’ils
commencent
et
finissent
à
un
moment
précis.
Logic
Express
offre
une
fonction
de
positionnement
qui
aligne
automatiquement
les
points
de
début
et
de
fin
d’un
événement
sur
une
valeur
de
grille
spécifique,
lorsque
vous
le
déplacez
ou
le
redimensionnez.
Pour
aligner
des
événements
sur
une
grille
:
m Choisissez
l’une
des
valeurs
suivantes
dans
le
menu
Magnétisme
en
haut
de
la
fenêtre
Clavier
:
 Intelligent
:
les
opérations
vont
s’aligner
sur
la
mesure,
le
battement,
le
battement
secondaire
(etc.)
le
plus
proche
en
fonction
de
la
valeur
de
division
et
du
niveau
de
zoom
en
cours
de
la
Règle
Mesure.
 Mesure
:
les
opérations
d’édition
alignent
les
éléments
sur
la
mesure
la
plus
proche.
 Battement
:
les
opérations
d’édition
s’alignent
sur
le
battement
le
plus
proche
d’une
mesure.
 Division
:
les
opérations
d’édition
s’alignent
sur
la
division
la
plus
proche
(temps
figurant
dans
la
barre
de
transport
et
la
règle
Mesure).
 Ticks
:
les
opérations
d’édition
s’alignent
sur
le
tick
d’horloge
le
plus
proche
(1/3840e
d’un
battement).
 Images
:
les
opérations
d’édition
s’alignent
sur
l’image
SMPTE
la
plus
proche.
Chapitre
16
Modification
d’événements
MIDI
dans
l’Éditeur
Clavier 451
La
fonctionnalité
d’alignement
est
relative,
ce
qui
signifie
que
l’opération
d’édition
s’aligne
sur
la
mesure,
le
battement
(etc.)
le
plus
proche,
en
conservant
la
distance
de
l’événement
par
rapport
à
sa
position
d’origine.
Par
exemple,
si
un
événement
est
placé
à
la
position
1.2.1.16
et
que
vous
le
placez
environ
au
niveau
de
la
mesure
2
(le
menu
Aligner
étant
défini
sur
Mesure),
il
aligne
automatiquement
l’événement
sur
la
position
2.2.1.16
et
non
2.1.1.1
(le
point
de
départ
de
la
mesure
2).
Vous
pouvez
remplacer
les
alignements
relatifs
avec
l’option
«
Aligner
sur
la
valeur
absolue
».
Pour
aligner
sur
une
position
absolue
(pas
relative)
:
m Choisissez
l’option
«
Aligner
sur
la
valeur
absolue
»
dans
le
menu
Alignement.
Un
tick
s’affiche
à
gauche
lorsqu’elle
est
activée.
Cette
fonction
est
utilisée
conjointement
au
format
de
grille
d’alignement
choisi.
Pour
clarifier,
si
vous
avez
choisi
Mesure
dans
le
menu
Alignement
alors
que
l’option
«
Aligner
sur
la
valeur
absolue
»
est
activée,
le
déplacement
d’un
événement
(de
la
position
1.2.1.16)
à
proximité
de
la
mesure
2
provoque
l’alignement
de
cet
événement
sur
la
position
2.1.1.1
(le
point
de
départ
de
la
mesure
2),
plutôt
que
sur
sa
position
relative
(2.2.1.16).
Le
réglage
du
menu
Magnétisme
s’applique
aux
opérations
d’édition
suivantes
:
 Déplacement
et
copie
d’événements
 Redimensionnement
d’événements
 Découpage
d’événements
 Déplacement,
ajout
et
redimensionnement
de
marqueurs
 Définition
de
limites
de
cycle
Vous
pouvez
remplacer
temporairement
la
grille
d’alignement,
permettant
des
éditions
et
des
ajustements
plus
fins.
Pour
ne
pas
tenir
compte
de
la
grille
d’alignement
:
m Appuyez
sur
Contrôle
tout
en
effectuant
l’opération
d’édition.
La
valeur
de
division
choisie
dans
le
transport
(1/16,
par
exemple)
détermine
l’échelle
de
la
grille
d’édition.
m Maintenez
les
touches
Contrôle
et
Maj
enfoncées
lors
de
l’opération
d’édition
:
La
grille
d’édition
passe
aux
ticks.
452 Chapitre
16
Modification
d’événements
MIDI
dans
l’Éditeur
Clavier
Utilisation
de
l’écran
d’informations
L’écran
d’informations
de
l’Éditeur
Clavier
indique
la
position
et
la
hauteur
tonale
en
cours
du
pointeur
de
la
souris
dans
la
région.
